Vuletic
Week Four: Scene Transition
Weekly Learning Outcome
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Research cinematic transitions and consider these in relation to spatial design.
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Discuss and review surface design/facade design.
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Develop surface design to incorporate an entrance threshold.
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Draw inspiration from filmmaking editing techniques such as the cross face, jump cut.
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Create a spatial model of one of the transitions from the site sequence.
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Produce a model or series of models which explore transitions in the cinematic site sequence.
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Design the entrance threshold and develop the facade design.
Scene Transitions
This week you will develop ideas from weeks 1 to 3 and create spatial models of an entrance threshold that explore the idea of transitional space and movement. Your surface design (facade design) will be developed to create an entrance threshold. Consider how you might design thresholds, circulation spaces, or other spaces of movement based on your site document from weeks 1-3. Reflect on your site document and consider how you have connected different scenes? What are the transitions at play in your site document (jump shot or crossfade)? How can you translate these ideas into a series of spatial models?
Cinematic Transition Research
Dissolve/Fade
In the post-production process of film editing and video editing, a dissolve (sometimes called a lap dissolve) is a type of film transition in which one sequence fades over another. The terms fade-out (also called fade to black) and fade-in are used to describe a transition to and from a blank image. This is in contrast to a cut, where there is no such transition. A dissolve overlaps two shots for the duration of the effect, usually at the end of one scene and the beginning of the next, but may be used in montage sequences also. Generally, but not always, the use of a dissolve is held to indicate that a period of time has passed between the two scenes. Also, it may indicate a change of location or the start of a flashback.
Light in Ancient Cinema
In Ancient Greece, theatres were built in open-air spaces and placed accordingly, so the sun would come from behind the audience and fill the performance area with light. Fast forward a few thousand years to 16th Century Italy, where Sebastiano Serlio, an Italian architect with a passion for theatre design, suggested using candles as a source of illumination. The method quickly spread across the globe, eventually evolving into chandeliers filled with candles to light the theatre stage.
It wasn’t until almost 200 years later that greater illumination was achieved. After the creation of the modern oil lamp in the 1700s, lighting technology began developing at a rapid pace with the invention of gas lamps happening forty years later. Shortly after, these were usurped by Thomas Edison and the invention of the electric light bulb.
It was this that truly marked the beginning of modern stage lighting.
Since then, the principles of lighting design have been expressed in a myriad of ways through media and entertainment, driving the development of tools that facilitate this, such as Foundry's own Katana. It’s no surprise then, that these early-formed techniques are still used in modern filmmaking today.
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Existing Façade Design
Visual inspiration of existing facade designs.
Elevation
Fort Lane
Imperial Lane
Surface Design Development
Facade Experimentation: Light Manipulation, Shadow, Curved Forms, Interaction, Conversation
Experimenting with possible forms of my clay model that could be transformed into a facade for the Imperial Building. Demonstrating the manipulation of the entrance using curved forms, light and shadow.
Scaled Elevation
Entrance Design Threshold - Experimenting with light and shadow to manipulate the entrance perspective and create and interactive experience for visitors or bypassers.
Creating 3D forms on Rhino
