Digital Creative Learning Journal for CAT214TC - Xinyi Liu 2147126

Describe the filmmaking process

Development

The development stage of film production is when a film’s concept is first created. This can be an original idea from a writer or director or it can be based on existing source material, such as a book or play. Once the concept has been established, the next step is to write the screenplay.

A screenplay (or script) is a blueprint for a film and it contains all of the dialogue, action, and character development. Once the screenplay is written, it is then time to begin the budgeting and financing.

Budgeting and Financing 

After the screenplay has been written, it is time to begin the process of finding financial backing for the project. This can be done through private investors, studio funding, or government grants. But, in order to properly pitch a project for financing, a clear comprehensive budget must be created beforehand.

A production budget is created from a meticulous analysis of the screenplay, it details all of the project’s estimated costs, including cast and crew salaries, equipment rentals, locations fees, post-production costs, and distribution expenses. Creating a realistic (ie: not overly optimistic) budget is crucial for securing financing. It demonstrates the production’s seriousness and provides an invaluable tool for navigating the coming weeks, months, or years of the production process.

Once funding has been secured, the next stage of production can begin.

Pre-Production

The pre-production stage is when all of the logistics for making the film are planned out. This includes everything from hiring the cast and crew to securing locations and booking studio space.

One of the most important aspects of pre-production is to break down the script and create the film’s shooting schedule. This schedule outlines when and where each scene will be shot, and it takes into account all of the necessary prep work, such as set construction and costume fittings. The choice of filming location(s) will also impact the shooting schedule as different locations can have drastically different union regulations that control things such as the maximum number of hours that a set can operate, the amount of turnaround time between days, and the number of days per week.

The shooting schedule is created primarily by the producers, director, and cinematographer (director of photography) along with valuable input from all the department heads.

Once all of the logistics have been planned out and the necessary crew has been hired, it is time to move into production.

Production

Production is when the film is actually shot. This can take anywhere from a few days or weeks to several months, depending on the scope and budget of the project.

The director and actors collaborate with the film’s entire crew to bring the script to life before the camera. This includes everything from lighting and set design to hair, makeup, VFX, and more.

Post-Production

After production has wrapped, it’s time for post-production. This is when the footage is edited into a cohesive story, the music and sound are added, and the visual effects are created.

Post-production can take just as long as production, if not longer, and it is during this stage that a film really starts to come together. The first step in post-production is editing the raw footage into a rough cut. This is when the director and editor(s) start to assemble the film according to the screenplay and their vision.

Once the rough cut is complete, it is time to add in the music, sound effects, and replacement dialogue.

The final step in post-production is color correction and grading. This is when the film’s overall look is finalized, and the visual aesthetic is consistent throughout.

Distribution

The final stage of film production is distribution. This is when the finished film is released to the public through screenings, film festivals, theatrical releases, or simply via an upload to the internet. Traditionally, once the film has been released, it is later distributed to other platforms such as streaming services, home video, or television.

Distribution can be a complicated process, but it is essential in getting the film seen by audiences. There are many different ways to distribute a film, and the best method will vary depending on the type of film, the budget, and the audience.

The most important thing to remember is that distribution is not just about getting the film out there, but also about finding the right audience for it. With so many different ways to distribute a film these days, there is no excuse not to find your audience and get your movie to the people who want to see it.

Marketing

The marketing campaign for a film begins in pre-production and continues all the way through distribution. The marketing team’s goal is to generate interest in the film and get people excited to see it. This is done through a variety of methods such as creating trailers and posters, conducting press junkets and interviews, and holding premieres.Nowadays social media and the internet play a large role in the marketing of a film.Once the film has been released, the marketing team will continue to work to ensure that people are aware of it and that it is being seen by as many people as possible.

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Reflect the filmmaking process on my own film

This filmmaking process can be used in my film too. Here is an outline of the filmmaking process for a story about a woman exploring inscriptions in a garden:

Development:

1. Research and gather information on garden culture, inscriptions, and calligraphy.
2. Develop the story concept and outline.
3. Write the script with detailed descriptions of the garden and inscriptions.
4. Create a storyboard to visualize the film's scenes and sequences.

Budgeting and Financing:

1. Determine the budget for the film, including production costs, equipment, and personnel.
2. Explore financing options, such as grants, investors, or crowdfunding.
3. Create a budget plan and allocate funds for each aspect of the film.

Pre-Production:

1. Assemble a production team, including a director, producer, cinematographer, and other key personnel.
2. Scout locations for the garden and inscriptions.
3. Hire actors and crew members.
4. Plan the production schedule and timeline.
5. Secure permits and permissions for filming in the garden.

Production:

1. Conduct rehearsals with the actors and crew.
2. Set up equipment and lighting for filming.
3. Shoot the scenes in the garden, focusing on the inscriptions and calligraphy.
4. Record audio and capture high-quality footage.
5. Monitor the production schedule and make adjustments as needed.

Post-Production:

1. Edit the footage and audio to create a cohesive film.
2. Add music, sound effects, and voiceovers as needed.
3. Color grade the film to enhance the visual quality.
4. Create subtitles or translations for non-English speakers.
5. Review and revise the film based on feedback from test audiences.

By following these steps, I can create a compelling film that showcases the beauty and cultural significance of garden inscriptions and calligraphy.

Describe What is rapid ideation? 

Rapid ideation is a brainstorming technique used to produce a great number of ideas quickly in a short amount of time. The goal of rapid ideation is to record your ideas without editing, criticizing, or discussing feasibility until later. Rapid ideation can help teams ideate quickly and without fears of judgment or criticism. 

There are a few types of brainstorming techniques that use rapid ideation as part of the creative thinking process. These include: 

• Mind mapping: Start with one word or theme and add any related terms or concepts that come to mind. 
• Brain writing: Write your idea, then pass it on to the next person to immediately build on it. 
• Crazy eights: Sketch out eight ideas in 8 minutes. 
• Round robing brainstorming: Similar to brain writing, but rather than building on the idea, the next person finds its weaknesses, and then provides feedback on how to improve it.  

With rapid ideation, the members of the brainstorming group work in real-time to generate as many possible solutions as they can to the prompt or challenge. This type of creative thinking on the spot can be easier for some than others. So it helps to set up guidelines and provide your team with tips and resources for this process.

Why is rapid ideation important?

Beyond the obvious advantage of having more ideas to use for problem-solving in your team, the rapid ideation process provides several benefits:

• Enhanced creativity: Rapid ideation encourages participants to think freely without the fear of criticism or judgment. By bypassing the editor inside of us, rapid ideation unlocks you and your team's creative potential.
• Improved decision-making: Rapid ideation's structured approach, including time limits, idea clarification, and idea organization, streamlines the decision-making process. It enables teams to quickly sift through a multitude of ideas, identify the most promising ones, and focus their efforts on developing feasible solutions, ultimately saving time and resources.‍
• Lower emotional attachment to ideas: Rapid ideation discourages participants from becoming overly attached to a single concept. This reduces potential resistance to change and makes it easier to adapt and refine ideas as the process unfolds.

