Artefact 02

So my second artefact was presented today. Following on from my first one it was clear that the pose to pose needed to be improved with regard to the trunk and the shoulders movement. So i made a few more passes firstly adding more bounce from the trunk of the body then adding the squash and stretch principles. I then ironed out small nuances within the piece. Before giving the 'P' in the lip-sync cycle more definition.

The feedback from the focus group was that it was better than the first piece in terms of its fluency. However there were still minor issues such as the change between the IK and FK wrist controls had not been made causing the Motionless wrist at points where it needed to be following the motion of the upper arm. Other comments were made about staging, in particular about the silhouettes position at the end, where the wrist finds itself hidden behind the trunk causing the body shapes to look off. Also mentioned about the performance was the idea about bringing back the performance before striking it back up for bigger impact. It was felt that the tone at the end was still too subtle for the vocal performance of Jim Carrey that was in the audio track.

What is interesting between the two artefacts is the approach of working pose to pose initially, and then ironing over that with other principles to generate the fluency of straight ahead, which backs up the long established theory, as spelled out by Richard Williams, that a combination of both pose to pose and straight ahead is the key to a rounded performance. In research carried out by Sophie Magnante from last years third year, she found that working from the hips and then through the body was a productive technique (the experiment can be found by clicking here).

So the basis of my next artefact will be too start by working from the hips outwards and to see if the ironing out process is smoother with regard to the hands. Also, keeping in relation to the context of the written document - conveying lies - i would like to create a performance that has the character produce a lie that is in contradiction between the gestural element and the emotional element, and the two between the dialog. I am unsure how this will work as of yet, presumably there will be two versions of the same scene, conveying both, ultimately to see which is more effective. I am also going to use another Jim Carrey scene, as an extension to the experiment to see if this has any side effects, and again, i'm unsure which seen that may be at the present time.