Progression of the gun for today.

I've swapped to using a Break Action revolver. It is more appealing for the style of animation I intend to go with.

Running into issues with planning how big the servos would be for this engine, and the position of such.

I found a single engine with side pivots were unable to work unless some serious work with hydraulics etc was introduced.


I wanted the pivot to be away from the engine and an individual thing because then the pivot and the engine can be individually strong. By having them as one it weakens the redundancy and strength of the limb, another way would be to use pure hydraulics, but that would add extra bulk to the design that wasn't included in the concept art.

Now when getting to the point of over 90 degree pivot, it comes to an issue. Either file the pivot and join to a point, or distend the point in a fashion that allows a bigger range of motion. A socket join rather than what i'd call a floating pivot (both limbs on one pivot, than one limb pivoting off another limb).


The solution to this typically is by using a layered join, one over / under the other. I looked to the human body, confused of how our own joints pivot further than a 90 degree turn, and realized, it's an offset joint using a socket. As shown below.



Following this I managed to push the join slightly farther forward to allow a wide range of movement towards the shoulder.

Sources:

http://grantland.com/hollywood-prospectus/the-music-of-cloud-atlas-how-do-you-compose-one-of-the-greatest-pieces-of-music-ever-written/

https://www.youtube.com/watch?v=T8aNgXSvLHU
38min

Soundworks

Fistful of Steel

Writer: Glenn Fredric

Logline: A bored android cowboy is impressed by other's revovlers, he gets his own and finds out it's harder to be cool that he first thought.

Characters:

J-1M: A bored android, he's looking for something to do, and is easily impressed. Though not the smartest, he tries to emulate what he thinks is 'cool', but is very self conscious. He communicates in vocal cues rather than words, akin to BB-8 and R2-D2 from Star Wars.

Setting:

Who: J-1M, and other Autonomous 'Cattle-punk' androids in the wild west.
What: A 'cattle-punk' android cowboy
When: 1850s era spliced with 2050 (autonomous androids)
Why: The old west is a time when things were a bit less controlled, shooting a gun for testing is common out the back of shops, guns aren't licensed, towns are small with many out on ranches than living in town.
Where: T-24-D5, a town in the west.

Outline:
Act 1:
Establishing shot of the town. Camera (J1M's perspective) is bored and is looking around for something of interest, and catches on to two 'cowboys' walking away, their guns glinting in the light. J-1M's eyes glint, and he knows what he wants. He goes to the gun store.

Act 2:
J-1M comes out of the gunstore, gun in hand, waving it around with pride, spinning the barrel and all. Across teh road, the sheriff of the town rests against the town jail, J-1M quickly stands up strait and holsters the gun. Waves awkwardly to the sheriff and walks out of town.

Act 3:
J-1M gets to the edge of town, and after scouring the terrain with his eyes, he sees in the distance, a tumbleweed stuck against a rock, a perfect target. J-1M starts to try to hit the target, but thinking the drum spin has nothing to do with it. He fails to fire a bullet, 'click click' getting more frustrated and adding more bullets doesnt help. Finally he fills the last slot in the drum with a random bullet found on the ground. He Aims, he fires, and explodes.

Summarise the different approaches to montage for each of the following film makers

Sergei Eisenstein

Modern director,  Quentin Tarantino puts Eisenstein, slightly behind, Rodriguez and along side Russ Meyer, in being among the best three directors who edit their own footage. (Peary, G. (2013). Quentin Tarantino : Interviews, Revised and Updated. Jackson, MS, USA, University Press of Mississippi).


Rhythmic

Tonal

Overtonal

Intellectual


Dziga Vertov



Vsevolod Pudovkin

Also find the contemporary film director who cites the above directors as an influence.





1, Contrast

Showing the depth of hypocrisy or conflicting statements.

2001 Spade Odyssey

The first tool thrown (bone) turns into a space station, still a tool, but come so far.



2, Parallelism

Comparing complexity of a clock to the complexity of paris.
Used for converting time or place, but still relating the scene. (woman screaming to the scene of a train screaming). Relates two things.

3, Symbolic cut
Man lights a match, blows it out, which turns to the sun. Shows underscores and nuances. Metaphors.

4, Simultaneity, Cross Cutting
Two scenes next to each other, sudgesting same location, but actually very different places. IE police at the wrong house, but both houses are being attacked. Red herring. Think it's all good, but really it's the complete opposite.

5, Leit Motiff
Typically musical Character themes, music to show reaccuring ideas.

A shot to show the same situation, such as jaws from below. Or a stalker in the woods.Time running out.

Sergei

1, Contrast

Showing the depth of hypocrisy or conflicting statements.

2001 Spade Odyssey

The first tool thrown (bone) turns into a space station, still a tool, but come so far.



2, Parallelism

Comparing complexity of a clock to the complexity of paris.
Used for converting time or place, but still relating the scene. (woman screaming to the scene of a train screaming). Relates two things.

3, Symbolic cut
Man lights a match, blows it out, which turns to the sun. Shows underscores and nuances. Metaphors.

4, Simultaneity, Cross Cutting
Two scenes next to each other, sudgesting same location, but actually very different places. IE police at the wrong house, but both houses are being attacked. Red herring. Think it's all good, but really it's the complete opposite.

5, Leit Motiff
Typically musical Character themes, music to show reaccuring ideas.

A shot to show the same situation, such as jaws from below. Or a stalker in the woods.Time running out.