Reflect the rapid idea as the mind map in the production of initial ideas

Rapid ideation can be used in mind map as the below picture shows.

Xinyi Liu, notes of initial ideas from the first week

This is the initial raid idea for video.

Here's a mind map with various branches related to Chinese culture:

1. Symbols:
- Yin and Yang
- Dragon
- Phoenix
- Chinese characters (Hanzi)
- Taijitu (Yin-Yang symbol)
- Red color (associated with good luck and happiness)

2. Food:
- Dim sum
- Peking duck
- Hot pot
- Dumplings (Jiaozi)
- Spring rolls
- Wontons
- Congee (rice porridge)
- Stir-fried rice
- Tea ceremony

3. Ancient History:
- Dynasties (e.g., Xia, Shang, Zhou, Qin, Han, Tang, Song, Yuan, Ming, Qing)
- Great Wall of China
- Terracotta Army
- Silk Road
- Confucius and Confucianism
- Taoism and Daoism
- Buddhism in China
- Chinese emperors and empresses
- Chinese philosophy

4. Words:
- Mandarin (Putonghua)
- Cantonese (Yue)
- Calligraphy
- Idioms and proverbs
- Poems and poetry (e.g., Tang Dynasty poets)
- Chinese opera (Peking opera, Kunqu)
- Chinese zodiac

5. Four Inventions:
- Papermaking
- Printing (woodblock and movable type)
- Gunpowder
- Compass

6. Art:
- Chinese painting (ink wash painting)
- Pottery and porcelain
- Jade carving
- Chinese knots
- Paper-cutting

7. Traditional Festivals:
- Chinese New Year (Spring Festival)
- Mid-Autumn Festival
- Lantern Festival
- Dragon Boat Festival
- Double Ninth Festival (Chongyang)

8. Architecture:
- Pagodas
- Temples
- Ancient palaces (Forbidden City, Summer Palace)
- Garden design (classical Chinese gardens)

9. Martial Arts:
- Kung Fu
- Tai Chi
- Wushu

10. Traditional Medicine:
- Acupuncture
- Herbal medicine
- Qigong
- Tui Na

This mind map provides a comprehensive overview of various aspects of Chinese culture, from symbols and food to ancient history, language, and the four great inventions. I think the mind map is useful as  brainstorming which can be always used in the first step to help me widen thinking.

Since the theme revolves around Chinese culture, we initially thought of the more famous calligraphy, but after investigation, I found that the history of inscription is much older (Song, 2023). We can go back to the beginning and the record of things started with the paintings and the words on the stones, so if you go by history, the inscription is much older, so I'm going to introduce it with calligraphy and expand it from the inscription. At the same time, to prevent the elements from being too monotonous, I also plan to introduce the famous garden elements of Suzhou and echo the inscription culture. At the same time, this video also hopes to play a role of national cultural confidence. Due to the rapid development of The Times, many Chinese intangible cultural heritages are gradually lost in the flood of history. I hope this video can also awaken people's confidence and attention to culture.

In my opinion, explaining my ideas in the form of video can be more vivid, and it can also help me sort out my thinking and extract important information. But at the same time, I think the text version allows the audience to understand the situation more directly. What this video does poorly is that it does not actually show the research process and results, instead choosing to directly turn the findings into a narrative

Describe the story part

What is a story?

A story or narrative is a connected series of events told through words (written or spoken), imagery (still and moving), body language, performance, music, or any other form of communication. A story is a description of imaginary people and events, which is written or told in order to entertain.You can tell a story about anything, and the events described can be real or imaginary; covering both fiction and nonfiction. 

How to Write A Great Protagonist:

1. Make Them Relatable (That Means Flawed)
2. Outline Their History (Create A Character Profile)
3. Find Their Motivation
4. Give Them Something to challenge
5. Make Them Evolve (overcome it and reach their goals)

The three-act structure is organized into three separateacts. Each act contains three story beats. A story beat is a notable event that moves thestory forward.

Reflect the three act structure of the plot

Importance of the Three-Act Structure:**

• Clarity and Cohesion: The three-act structure provides a clear and logical progression for the story, making it easier for the audience to follow and understand the narrative.
• Balance of Pacing: By dividing the story into three parts, writers can control the pacing and ensure that the story doesn't drag or rush through important events.
•  Character Development: The structure allows for the gradual development of characters, with each act providing opportunities for growth and change.
• Emotional Engagement: The three-act structure helps to build emotional engagement with the audience by creating tension, conflict, and resolution.

Reflecting the Three-Act Structure:

• Setup (Act One): Begin by establishing the normal world and introducing the main character. Show their desires and goals, and then introduce the inciting incident that disrupts their world and sets the story in motion. So here I will introduce the background of the story and the main character.
•  Confrontation (Act Two):This is where the protagonist faces challenges and obstacles that test their abilities and resolve. There may be subplots, allies, and enemies introduced. The midpoint of the story often features a turning point where the stakes are raised. Here i will show the conflict.
• Resolution (Act Three): The story reaches its conclusion, with the protagonist resolving the conflict. This is where the character arcs are completed, and the audience sees the results of the protagonist's journey. Here I will give the solution for the conflict.

I like this structure because by adhering to the three-act structure, storytellers can create a narrative that is engaging, coherent, and satisfying for the audience. It provides a roadmap for organizing plot points and character arcs, ensuring that the story has a clear beginning, middle, and end.

I can use the three-act structure to develop my video as the below picture shows.

Xinyi Liu, plots

Analysis of two samples

’Big Fish Begonia‘

Liangxuan, Big Fish Begonia（2016）

Describe "Big Fish Begonia"

"Big Fish Begonia" is an animated film that immerses viewers in a rich tapestry of Oriental aesthetics, drawing heavily from traditional Chinese elements to create a visually captivating world. The film's scene design is heavily influenced by Fujian tulou architecture, which dates back to the Song and Yuan dynasties and has evolved over time, with structures primarily built from soil, wood, stone, and bamboo. These tulou, often round for optimal ventilation and light, serve as the backdrop for the story, with Qiu's grandmother utilizing a well within the building to access the sea and the heavens. The animation's color palette is bold and incorporates significant Chinese folk elements, with red being a dominant hue that contrasts and complements the traditional yellow and black of the tulou. Greenery and animals add depth and vibrancy, while the strategic use of fluorescent green enhances visual impact, evoking a sense of ancient mystery and tranquility that is fitting for a tale inspired by an enigmatic old legend.

Reflect the"Big Fish Begonia"

From "Big Fish Begonia," I can learn the concept of integrating cultural heritage and architectural elements into storytelling to create a unique and immersive cinematic experience. This approach not only pays homage to a rich historical background but also provides a visually distinctive setting that can captivate audiences. By using color and design to evoke specific emotions and to reflect the narrative's themes, filmmakers can craft a world that is both aesthetically pleasing and narratively compelling. This concept can be applied to other films by incorporating the cultural and architectural nuances of their respective settings, thereby enriching the story and providing a deeper connection to the audience. It emphasizes the importance of visual storytelling and the power of cultural elements in creating a memorable and impactful film.

