new story

Ok. so from the story workshop I have decided to work with the origin story based on 'Trombone-man'!
when Phil explained it could be have a grain effect to it, to make it look like its very old fashion and 1930's style to it. I guess I will have to search for things and objects that we used a laboratory at the time period.

am not sure how my superhero will first get the power of trombone man, but i have thought of a few way that his body can be mixed up with the trombone.

i think i should go with the regular story of the radioactive object fusing with human molecular structure or the power to adopt one object a make that into a power.

i like the object in power option because i can turn this into a joke.

ACT ONE:through out this whole animation there will have a grainy old fashion style to it.

shot saying : The worlds must useless superheros! episode 64.

Narrator : "Hello and welcome to episode 64 of. THE WORLDS USELESS SUPERHEROS.today's superhero is Trombone"

the words Trombone man will get plastered across the screen in large letters in a cut scene.

Narrator: "Trombone man also known as , Dick Harley. was raised and born in New york, in 1932, a great period for other useless superheros, like skipping man and stare-at-your-feet-girl. Dick was a straight A* student and won a gammy for his genetic research"

-a shot of a old abandoned factory at the middle of night,

-a zoom up on the factory name and

Narrator: Dick was working late one night after discovering the missing gap in the human DNA structure, he realized that he was able to put a DNA strand as a talent to fight evil.

-Fade shot into the building

-a slow zoom up on door inside factory, emitting lights flashing.

-snap shot of a scientist working hard, stop and admire his finished machine

-pan sideways to show how filthy the lab is.

-snap shot of monkey in transparent box playing with a toy gun and finding it hard to hit the targets.

-close up, snap shots on hands playing with bottoms and twisting knobs

-a freeze fame on the last bottom as its pushed

-from frozen frame, a slow pan up to the scientist face as he puts his goggles.

-a pan back down to his hands pulling on leaver downwards

-snap shot of the monkey in the transparent box as a laser zaps him. monkey collapse.

-monkey wakes up with slowly in POV view

-from monkeys POV, Dick looks in amazement and approaches him

-extreme close up of Dick's eye with a shocked impressing

-mechanical shot behind Dick viewing monkeys hand glowing

-close up of monkey picking up gun.

-mechanical shot of from hand as monkey shots all of targets

Narrator: "it turns out that the object can only be pick from touch, and once touched, the power to adopt was lost, in return the monkey was perfect with his ability but the only problem was that the monkey's hand was also fussed with the gun. making this new discovery. Dick's tries out his new genetic changing machine. he placed his self in the box and set the machine on self-timer. and slowly considers the object that is best to pick to fight crime with".

-snapshot of monkey shooting targets blindfolded

-snap shot of monkey shooting targets upside down.

-snap shot of Dick writing notes and smiling

-from the shot of Dick smiling a faded out shot to a table arranged with different weapons that could be used to fight crime. (nun-chucks, swords, ninjas stars etc.)

-maniacal shot from the table to the transparent box with Dick inside.

-snap shot of laser charging up

-flash of light as laser goes off

ACT TWO:

-pan down to view darkened of Body on floor

Narrator: Dick now had the power to choose what ever object he could and use it for the great good of this world,

- mid shot of Dick standing up and ... moving wheezily

Narrator: now if Dick had waited a little while longer or had a tidied his Lab he wouldn't have the little accident!.

-close up on dicks foot stepping on a marble and slipping and turning at same time.

- slow motion shot as Dick's face is screaming and as his back falling towards the cam.

-snap shot of a trombone on floor facing nozzle side down

-snap shot Dick's face (getting faster)

-snap shot of trombone (zoomed up)

getting faster - repeated twice

Narrator: So kids clean you room or could end up like Dick Harley!

-Slow zoom out from trombone fussed with Dick's known part of Dicks body. (still zooming out)

ACT THREE:

words covering screen saying. Trombone man Powers

Narrator: well.... the truth is kids ... he one has one power....and its rather embarrassing

-close up of trombone man making a trombone sound... his lips don't move

-close up of his armpits as another trombone sound plays and they don't move Iver

-snap shot of trombone and a zoom of it fussed to he buttocks.

