How can we animate, inspire and involve people in the shift to an ecological culture?

Raw footage

Auto Balance

Desaturate

Vignette and Shadow Adjustments

Curves Adjustments

Soft Film Grain

Academic

• Mind of the Raven, Bernd Heinrich, Harper Collins
• Discourse on the Method – Rene Descartes
• The Spell of the Sensuous: Perception and Language in a More Than Human World – David Abram
• Becoming Animal – David Abram, Random House
• The Web of Life – Fritjof Capra, HarperCollins
• Limits of Thought, David Bohm, Routledge
• Steps to an Ecology of Mind, Gregory Bateson, University of Chicago Press
• The Embodied Mind: Francisco Varela, Thompson, Rosch, The MIT Press

Technical

• Raven chroma keying
• Digital Compositing
• On set workflow efficiency
• Colour Correction and Grading
• Post Production Workflow
• Encoding methods
• Audio syncing in post-production
• Strengths and limitations of the GH2 and AF101 cameras
• Lens characteristics of the 12mm SLR Hyperprime and the 25mm Voigtlander 0.95
• Sound recording methods for high quality audio
• Exhibition space and optimal installation

Exhibition installation for The Anatomist at Culture Lab.

Weekly work schedule for The Anatomist.

Keying out the green screen here will allow a different background to be composited into the picture. The problem is that the keying process removes some of the fine detail in the raven’s throat feathers. These ‘throat hackles’ are an important part of communication in ravens, and this loss of detail diminishes the subtlety of this communication.

Video – Raven Green Screen

Additionally, the raven’s beak and feathers have a reflective quality, absorbing the iridescence of its enveloping cosmos (this may have contributing to their place as Shapeshifters in mythology). This means that some parts of the raven’s body absorb the colour of the green grass around it, and the green screen behind it. One possible solution to these issues is to use a red screen with a higher resolution camera.

The 48 Hour Guerrilla Film Making Challenge takes place annually across six contients and provides an ideal opportunity to test The Anatomist’s film making process from beginning to end. In order to gain as much transferable knowledge from this challenge as possible, the same cast, crew, equipment, workflow and even some of the locations were used as those planned for The Anatomist.

At the beginning of 48 Hour Guerrilla Film Making Challenge each team was given a random genre and line of dialogue out which to write, shoot and edit a film between 5 and 8 minutes within a 48 hour time frame.

Film