Describe the guest lecture

Luciano invited professors from Xiamen University to give lectures with their students' documentary works.

The documentary I remember most is about a woman who lost her husband, children and legs after a car accident. After the accident, she actually had a chance to save her legs, but at that time, for the sake of the baby in her stomach, she chose to give up her legs and still give birth to the baby. After that, her new baby became her hope, while she also raised two stray dogs for company. During this period, she did not lose the courage to live, but cherished the existing things to live well.

What is a Documentary 

Xinyi Liu, photos of the guest lecture

Reflect the guest lecture how to use these elements in my video

During the guest lecture featuring professors and students from Xiamen University, I was deeply moved by a documentary about a woman who faced incredible adversity after a car accident. This woman lost her husband, children, and legs, but her story inspired me in several ways as I consider creating my own video projects.

1. Resilience and Courage: The woman's determination to carry on despite her immense loss demonstrates the power of resilience and courage. This theme can be a central focus in my own video, showing that even in the face of adversity, people can find the strength to move forward.

2. Sacrifice and Love: Her decision to give up her legs to save her unborn child is a powerful example of selflessness and love. This can inspire me to explore themes of sacrifice and the lengths people will go to protect and care for those they love.

3. Finding Hope: The woman found hope in her new baby and the stray dogs she adopted. This can inspire me to create a narrative that highlights the importance of finding hope and positivity in even the darkest times.

4. Living Life to the Fullest: Despite her challenges, the woman did not lose her courage to live and cherished the things she had. This can serve as a reminder in my video to appreciate and make the most of the life we have.

5. Empathy and Connection: The documentary humanizes the woman's story, allowing viewers to empathize with her struggles and triumphs. In my own video, I can strive to create characters and narratives that evoke empathy and create a sense of connection between the audience and the story.

6. Overcoming Obstacles: The woman's journey serves as a testament to overcoming obstacles and adapting to new circumstances. This can inspire me to create stories that explore the challenges people face and how they overcome them.

7. Inspirational Stories: The documentary itself is a source of inspiration, showing that real-life stories can be powerful and moving. This can motivate me to seek out and share inspirational stories in my own video projects.

In conclusion, the guest lecture and the documentary about the woman's incredible journey have provided me with valuable insights and inspiration for creating my own video projects. By focusing on themes such as resilience, sacrifice, hope, and living life to the fullest, I can create impactful and meaningful content that resonates with viewers.

Describe genres in film

Movie genres are stylistic categories that organize films based on criteria such as the setting, characters, plot, mood, tone, and theme. A film's main genre category will be based on where the majority of the content lands. A sub-genre is a smaller category that fits inside a particular genre. Often this is a mixture of two separate genres, which known as hybrid genres. Genres and subgenres change over time and are informed by one another. 

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Reflect the genre of my film and turning point, then give the script

The script is a drama with a focus on personal growth and cultural appreciation. The central turning point in the story occurs in Act 2, where Wanning's journey of self-discovery leads her to a historical site. Here, she encounters an ancient stele inscribed with elegant characters, which rekindles her interest in calligraphy and deepens her understanding of its cultural significance. This moment is crucial as it marks the transition from her feeling of disillusionment to a newfound passion and determination to embrace her heritage and artistic pursuit. It is the pivotal point that propels her forward on her path of artistic growth and personal development.

Scriptwriting

Fade In:

INT. CALLIGRAPHY STUDIO - DAY

The scene opens to a cozy calligraphy studio filled with traditional wooden furniture and shelves lined with scrolls and brushes. Sunlight filters through paper windows, casting a warm glow across the room. Wanning, a young girl, sits at a desk, diligently copying characters onto parchment.

Act 1:

In one corner of the room, Wanning's father meticulously crafts a magnificent calligraphy piece. The aroma of tea fills the air, accompanied by the soft strains of classical music.

Wanning's Father: "What's troubling you, my child? You seem somewhat upset."

Wanning lowers her head, hesitating before speaking:

Wanning: "Dad, I seem to have lost interest in calligraphy. It feels tedious every time I practice."

Her father stops his brush, turns towards her, and regards her with concern.

Wanning's Father: "You know, calligraphy is not just an art form; it's also a form of cultivation. When you quiet your mind and appreciate each stroke, you'll discover its beauty. Keep at it, and you'll understand."

Moved by her father's words, Wanning feels a warmth in her heart, resolving to persevere.

Act 2: EXT. HISTORICAL SITE - DAY
Wanning's search for inspiration leads her to a historical site, where the whispers of the past echo in the stones and structures around her. She finds herself drawn to an ancient stele, its surface inscribed with elegant characters.

Wanning: pausing before the stele, her curiosity piqued "Such beauty in these marks... I must learn their story."

Later, in the solitude of her room, Wanning immerses herself in the rich history of inscription culture. Her surroundings, now a library of knowledge, become her haven as she uncovers the depth of her heritage.

Wanning: with a sense of wonder "Inscription culture is a bridge to our ancestors, a silent narrative chiseled in stone."

Act 3:

EXT. CANGUANG PAVILION GARDEN - DAY

Wanning strolls through the serene garden of the Canguang Pavilion, the tranquil atmosphere washing over her. Wildflowers bloom among ancient stone sculptures, and a gentle breeze rustles the leaves.

Wanning: *smiling contentedly* "This is where I belong. Amidst the beauty of nature and the artistry of words."

EXT. OPEN ROAD - DAY

With a backpack slung over her shoulder, Wanning sets off on a journey. The road stretches endlessly before her, promising adventure and discovery.

Wanning: *determined gaze ahead* "There's so much more out there to explore. I can't wait to see where this path will take me."

End:

FADE OUT.

The screen fades to black, leaving room for Wanning's future adventures and artistic growth.

Wanning's story is one of rediscovery and rebirth. It is a reminder that even in the face of monotony and disillusionment, the human spirit can find renewed purpose. Through her journey, she not only rekindled her love for calligraphy but also became a bridge between the past and the present, carrying forward the legacy of her ancestors and inspiring a new generation of artists.

Xinyi.Liu, moodboard

Describe and Reflect my moodboard

Green is a color that often evokes a sense of tranquility and harmony. It is the color of nature, symbolizing growth, renewal, and balance. When we think of green, we are reminded of lush forests, vibrant gardens, and the soothing expanse of a meadow. However, one particular setting that encapsulates the essence of green and enhances its emotional impact is a bamboo forest, combined with the ancient art of calligraphy.

A bamboo forest, or "chukkei" in Japanese, is a place of serene beauty and peaceful contemplation. The tall, slender stalks of bamboo reach towards the sky, creating a natural canopy that filters the sunlight into a soft, dappled green. As you walk through this verdant sanctuary, the rustling of the leaves above and the gentle sway of the bamboo stalks offer a soothing soundtrack that calms the mind and nourishes the soul.

The green of the bamboo is not just a visual treat; it is a feeling that permeates the atmosphere, infusing every breath with a sense of renewal and vitality. It is a color that resonates with life and regeneration, a constant reminder of the cycle of growth and the interconnectedness of all living things.