-snap shot trombone man face .. unhappy (held frame)

-sound of trombone

-trombone man flies to the right with long sound of trombone.

End.

3 comments:

  1. Interim Online Review 16/02/2010

    Hey Godwin,

    It doesn't all work, but your story idea made me laugh - and it's clear from your written script that you have an intuitive understanding of 'how to cut'... I think Act 1 is fine, but it should be 'Episode 64 of The World's Most Useless SuperHeroes' If you're going to use narration - and I think you should as it fits your era, you can use it to set things up very quickly.

    'In an old abandoned factory on the outskirts of town, Dick Harley is working hard on his experiment to combine human DNA... ' etc.

    Your Act 2 doesn't read very well and seems a bit complex - that said, I very much like the monkey idea - perhaps, if you make the monkey pissed off (because he's been experimented on so many times - perhaps he's some kind of mutant, spliced with other stupid objects) you can make him responsible for dropping in the trombone - in an act of revenge - you could have him looking a long an array of possible objects to throw into the machine - before settling on the trombone with a devilish grin...

    Your Act 3 - with the fart gag - is puerile - but perfect - so yes, clean up your act 2 - right now it's too busy and it takes too long. Make the monkey key and give him a revenge motif, and then I think the whole thing knits together very nicely; in terms of styling the whole piece take a look at...

    http://www.youtube.com/watch?v=NVNBBLt00ZY

    I'm not seeing much evidence of your cabin being posted here? Trust me when I say, Godwin that you REALLY need to take that retake seriously - and I want to see it coming together NOW.

    Meanwhile, your written assignments have been pretty darn poor so far - and you desperately need to sort this; I hope you're accessing Tracey Ashmore as I've suggested. You should be. Please see the next 2 comments for general guidance re. the Unit 4 essay - and if you haven't started it yet - you absolutely need to.

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  2. “1,500 word written assignment that analyses critically one film in terms of the relationship between story and structure; you should consider camera movement, editing, and the order of scenes”


    While the essay questions asks you to analyse one film in terms of the relationship between story and structure, you are nonetheless expected to contextualise your analysis – and that means you have to widen your frame of reference to include discussion of other, related films and associated ideas – and also the ‘time-line’ within which your case-study sits.

    So, for example, if you are focusing on a scene in a contemporary film which makes dramatic use of montage editing and quick-fire juxtaposition of imagery (the fight scenes in Gladiator, the beach landings in Saving Private Ryan, the bird attacks in The Birds…) no discussion of this scene would be complete without you first demonstrating your knowledge of the wider context for your analysis – i.e., the ‘invisible editing’ approach as championed by W.D. Griffith, and the alternate ‘Eisensteinian’ collisions adopted by Russian filmmakers (and now absorbed into the grammar of mainstream movies). In order to further demonstrate your appreciation for the ‘time-line’ of editing and its conventions, you should make reference to key sequences in key films – ‘The Odessa Steps sequence’ from Sergei Eistenstein’s Battleship Potemkin (as in scene in the Cutting Edge documentary, but also viewable here in full

    http://www.youtube.com/watch?v=Ps-v-kZzfec

    Also – if further proof were needed of the influence of this scene, watch

    http://www.youtube.com/watch?v=yH1tO2D3LCI&feature=related

    The Cutting Edge documentary, as shown on Monday 15th Feb, is viewable on YouTube at http://www.youtube.com/watch?v=xJcQgQHR78Q

    If you choose to quote from any of the ‘talking head’ sections (Ridley Scott, Walter Murch etc.), in support of your discussion, ensure you put the documentary’s original details in your bibliography (as opposed to the You Tube url). For official title and release date etc. visit

    http://www.amazon.co.uk/Cutting-Edge-Magic-Editing-Region/dp/B0009PVZEG/ref=sr_1_1?ie=UTF8&s=dvd&qid=1266311784&sr=1-1

    Put simply, whatever film you choose to discuss, you will need to link it to its ‘ancestors’ and also, where appropriate, to its ‘children’ – i.e., what influenced it/what it influenced.

