hand storyboards

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1a. The first encounter: Light Recognition, basic movement recognition, simple shape recognition: first stage of visual perception: Intimate shot, camera shot goes from dark to light on an indistinguishable object Very quick shot before any definition can be made of the scene. Noise interferes at points - strange flickering disparate images are spliced into the footage, too quick to be properly registered.

1. The first encounter: the entrance: the start of the journey: Light and dark, the eye is drawn to the only illuminated object the door.
2. The neural corridor: The camera draws in closer to show the fleshy anatomical nature of the entrance and a character moving inside it.
3. The neural corridor: As the camera makes contact with the door, gets close enough to view it, it is sucked into it in a ball of electrical energy, analogous to a synaptic flash.


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4a. Form, Colour, Motion recognition further clarified: Second Stage in Visual perception: The half lit object from the first image is shown to be moving, the direction isn't clear, the shape shifts in a blurry, unclear way, dotted lines trace the movement and circles denote the focal point. Noise interferes at points - strange flickering disparate images are spliced into the footage, too quick to be properly registered.


4. The neural corridor:The ball of energy moves forward, the camera travelling with it. The electrical charge appears to be creating the corridor it passes down. At its end a figure can be seen reaching for one of the shelves.
5. The bookshelf: Emily is reaching for one of the books, the camera is stationary as we see one of the tendrils that makes up the shelf moving in the background.


6. The bookshelf: A tendril moves in the last shot. Emily looks up. An additional corridor above her is shown, existing at an impossible angle.

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7a. Binocular vision: The eye shuts, the shutters two different times, revealing slightly different images, each one slightly focusing more. Dotted lines overlaid denote the left and right eye destinal points

7. Revealing the lack of normal rules: Using the same electrical pulse as before, the ball moves up the newly formed corridor, showing Emily standing below it looking up.

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7a. Diploplia vision: The image doubles and blurs as the focal point shifts back and forward Dotted moving lines overlaid denote the science behind why this is happening, overlaid. Noise interferes at points - strange flickering disparate images are spliced into the footage, too quick to be properly registered.


8. Revealing the labyrinth: The camera pulls out to reveal that the corridor is one of very many. The camera moves along each one illuminating it as it does so.
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7a. Depth perception: The image doubles and blurs as the focal point shifts back and forward Dotted moving lines overlaid denote the science behind why this is happening, overlaid. Noise interferes at points - strange flickering disparate images are spliced into the footage, too quick to be properly registered.

9. Revealing the labyrinth: A strange limitless building is revealed, rooms upon rooms, stories and stories with a backdrop of buildings behind the terrace being explored. Lights glow dimly in the spaces.
10. Revealing the labyrinth: The camera pulls up and out of the scene and while doing so showing the vast depth of the building it continues for innumerable stories, the camera passes connecting bridges, domes windows corridors, many of the buildings don't have finished sides, they remain visible as sections.
11. Death and growth of the labyrinth: As the camera pulls out further the scale of the city / building is further revealed but this time what is also revealed is that the city is dying and growing simultaneously; the lights of the city are changing continually, altering the configuration of the building.

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7a. Holistic recognition: The image is becoming clearer, new elements are entering it, through more defined blurs becoming clear shapes. Colour is becoming more vivid. Dotted lines and shapes define the various objects and start to draw a coherant picture.
12. Revealing the scale of the labyrinth: The camera pulls out yet again to reveal that the vast building is one of many floating like particles, like the city, these particles glow and fade with an electrical nebula surrounding them
13. Revealing the scale of the labyrinth: The camera pulls out further showing the particles orbiting a sun like object of light
14. Revealing the labyrinth: The angle of the camera changes so that the sun like object is in the centre with all the particles surrounding it and like rays streaming from its centre.

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15a. More defined awareness, gestalt etc: Further clarification, more lines etc. The speed of this break builds up to to a climax
15. The eye of the beholder: The camera pulls out to reveal that the mock solar system is the eye of Emily
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16a. Self awareness: A very quick flash reveals Emily lying on the ground, all of the lines originating from her eyes to points all around her in the blurry environment. Almost unviewable, strobe effect between the next shot.