When we bring the art of calligraphy into this scene, we add another layer of depth and cultural significance to the experience. Calligraphy, the art of beautiful writing, has been a revered practice in many cultures, especially in China and Japan. The fluid, rhythmic movements required to create each stroke are akin to a dance, a silent poetry that speaks directly to the heart.

In the context of a bamboo forest, practicing or even just observing calligraphy becomes a meditation in itself. The green surroundings inspire a state of calm and focus, allowing the calligrapher to channel their innermost thoughts and emotions onto the paper with clarity and grace. Each brushstroke is a reflection of the natural world around them, a testament to the harmony between human creativity and the organic beauty of the environment.

The bamboo, with its strength and flexibility, has long been a symbol in calligraphy, representing resilience and adaptability. The green of the bamboo forest mirrors the green ink often used in calligraphy, creating a visual and thematic unity between the art and its setting. The natural green ink, made from plant extracts, not only echoes the color of the bamboo but also embodies the principles of sustainability and eco-friendliness that are often associated with the color green.

In conclusion, the feeling that green brings, when intertwined with the imagery of a bamboo forest and the practice of calligraphy, is one of profound peace, rejuvenation, and a deep connection to the natural world. It is a sensory experience that engages the mind, body, and spirit, fostering a sense of balance and harmony that is essential for our well-being. Whether one is an artist or simply a lover of nature, the combination of green, bamboo, and calligraphy offers a unique pathway to inner tranquility and creative expression.

Describe what is the Research

Research is the careful consideration of study regarding a particular concern or research problem using scientific methods. According to the American sociologist Earl Robert Babbie, “research is a systematic inquiry to describe, explain, predict, and control the observed phenomenon. It involves inductive and deductive methods.”

Inductive methods analyze an observed event, while deductive methods verify the observed event. Inductive approaches are associated with qualitative research, and deductive methods are more commonly associated with quantitative analysis.

Reflect the research in my video

Here is the research of the inspiration source, you can see my plan where I want to take the video and initial Chinese element containing garden, calligraphy and inscription. 

Xinyi. Liu, Visual Essay

In order to fit the main color of green in moodboard, I plan to choose the green natural landscape containing large groups of bamboo among the many gardens in Suzhou. After investigation, I found that the Canglangting Pavilion and the Lingering Garden have such beautiful scenery. Meanwhile, for the part of inscription, I plan to go to the professional inscription Memorial Hall, where there are well-preserved inscription in previous years.

In the history of Suzhou in the traditional society, there are countless famous scholars and literati, who have a very close relationship with Suzhou inscriptions. On the one hand, they are likely to be the creators and collectors of inscriptions themselves, and on the other hand, inscriptions may also carry their history.

Since ancient times, Suzhou has been an important city of learning and culture. From the Tang Dynasty to the Qing Dynasty, Suzhou and its subordinate counties had trained 2,947 scholars, and the respect for Confucian culture was also reflected in the inscriptions. Today, the Confucius series of inscriptions placed in the Dacheng Hall of Confucian Temple in Suzhou total 148 square meters, including not only the statues of Confucius and his disciples, Confucius and Mencius, but also the Confucian classics such as the Analects of Confucius, the Doctrine of the Mean, the University, and the Classic of Filial Piety.

The stone Scripture was carved by Ruan Yuan Shudan, Qian Yong and 曾燠 in the Qing Dynasty. The Stone Scripture was originally intended to be transported to the hometown of Confucius in Shandong by the school superintendent Sanzuo Ruan Wenda at the time of the completion of the stone Scripture. Later Ruan Wenda transferred the stone Scripture to another place, but the Stone Scripture was fortunately preserved in Suzhou. During the Taiping Heavenly Kingdom, Suzhou suffered from the chaos of war, and most of the stone classics were lost, and in the thirteenth year of Tongzhi (1874), it began to become what it is today through subsequent generations.

As mentioned above, inscriptions can be passed down for thousands of years because of their special materials. The ancients carved characters or pictures and seals on inscriptions, which generally had the purpose of announcing the people and passing them on to future generations. Moreover, inscriptions did not specify that only certain classes could use them, so all social classes could use inscriptions to convey information. This also provides us with an excellent window to observe the complex social phenomena in ancient times. In the Ming and Qing Dynasties, Suzhou was the place where the southeast wealth gathered, and the industry and commerce were developed. Qiu Junyun of the Ming Dynasty said, "The South of the Yangtze River is the source of wealth, and since the Tang and Song dynasties, the state has admired it." The commercial tide inevitably affected the generation of stone inscriptions.

There are a large number of inscriptions left in Suzhou. According to incomplete statistics, there are more than three thousand inscriptions. These inscriptions are of various types and rich in content. If divided according to the content, Suzhou inscriptions can be roughly divided into natural science knowledge and social and cultural knowledge, the latter not only includes the words left by the dignitaries or scholars, but also includes those historical microvoices, that is, the deeds of the people at the bottom. In this way, the Suzhou inscriptions that have been brushed off the historical dust can not only let future generations appreciate the high attainments of ancient science and technology and art, but also listen to the whispers of the people of Suzhou through time and space.

"Heaven, earth, man, City"
Suzhou inscriptions began in the Wei and Jin dynasties, especially in the Ming and Qing dynasties, but if it is famous, it belongs to the four major Song tablets collected in the Suzhou Inscriptions Museum, namely "Astronomical map", "Geographical map", "Emperor Shaun Map" and "Pingjiang Map", referred to as "heaven, earth, man and city" four major Song tablets. The four Great Song Dynasty tablets have distinctive features, respectively recording natural science knowledge in the form of charts, and respectively representing the peaks of ancient Chinese understanding of natural science, giving people a deep impression.

References

Wenxin Wang (2024) ‘Beyond Boundaries: Painting Re-inscriptions in the Fifteenth to Seventeenth Century China’, Arte, Individuo y Sociedad, Avance en línea. doi:10.5209/aris.92068.

Zhao, W. (2019) China’s education, curriculum knowledge and cultural inscriptions : dancing with the wind. Routledge (Routledge cultural studies in knowledge, curriculum, and education: 5). Available at: https://search.ebscohost.com/login.aspx?direct=true&db=cat01010a&AN=xjtlu.0001345207&site=eds-live&scope=site (Accessed: 25 May 2024).

Zhang, C., Zhang, W. and Cheng, W. (2023) ‘Does World Heritage inscription promote regional tourism? Evidence from China’, Tourism Economics, 29(4), pp. 929-951–951. doi:10.1177/13548166221075453.

Use pictures to describe the storyboard, shot design and animation part

Xinyi Liu, cartoon character

Reflect the animation part

This is the sample of  two characters who are represent for the different thoughts and mental states, like the positive side and negative side or " angle and devil". The animation part maybe is like the animation character winks because the important part is the conversation. For why I choose this color and style, because the main character is young, so her image of mental status is quite cute or "naive" such as the below classical example.

https://image.baidu.com/search/detai

Chibi or "Q版" (cute version) anime characters are a popular choice for several reasons:

Aesthetic Appeal: Q version characters are typically characterized by their exaggerated, large heads, small bodies, and simplified features. This design is inherently cute and appealing, which can attract a wide audience, especially younger viewers or those who enjoy a more whimsical art style.