    Regarding the ‘language of editing etc.’ the following site is useful – if ugly!

    http://www.aber.ac.uk/media/Documents/short/gramtv.html

    I suggest you use it only as a starting point for focusing your research parameters – not as the fount of all knowledge (it isn’t!).

    Something that keeps coming up is how to cite websites using the Harvard Method:

    GO HERE!!!!! IT’S GOT ALL THE ANSWERS!

    http://www.ucreative.ac.uk/index.cfm?articleid=25881

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  3. Stylistically, many students’ essays still lack the required formality and tone for a University level written assignment. Many of you write as if you’re ‘chatting’ to your reader or writing a blog entry. This is inappropriate and you need to cultivate a more appropriate style if your discussions are to be authoritative and properly presented. Below are some suggestions re. use of language; take note and use!

    Use good, formal English and grammar,
    
see: http://www.ucl.ac.uk/internet-grammar/home.htm

    Use objective language: e.g. rather than 'I find it difficult to identify ...'

    'It is often difficult to identify...'
    'It can be seen that...
    'There are a number of...'

    Adopt a cautious academic style; avoid conclusive statements: e.g. use may, might, it seems that, appears to, possibly, probably, seemingly, the evidence suggests that, it could be argued that, research indicates...

    Avoid assumptions and generalisations: e.g. everyone can see, everybody knows, public opinion is...

    If you make a statement, always present evidence to support it.

    Within your essay you will be hoping to demonstrate or prove something. You will have a point of view that you wish to convey to your reader. In other words, your essay should 'say' something.

    You should support what you wish to say with a reasoned argument and evidence.

    A reasoned argument consists of a series of logical steps you make in order to lead to a point where you can form some sort of judgement on the issue you have been examining, or come to some sort of conclusion.

    Paragraphs are organised in order to build your argument in a series of logical steps

    A typical paragraph is concerned with a single step in your argument

    The first sentence of a paragraph is the topic sentence. It clearly states which step in your argument you intend to deal with in this paragraph

    Subsequent sentences explain, define and expand upon the topic sentence

    Evidence is offered

    Evidence is commented on

    A conclusion may be reached

    Try to make each paragraph arise out of the previous paragraph and lead into the subsequent one

    Below are some useful ‘linking’ words and phrases that suit the formal tone of an academic assignment – get used to using them to structure clear, articulate and confident sounding sentences.

    To indicate timescales:
    when, while, after, before, then

    To draw conclusions:
    because, if, although, so that, therefore

    To offer an alternative view:
    however, alternatively, although, nevertheless, while
    To support a point:
    or, similarly, incidentally

    To add more to a point:
    also, moreover, furthermore, again, further, what is more, in addition, then
    besides, as well
    either, not only, but also, similarly, correspondingly, in the same way, indeed
    with respect to, regarding

    To put an idea in a different way:
    in other words, rather, or, in that case
    in view of this, with this in mind
    to look at this another way

    To introduce and use examples:
    for instance, for example, namely, an example of this is
    such as, as follows, including
    especially, particularly, notably

    To introduce an alternative viewpoint:
    by contrast, another way of viewing this is, alternatively, again, 
rather, another possibility is..
    conversely, in comparison, on the contrary, although, though

    To return to emphasise an earlier point:
    however, nonetheless, despite, in spite of
    while.. may be true
    although, though, at the same time, although.. may have a good point

    To show the results of the argument:
    therefore, accordingly, as a result
    so, it can be seen that
    resulting from this, consequently, now
    because of this, hence, for this reason, owing to, this suggests
 that, it follows that
    in other words, in that case, that implies

    To sum up or conclude:
    therefore, in conclusion, to conclude, on the whole
    to summarise, to sum up, in brief, overall, thus

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