16. The eye of the beholder: She is gazing intently on something

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17. The eye of the beholder: The camera swoops around her (the background is a blur of movment) and we see what she is looking at. The camera is now facing her back

18. The Final Chamber:Camera pulls out to reveal the scale of the room, light streams down from the oculus onto her. The organic forms that make up the dense stucco are seen to move slowly. The building is living. The dotted lines from the other space start to overlay everything moving frantically, the focal points moving constantly, the blur starts to overtake the scene, the scene drips and swoons in and out of focus
Detailed neural stucco
19. The final centre: Camera moves up to look at the dome, camera moves up the dome is in perfect focus but then the camera sweeps out through the dome filling entirely with light, numerous centres and focal points explode from it.

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20. Everything: This scene merges into another blurry scene, made from the movement of a fan, the dots form one whole - fade to white

The End

First animatic test

First Animatic Test from N Nivreen on Vimeo.

Charles and Ray Eames: Powers of Ten

Watch it here

Section: potential to be a drawing

Storyboards Set 2: For the library

1.
The Library:
The Camera looks at the facade of a great building which is in darkness, the door is illuminated, a figure can be seen.x2.

Camera moves towards the entrance revealing Emily at its entrance

3.
As Emily starts to walk into the corridor there is a flash of electricity. The camera sucks into the corridor, suggestive of a neural flash.


Close up of Emily looking at one of the bookshelves

She looks upwards above the bookshelf (add this scene shot - sketch)

Camera looks down from newly grown corridor at Emily

The camera pulls out of the corridor to reveal a vast number of other identical corridors. The camera moves across them a lense flare highlighting each one in turn.

The camera pulls out further to reveal a massive facade of which the corridors are only a tiny part of.

The vast scale keeps being revealed as more. The orientation of tunnels, corridors and staircases isn't consistent.
Finally the scale pulls back to the level of a map at 1:5000 and then the edge of the site is revealed to be a floating object in space

among many others, like dust floating around a planet or particles in water viewed under a microscope.

The shot pulls back out to reveal that the scene is a reflection in Emily's eye.

and Emily is standing in the altar area of the library, with light streaming in on her from the stained glass windows

The camera pans up to the dome where more light is streaming from till the screen is white.

On centres

"And the nature of the center is such that, although it is single, indivisible and motionless, it is nevertheless found in many, or rather all, of the divisible and moveable lines everywhere. And of those invisible circles, that is, the Mind, the Soul and Nature, the circle of the visible world is an image."

Marsilio Ficino, Commentary of Plato's Symposium on Love (1544)

"Thus is has always been thought that the center, which is by definition unique, constituted that very thing within a structure which while governing the structure, escapes structurality. This is why classical thought concerning structure could say that the center is, paradoxically, within the structure and outside it. The center is the center of totality, and yet, since the center does not belong to the totality (is not part of the totality), the totality has its center elsewhere. The center is not the center. The concept of centered structure - although it represents coherence itself, the condition of the episteme as philosophy or science - is contradictorily coherent. And as always, coherence in contradiction expresses the force of a desire."

Jacques Derrida, "Structure, Sign and Play" 1966, in Writing and Difference, trans. Alan Bass (London. 1978), 279

Both quotes from Robin Evans' The Projective Cast p.51, 53

Uta Barth

Uta Barth's use of altered depths of field and its subsequent blurring, I feel begin to express the notion of vision and learning to see. When we "see" things, we effortlessly assemble many parts to form a seamless whole, her photographs can be read as what it may be like to see without seeing; that is to witness light and colour but to view it without meaning.

Dante's Divine Comedy

"Two kinds of model might therefore be imagined: the one a complete nest of spheres seen from outside, the other a partial view of the same from within."

p.19 Perturbed circles. Robin Evans. The Projective Cast.