Expressiveness: The exaggerated features of Q version characters allow for greater expressiveness. Their large eyes and simplified facial features can convey a range of emotions more clearly, making it easier to communicate the character's feelings and reactions.

Accessibility: The simplified design of Q version characters makes them easier to draw and animate, especially for amateur artists or those who are new to the medium. This accessibility can encourage more people to engage with anime and manga creation.

Narrative Device: They can be used as a narrative device to signal a shift in tone or to highlight the contrast between the character's normal appearance and their Q version, often used for comedic effect or to highlight a character's inner mind.

In summary, Q version characters are a versatile and beloved aspect of anime and manga culture, offering a unique blend of visual charm, emotional expressiveness, and cultural resonance.

Xinyi Liu, animation character design

Evaluate the initial idea of animation part

In the original animation character design, you can find that I initially referred to the feelings of angels and demons. In the process of post-production, I found that the Q version of the character lacked Chinese elements and was somewhat divorced from the theme of Chinese culture, so the animation would deviate from the style of the video. In addition, you can find that in the initial design of the animation part, I prefer to combine the Q version of the animation characters into the actual scene, but in the later investigation, I found that if your Q version of the characters are dynamic, your real background needs to be relatively static, which is inconsistent with other video parts. In the later exploration of different production methods of animation, it was found that compared with integrating animation characters into live-action videos, all animations were more harmonious and harmonious.

Xinyi Liu，some elements get from "Little Red Book"

Describe the main character design

Character Design Inspired by Chinese Elements:

1. Traditional Clothing: Incorporate elements of traditional Chinese clothing, such as the qipao (cheongsam), hanfu, or tangzhuang. These garments can be modified or combined with modern styles to create a unique and contemporary look.

2. Hairstyles: Design hairstyles that reflect Chinese culture, such as traditional braids, buns, or updos. You can also incorporate hair accessories like jade hairpins, silk ribbons, or intricate gold hairpieces.

3. Makeup: Create makeup looks that reflect Chinese beauty standards and aesthetics. This may include subtle, natural makeup with a focus on porcelain skin, delicate eyebrows, and soft lips. Alternatively, you can experiment with more dramatic makeup inspired by Chinese opera or ancient court ladies.

4. Accessories: Add accessories that are symbolic of Chinese culture, such as jade pendants, silk sashes, or embroidered slippers. You can also incorporate traditional Chinese motifs, like dragons, phoenixes, or lotus flowers, into the design of these accessories.

5. Posture: Design the character's posture to reflect Chinese customs and manners. This may include a graceful, poised stance, or a more reserved, modest posture that reflects traditional Chinese etiquette.

6. Movement: Choreograph the character's movements to incorporate elements of Chinese dance or martial arts. This can add a dynamic and visually interesting aspect to the character's physicality.

7. Color Palette: Use a color palette inspired by traditional Chinese colors, such as jade green, imperial yellow, or rich reds and golds. These colors can be incorporated into the character's clothing, makeup, or accessories.

8. Facial Features: Design the character's facial features to reflect traditional Chinese beauty standards, such as delicate features, high cheekbones, and almond-shaped eyes.

9. Cultural Props: Include props that are symbolic of Chinese culture, such as a traditional Chinese fan, a calligraphy brush, or a guzheng (a Chinese musical instrument).

10. Background: Consider the character's background and how it relates to Chinese culture. This can influence their personality, behavior, and interactions with others.

By incorporating these elements into your character design, you can create a unique and visually appealing character that reflects the rich history and culture of China.

This is the initial practice and preparation for the live animation, and the PSD format is convenient to produce live 2D AE animation .

Xinyi.Liu, lanscape painting

Reflect the animation part of landscape and Q version character 

This is the landscape painting. The animation part is that the ship is moving and the bird is flying.The significance of landscape painting in Chinese culture is profound, representing the beauty of nature and reflecting the Chinese people's understanding and pursuit of nature, life, and art. It is regarded as one of the highest forms of art, embodying the artist's perception and expression of nature and life. To apply this element to an animated video, we can draw inspiration from traditional landscape painting, use traditional painting techniques, integrate other Chinese cultural elements, and express emotions and ideas through landscape painting. This can enrich the artistic expression of the animation and promote the inheritance and development of Chinese culture.

The inspiration for landscape-style animation often comes from traditional Chinese landscape paintings, known as "Shan Shui Hua." These paintings typically feature mountains, rivers, and other natural elements, with a focus on capturing the essence of nature rather than a realistic depiction. Here are some examples of landscape works and related animations that draw inspiration from this artistic tradition:

"The Peach Blossom Spring" by Qi Baishi - This modern painting depicts a utopian landscape that could be adapted into a whimsical or fantastical animated world.

In terms of animations, there is one film that are inspired by or incorporate elements of Shan Shui Hua:"The Legend of the White Snake" (2019) - This Chinese animated film features a blend of traditional Chinese art styles, including landscape elements.

These examples showcase how the serene and expressive style of Shan Shui Hua can be translated into the dynamic medium of animation, creating a unique visual experience that resonates with the spirit of traditional Chinese art. The Peach Blossom Spring by Qi Baishi and The Legend of the White Snake both contain elements of landscape painting. By studying these works, we can learn how to incorporate this element into our own video creations. For example, we can observe the composition, brushstrokes, and color usage in Qi Baishi's paintings to create a similar style in our videos. Additionally, we can analyze the scenes in The Legend of the White Snake to understand how to use landscape elements to enhance the atmosphere and tell a story. By extracting specific elements such as mountains, water, clouds, and trees, we can create a virtual landscape background or incorporate real scenery into our videos. We can also use music, sound effects, and color grading to create a similar mood and convey a specific emotion. Finally, we can add our own creativity and personalization to make the video unique.

https://www.baidu.com/

Assets

Xinyi Liu, character design

Animation character design is an art form that blends visual aesthetics with storytelling, and when infused with cultural elements, it can create a rich and immersive experience for the audience. In the context of incorporating Chinese elements into character design, we delve into a world of tradition, history, and cultural significance. Here's an explanation and extension of such design choices, focusing on elements like qipao (旗袍), mahuabian (麻花辫), and huadian (花钿).

Qipao (旗袍):
The qipao, also known as the cheongsam, is a body-hugging traditional Chinese dress for women. Originating from the Manchu people in the Qing Dynasty, it evolved into a symbol of elegance and femininity in the 20th century. When designing a character wearing a qipao, it's essential to consider the cut, collar, and the intricate patterns that often reflect Chinese motifs such as dragons, phoenixes, and flowers. The qipao can be a powerful choice for characters that embody grace and cultural heritage.

