Project: Final Major Project

How machines learn: neural networks

To bring my therapist bot to another level I decided to learn more about how to make a bot more intelligent. For that we have to take a look at artificial neural networks, deep learning, natural language processing and so on. Clearly, to use something like API.ai there is no need to understand all of that stuff, but I don’t like to do something without understanding how it works. Our first stop is artificial neural networks. I find this book pretty good to learn about the topic: http://neuralnetworksanddeeplearning.com/chap1.html Basically, artificial neural network consists of a large number of artificial neurones which are interconnected. More

The UX Crunch — Chatbots and blah blah blah

Continuing my work on the therapist bot (also known as Mysty), I went to the UX Crunch event dedicated to chatbots and AI.  We all understand that there were no AI 🙂 But some interesting facts about chatbots could be brought out of the event. First of all, no one knows how to design a chatbot, there is no convention or any structured workflow. Just imagine what your end user could potentially ask and code it. On the bright side, the basic principles are becoming more and more complete. And in general, there are a lot software… More

Take a look: Pierre Huyghe

Now I would like to take a look and analyse some works of contemporary artists who were inspired by cinema. And one of them was French artist Pierre Huyghe, who made a remake of the Hitchcock’s movie Rear Window (1954). His project, named Remake (how unexpected :)), unlike others, had no intention to anyhow improve the original movie but to create a dialogue about our perception of the present and the importance of the deja vu. It was an experiment on how our past experience screens our present events. Amelia Barikin in her book Parallel Presents: The Art of Pierre Huyghe says, that Huyghe went back to the… More

Invisible visuals: graphic design for the film

Everything you see in the film, like a newspaper or a telegram, should be designed by someone; and it plays a huge role in such a movie as The Grand Budapest Hotel. That is why we can see Annie Atkins’ work all over throughout the film. She describes her experience of collaboration with Wes Anderson and his production designer Adam Stockhausen this way: I doubt I’ll work on a more beloved film that pays so much attention to graphic design again in my lifetime, so not a day goes by when I don’t thank my lucky stars (and Wes and Adam!)… More

Visionary or creator: who is who

When I was talking about creating an atmosphere in the movie, I used to mention only a director, but it is not actually fair. To be honest, it is always the result of the work of a trio: screenwriter, director and production designer. While screenwriter and director are visionaries, the creation of a world, as a matter of fact, is a production designer’s responsibility. To know more about this role, you could go here. If we talk about The Grand Budapest Hotel, we have a not common situation, when produser, writer and director is the same person, Wes Anderson. Therefore,… More

Wes Anderson

The next director, master of creating an atmosphere is Wes Anderson (according to my own ranking system). Particularly, one of his latest films, The Grand Budapest Hotel (2014) is of my biggest interest in this field. I like the way he creates his own worlds in the movies, using the whole specter of tools from filmmaking techniques to perfectionist’s attention to every detail, every object in the frame. Here is a nice overview of the visual language, that shows us how important different details for the right perception: Cover image: https://brunch.co.kr/@vonovono77/33… More

Talking about atmosphere: Kubrick

Talking about an atmosphere in movies, one of the first names that come to my mind is Stanley Kubrick. He was the master of his trade and during his career developed some trademark features, such as breaking the story into three particular acts, specific pace of the narrative, one-point perspective in the most important shots, stunning music, and complicated tracking shots. This list could go further, but the most important conclusion I have made for my research: his works are overstudied and over-analysed, so it will be too hard to find something new there, which I could adapt for interaction design… More

Cuts and transitions

Watching movies, I found for myself that cuts and transitions play the huge impact on my perception of the story and atmosphere of the movie, so to be able noticing them I found this great video explaining that: Cover image: https://giphy.com/gifs/film-editing-f-for-fake-Iyqv0kE4hUwYE/download… More

How to read a screenplay

As I mentioned previously, writing a script is different to regular literary writing, thus it requires a particular way of reading it. Scott Mayers describes his way of reading screenplays in a series of blog post here: How To Read A Screenplay: Parts 1–7 Here are the main steps you better to take digging into a script you are reading: The First Pass, go here. The Scene-By-Scene Breakdown, go here. Plotline Points and Sequences, go here. Subplots, Relationships and Character… More

What the flip is screenplay?

Wondering about cinema, cinematic storytelling, creating an atmosphere and director’s work in general, the question that had arisen in my mind was where is the origin of creating an atmosphere in a movie takes place. And apparently, it starts in the screenwriter’s mind and he has to somehow transfer it onto the paper. Writing a script is totally different from the book writing or so because, first of all, a film is about showing things, not telling them. For example, it is ok to narrate two-page inner dialog of the main character in the book, but it is a complete nightmare… More