Month: March 2014

Blog Post 3

The Royal Festival Hall’s Refurbished Organ at TheGuardian.com

This multimedia piece begins with natural sounds of an organ. The first picture is a wide establishing shot of the large organ and a man sitting on a bench playing it. The next photograph is a close-up of the man’s hands as he plays. The following few photos show details of the organ to give the audience a closer look at the various parts. Then, an audio interview with Southbank Centre’s organ curator William McVicker begins to play. He speaks of the instrument, which was first installed in London in 1954 and features 7,866 pipes.

The photographs in this audio slideshow are by David Levene, and the audio is by Ranjit Dhaliwal. I believe that they created a successful multimedia piece because the pictures include a variety of angles, like high-angle, low-angle, wide establishing shot, and close-ups. The audio included natural sound of the organ and an informative interview with the organ curator, McVicker, which provided background about the organ’s history, parts, and how it is maintained.

The only issue that I have with this audio slideshow is the slight discrepency between what McVicker says and what the pictures show. The pictures all relate to the organ and McVicker’s job, but part of the interview talks about the organ’s history, which is tough to show through pictures taken by Levene. However, this slideshow was still interesting because of the organ’s history and expansiveness.

Toward the end of this three minute piece, the pictures become more relevant to the audio. McVicker talks about the parts of the organ, and the pictures show what he is talking about. Many of the shots focus on art rather than interaction between people. The shots of the organ’s pipes are artistic, taken from creative angles and often extremely close-up perspectives. The pictures are still interesting even though they lack the human element, and overall, the piece provided valuable information about the organ while allowing Levene to showcase his artistic photography.

The pieces ends with more music from the organ and a final shot of McVicker sitting at the bench.

 

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Blog Post 2

At Home with Roz Chast on NewYorker.com

At Home with Roz Chast is a multimedia piece by The New Yorker that follows New Yorker cartoonist Roz Chast to her home in Connecticut to show viewers her workspace, her inspirations, and her pets.

This piece is a beautiful look into someone’s life. Chast is a charming character, and seeing her life on screen is an entertaining look into the life of a cartoonist. The B-roll used in this piece is an artful representation of Chast’s life. The piece shows her two pet birds, her collection of colorful canned-food, her egg art, and a blanket she is making in remembrance of her father. The A-roll shows Chast speaking to the camera and answering various questions about her work and her life. At times, she has one of her birds on her shoulder as she speaks. Sky Dylan-Robbins produced this piece and used a lot of attention to detail. He got close-ups of many of Chast’s cartoons, giving viewers a look into her various pieces as well as her intricate egg paintings.

Instrumental music is used in the background of the piece, even sometimes when Chast is speaking. However, the music is not distracting and the audience is still able to hear Chast’s voice above the music. The music adds creativity to the piece and doesn’t take anything away from it.

The technique of panning, or moving the camera during a shot, is used several times in this piece. The use of panning is smooth and not choppy. At one point, the camera pans from left to right as Chast flips through files in a drawer. The panning used in this shot adds creativity and interest to the clip, which would have been boring if the camera was just pointed toward Chast as she flipped through files.

The only negative about this piece that I found was how quickly the shots move when focused on Chast’s cartoons. They are shown so quickly that it is impossible to read the cartoons. However, maybe this was a stylistic choice by Dylan-Robbins. If so, the piece would have been improved if he had dedicated a few more seconds to the cartoons that were shown so that the audience could quickly read them.