Mahuabian (麻花辫):
Mahuabian, or braided hair, is a hairstyle that has been popular in China for centuries. It consists of long, twisted braids that can be styled in various ways, often symbolizing youth and vitality. In character design, incorporating mahuabian can add a traditional and playful touch. It can also denote the character's background or social status, as hairstyles have historically been indicative of one's marital status or social standing in Chinese culture.

Huadian (花钿):
Huadian, or facial decorations, are intricate designs that women in ancient China would apply to their faces using makeup or stickers. Often placed on the forehead or around the eyes, these decorations could represent social status, personal style, or even specific festivals. In character design, huadian can be used to add a touch of mystique and elegance. It allows for creative expressions of personality and can be tailored to fit the character's story and background.

Cultural Significance and Extension:
Incorporating these elements into character design is more than just dressing a character in traditional attire or hairstyles; it's about telling a story that resonates with a rich cultural heritage. Each element carries its history and symbolism, which can be woven into the narrative to enhance the depth and relatability of the character.

In conclusion, the integration of traditional Chinese elements like the qipao, mahuabian, and huadian in character design offers a unique opportunity to create visually stunning and culturally rich characters. It allows for a deeper connection with the audience and opens up a dialogue about cultural identity and heritage in the context of animation and storytelling.

It has been mentioned in the previous reflection that the Q cartoon characters of the first edition did not contain Chinese elements, so the above description of the cartoon characters of the second edition contains too many Chinese elements. In the beginning of animation production, I planned to start with the simplest characters walking. I chose the software animated drawing for animation production, because compared with drawing frame by frame, I felt that it was easier and faster to make the animation run by itself after binding bones. The difficulty was that the limbs needed to be bound precisely or the animation would be badly affected. If I want to improve it, I will choose to refine the binding and movement design of the limbs

As an aspiring student, I am committed to exploring and experimenting with various methods and techniques in the realm of animation. My determination to try different approaches is driven by a desire to push the boundaries of creativity and find the perfect style that resonates with my artistic vision.

1. Traditional Hand-Drawn Animation: I have always admired the classic charm of hand-drawn animation. By sketching each frame and breathing life into characters with a personal touch, I can create a unique and timeless animation style.

2. Animated Drawing: This technique involves creating the illusion of movement by drawing keyframes and in-between frames. By mastering the principles of animation, I can bring characters to life with fluid and dynamic movements.

3. Adobe After Effects (AE): As a powerful tool for motion graphics and visual effects, AE allows me to experiment with various animation techniques, such as 2D and 3D animation, compositing, and more. This software opens up endless possibilities for creative exploration.

4. PowerPoint (PPT): Surprisingly, PPT can be an accessible and efficient platform for simple animations. By utilizing its built-in features, I can create engaging and dynamic animations with ease, even on a limited budget.

5. Q版 (Super-Deformed or Chibi) Characters: I have experimented with Q版 characters to create a cute and endearing style that appeals to a wide audience. These exaggerated, adorable characters can add a playful and lighthearted touch to my animations.

6. Realistic and Semi-Realistic Styles: I have also ventured into more realistic and semi-realistic styles, focusing on detailed character designs, intricate backgrounds, and lifelike movements. This approach allows me to tell more complex and emotionally engaging stories.

7. Watercolor and Traditional Art Styles: Inspired by the beauty of traditional Chinese landscape paintings, I have explored incorporating watercolor techniques and ink wash effects into my animations. This adds a unique, artistic flair and pays homage to cultural heritage.

8. 3D Animation: Embracing the world of 3D animation, I have explored various software and techniques to create realistic and immersive animated worlds. This has allowed me to push the limits of creativity and bring my visions to life in a three-dimensional space.

9. Mixed Media and Experimental Techniques: I am not afraid to combine different animation styles, techniques, and media to create a truly unique and innovative animated experience.

In conclusion, my commitment to exploring diverse animation methods and styles demonstrates my passion for innovation and creativity. By constantly challenging myself and learning from each new technique, I strive to grow as an animator and create captivating, memorable animations

Adobe After Effects is a powerful digital visual effects, motion graphics, and compositing application developed by Adobe Systems. It is widely used by video editors, motion graphics artists, and filmmakers to create compelling visual content. Here's an overview of learning Adobe After Effects:

• Interface Familiarization:Start by understanding the interface, including the project panel, composition panel, timeline, and various tools
• Basic Tools and Functions: Learn the basic tools like the pen tool, text tool, and shape layers. Understand functions such as key framing, which is essential for creating animations.
• Keyframes and Animation:Master the concept of keyframes to control the properties of layers over time, creating smooth animations.
• Effects and Presets:Explore the vast array of effects and presets that AE offers to enhance your visuals and add creative elements.
• Compositing: Learn how to combine multiple layers and elements to create a single cohesive image or scene.
• Green Screen and Rotoscoping: Understand how to work with green screen footage and use rotoscoping to create precise selections and masks.
• 3D Space and Camera:Learn how to work with 3D layers, lights, and cameras to add depth and realism to your animations.
• Dynamic Graphics and Expressions:Explore the use of dynamic graphics templates and expressions for creating interactive and automated animations.
• Rendering and Exporting:Learn how to render your animations and export them in various formats suitable for different platforms.
• Advanced Techniques: Once comfortable with the basics, delve into more advanced techniques such as particle effects, scripting, and third-party plugins.

Reflection on Learning Adobe After Effects:

• Technical Mastery: Learning AE has been a journey of technical mastery. Each tool and function has its own learning curve, and understanding how they interact is crucial.
• Creativity:AE has broadened my creative horizons. It's not just about learning the software; it's about using it as a medium to express and realize creative ideas.
• Problem-Solving:One of the most valuable skills I've developed is problem-solving. AE often requires thinking outside the box to achieve certain effects or animations.
• Patience:Patience is key in learning AE. Complex projects can take time, and sometimes, the software can be challenging. But with patience, perseverance pays off.
• Community and Resources:The AE community is vast, and learning from others—through forums, tutorials, and shared projects—has been incredibly beneficial.
• Application in Projects:Seeing the application of my learning in real projects has been rewarding. From simple animations to complex motion graphics, each project is a testament to my growth.
• Continuous Learning:AE is a tool that is constantly evolving. New updates, features, and techniques are always emerging, which means learning is a continuous process.
• Professional Growth:My skills in AE have contributed to my professional growth. It has opened up opportunities in the film and video production industry.
• Interdisciplinary Skills: Learning AE has also improved my skills in other areas, such as photography, graphic design, and even 3D modeling.
• Passion for Animation: Most importantly, learning AE has ignited a passion for animation and visual storytelling that continues to drive me to explore and create.

In summary, learning Adobe After Effects has been a comprehensive and enriching experience that has equipped me with technical skills, creative insights, and a passion for visual storytelling. It's a journey that has shaped my professional and artistic path.

What Is Chiaroscuro in Art?

Chiaroscuro is a stylistic art term derived from the Italian word, meaning “light-dark” (chiaro meaning bright and scuro meaning dark). While working with tonal contrast can be traced back to ancient times, the term chiaroscuro emerged during the Italian Renaissance. It is generally used to describe the art of this period and into the Mannerist and Baroque eras, which employed raking directional light and high tonal contrasts to create volume, modelling and atmospheric depth of field. Some of the most prominent artists who explored chiaroscuro include the Renaissance master Leonardo Da Vinci, the renowned Dutch Golden Age painter Rembrandt van Rijn, and the leading Baroque painter Caravaggio. We take a look through just a handful of the paintings that demonstrate just how powerful and emotionally arresting this art technique can be.

The use of chiaroscuro in film also became a staple of Francis Ford Coppola’s work, most prominently in his magnum opus “The Godfather.” Cinematographer Gordon Willis opted for hard light that illuminated characters from above or the side, keeping the film’s guarded, walled-off characters quite literally in the dark. 

The Godfather” Courtesy Paramount Pictures

Chiaroscuro lighting is not reserved for prestigious films or specific genres. For example, Catherine Hardwicke utilized the technique in the piano scene from “Twilight.” A harsh backlight coming through the windows drenches the scene in a heightened mood most often associated with film noirs. It looks as dramatic as teenage love feels. 

“Twilight” Courtesy Summit Entertainment

Here's how you can achieve chiaroscuro lighting in Adobe After Effects:

• Create a Solid Layer:
  Begin by creating a new solid layer (Layer > New > Solid) to serve as your light source. Choose a bright color or white for this layer.
• Apply a Gradient Ramp Effect:
  With the solid layer selected, go to the Effects & Presets panel and search for "Gradient Ramp." Apply this effect to your solid layer. This will allow you to create a gradient from light to dark.
• Adjust the Gradient Ramp:
  In the Effect Controls panel, adjust the colors in the Gradient Ramp effect to create a smooth transition from light to dark. You can add more colors or adjust the position of the color stops to fine-tune the gradient.
• Create a Mask:
  Draw a mask on the solid layer to shape your light source. You can use the Pen tool to create custom shapes or use one of the preset shapes. This will help you control the direction and focus of your light.
• Animate the Light:
  Use keyframes to animate the position, size, or intensity of your light source. This can create dynamic lighting effects as your scene progresses.
• Apply a Gaussian Blur:
  To soften the edges of your light and create a more realistic effect, apply a Gaussian Blur effect to your light layer. Adjust the blur radius to control the intensity of the blur.
• Use Adjustment Layers:
  Place an adjustment layer on top of your scene (Layer > New > Adjustment Layer) and apply the same Gradient Ramp effect to it. This allows you to control the lighting effect across multiple layers in your composition.
• Integrate with 3D Layers:
  If you're working with 3D layers, you can integrate your chiaroscuro lighting effect with the scene's lighting. Use the 3D camera and lights to enhance the depth and realism of the lighting.
• Experiment with Blend Modes:
  Adjust the blend mode of your light layer to see how it interacts with the underlying layers. Blend modes like Overlay, Soft Light, and Hard Light can create interesting interactions between the light and the scene.
• Fine-Tune with Effects:
  Use other effects like Opacity, Levels, or Curves to fine-tune the intensity and contrast of your lighting.
• Add Additional Layers for Highlights and Shadows:
  For more control, create additional layers for highlights and shadows. Use blending modes and opacity adjustments to integrate these layers seamlessly with your scene.

By following these steps, you can create a chiaroscuro lighting effect in Adobe After Effects that adds depth and drama to your animations and motion graphics. Experiment with different settings and techniques to achieve the desired look for your projec

Reflecting on the Process of Creating a Landscape Painting Animation with Adobe After Effects (AE)

Creating a landscape painting animation using Adobe After Effects (AE) has been an enlightening and challenging journey. This reflection will cover the conceptualization of the project, the learning process of using AE, the difficulties encountered along the way, and the learning and experimentation through specific tutorials from Bilibili (B站) bloggers on creating 3D camera ink animations and ink-shooting animations.

Concept Generation

The initial idea for the landscape painting animation was inspired by traditional Chinese ink paintings, which are known for their fluidity and the profound sense of space they convey. I wanted to bring these static masterpieces to life, allowing viewers to experience the serene beauty of nature in a dynamic format.

Learning Adobe After Effects

As a novice in AE, the learning curve was steep. I began by familiarizing myself with the interface and basic tools. I spent hours watching tutorials, reading articles, and practicing simple animations to understand the software's capabilities and limitations.

Challenges Faced

One of the first challenges was understanding layer management. AE's depth and complexity in handling layers were initially overwhelming. It took time and patience to learn how to organize layers effectively for complex animations.

Another challenge was mastering the animation of brush strokes. Capturing the essence of ink painting required a delicate balance of speed, fluidity, and variation in stroke width. This was a trial-and-error process that demanded precision and a keen eye for detail.

Experimentation and Learning from Specific Bilibili Bloggers' Tutorials

To overcome these challenges, I turned to Bilibili, where I found specific tutorials that were particularly helpful. One was titled "3D Camera Ink Animation Tutorial, which provided invaluable insights into creating depth and perspective with a 3D camera in AE. This tutorial helped me to understand how to manipulate the camera to give the illusion of movement through a landscape painting.

Another tutorial that was instrumental was How to Make an Ink-Shooting Animation with AE. This tutorial taught me advanced techniques for creating dynamic ink effects that appear to shoot across the screen, adding a sense of energy and motion to the animation.

Additional Reflections

Throughout the project, I also learned the importance of planning and storyboarding. Before diving into AE, I sketched out the sequence of the animation and planned each scene's transitions. This pre-planning saved me considerable time and reduced the likelihood of making major changes during the animation process.

Lastly, I realized that patience is a virtue in animation. The process can be time-consuming and requires meticulous attention to detail. However, the satisfaction of seeing a static painting come to life through animation is incredibly rewarding.

In conclusion, the journey of creating a landscape painting animation with AE was filled with challenges and learning opportunities. It taught me not only technical skills but also the importance of planning, patience, and seeking feedback. This project has been a significant stepping stone in my growth as an animator and a creative professional.

Xinyi Liu, AE landscape painting

Reflecting on the animation project where I used Adobe After Effects to bring a landscape painting to life, while pairing it with a background music track that is a recital of an ancient poem praising the mountains, I am filled with a sense of accomplishment and a deeper understanding of the art of animation and storytelling.

1. **Integration of Art and Poetry:** The project was a unique challenge to integrate visual art with the depth of poetic language. The ancient poem, with its rich descriptions and admiration for the mountains, provided a profound narrative that I aimed to mirror in the animation.

2. **Use of Adobe After Effects (AE):** Utilizing AE for this project was a transformative experience. The software's capabilities allowed me to manipulate the static landscape painting, adding motion and depth that were not initially present. This gave the impression of a living, breathing scene that evolved over time.

3. **Camera Movements in AE:** One of the key techniques I employed was the use of camera movements within AE. By animating the camera to pan, zoom, and move through the landscape, I was able to guide the viewer's eye through the painting, highlighting different elements and creating a dynamic viewing experience.

4. **Harmony Between Image and Sound:** The synchronization of the animated landscape with the recited poem was crucial. Each movement, transition, and visual effect was timed to align with the rhythm, tone, and meaning of the poetry. This required meticulous planning and multiple iterations to ensure a seamless integration.

5. **Cultural Representation:** The project allowed me to delve into and represent my cultural heritage. The landscape painting and the ancient poem are both deeply rooted in traditional Chinese art and literature. By combining them in a modern medium like animation, I aimed to create a bridge between the past and the present.

6. **Technical Learning Curve:** The technical aspects of using AE for this project were challenging. I had to learn how to manipulate layers, work with masks, and use various effects to create the desired motion. This process significantly enhanced my technical skills and understanding of motion graphics.

7. **Artistic Expression:** Beyond the technical skills, this project was a profound artistic expression. It allowed me to explore the relationship between visual art and language, and how they can be combined to convey deeper meanings and emotions.

8. **Challenge of Timing and Pacing:** One of the most challenging aspects was getting the timing and pacing right. The animation had to flow naturally with the poem, and each transition had to feel organic and purposeful.

9. **Evoking Emotion:** A key goal of the project was to evoke emotion. The combination of the animated landscape and the recited poem was intended to create a sense of awe and admiration for the mountains, mirroring the feelings expressed in the poem.

10. **Reflection on Creativity:** This project reinforced my belief in the power of creativity. It showed me that by pushing boundaries and experimenting with different mediums, I can create works that are not only visually appealing but also emotionally resonant.

In conclusion, this animation project was a journey of exploration and learning. It allowed me to grow as an artist and an animator, and it deepened my appreciation for the interplay between art, poetry, and motion. The final piece, a harmonious blend of visual art and poetic language, is a testament to the power of creativity and the limitless possibilities of animation.

The benefits of using ancient poetry to develop landscape painting animations can be summarized as follows:

1. **Enhancing the artistic conception**: Ancient poetry often expresses the poet's perception and understanding of nature, life, and emotions. By incorporating ancient poetry into landscape painting animations, it can enhance the artistic conception and cultural connotation of the animations, making them more touching and thought-provoking.
2. **Adding cultural heritage**: Ancient poetry is an important part of Chinese culture, representing the wisdom and creativity of the Chinese people. By using ancient poetry to develop landscape painting animations, it can not only promote the inheritance and development of Chinese culture, but also enhance the cultural identity and national pride of the audience.
3. **Enriching the narrative content**: Ancient poetry often tells a story or expresses an emotion through vivid images and profound meanings. By incorporating ancient poetry into landscape painting animations, it can enrich the narrative content and emotional expression of the animations, making them more vivid and interesting.
4. **Inspiring creativity and imagination**: Ancient poetry is full of creativity and imagination, which can inspire the creativity and imagination of animators. By using ancient poetry to develop landscape painting animations, it can bring new ideas and inspiration to the creation of animations, making them more unique and innovative.

In summary, using ancient poetry to develop landscape painting animations can not only enhance the artistic conception and cultural connotation of the animations, but also promote the inheritance and development of Chinese culture, enrich the narrative content and emotional expression of the animations, and inspire the creativity and imagination of animators.

Reflection on Using AE to Create Animations

After using After Effects (AE) to create animations, I have gained some valuable insights and experiences. Here are some reflections on how to improve this technology and what I have learned from the production process, as well as how to apply this technology in the future.

First, in terms of improving the technology, I believe that there is still room for growth in my skills and knowledge. I need to continue learning and exploring the various features and functions of AE to create more complex and high-quality animations. Additionally, I need to pay more attention to the details and nuances of the animations to ensure that they are smooth, fluid, and visually appealing.

Second, from the production process, I have learned the importance of planning and organization. Before starting an animation project, it is essential to have a clear idea of the story, characters, and overall design. This will help me to create a more coherent and engaging animation. I also need to be patient and persistent, as the animation process can be time-consuming and require multiple iterations to achieve the desired results.

Finally, in terms of future applications, I see great potential in using AE to create animations for various purposes. For example, I can use it to create educational animations, marketing videos, or even short films. I will also continue to explore new ways to combine AE with other technologies, such as virtual reality or augmented reality, to create more immersive and interactive experiences.

In conclusion, using AE to create animations has been a rewarding and challenging experience. I will continue to learn and improve my skills to create more compelling animations in the future.

Reflection on the Two Animations

The first animation, which features a 3D stereoscopic effect when the character clicks on the electronic screen, has several benefits. Firstly, it enhances the interactivity of the animation, making it more engaging for the audience. Secondly, the 3D effect provides a better viewing experience, adding depth and realism to the animation.

The second animation, which showcases a white crane, is significant in Chinese culture. The white crane represents longevity, peace, and good fortune in Chinese mythology. By incorporating this element into the animation, it adds a cultural depth and significance to the story.

Inserting animations into live-action videos can bring several benefits, such as enhancing visual appeal, conveying complex information, adding emphasis and highlighting, creating a seamless transition, and telling a story. Overall, the combination of animations and live-action videos can create a more immersive and engaging viewing experience for the audience.

Overall, both animations have their strengths. However, there are also areas for improvement. For the 3D stereoscopic effect, I could explore more ways to interact with the audience, such as allowing them to control the movement of the 3D objects. For the white crane animation, I could add more details and movements to make the crane appear more lifelike.

In the future, I will continue to explore different techniques and elements to enhance the quality and impact of our animations. I will also seek feedback from the audience to ensure that our animations meet their expectations and provide a valuable viewing experience.

Xinyi Liu，animation part

I edited the first version of the video from the footage you can see my above video. I have a preliminary adjustment plan based on Professor Myria's suggestion. The first is that the opening character should come in from outside the scene rather than appearing suddenly. Then there are some transition filters to make the flow between the videos more natural. For the sound, the initial plan is to use simple natural sounds rather than a passionate score, because this can make the audience more focused on the work itself and the beauty of the video image.

Xinyi Liu, photos of shooting process

The feedback from my meeting with myria is as follows
1. The plot is still too monotonous, a bit like a travel promo, without a compelling feeling
2. You can try and experiment more, such as removing the background sound and leaving only some environmental sounds like footsteps and so on
3. Fancy transition filters removed, fancy fonts removed

Reflecting on the feedback from my meeting with Myria, it's clear that there are areas of my project that need refinement to enhance its impact and storytelling. Here's an analysis of what was done well and what wasn't, followed by a proposed adjustment plan:

**What Was Done Well:**

1. **Visual Content:** The visual content appears to be engaging enough to be compared to a travel promo, indicating that the quality of the footage and the aesthetic appeal are likely strong points.

2. ** Environmental Sounds:** The suggestion to focus on environmental sounds like footsteps indicates that subtle audio elements are recognized as potentially enhancing the experience.

**Areas for Improvement:**

1. **Plot Monotony:** The feedback highlights that the plot is too monotonous and lacks a compelling feeling. This suggests that the narrative structure and the emotional journey for the audience need to be reworked.

2. **Lack of Experimentation:** The recommendation to experiment more with the audio suggests that the current approach may be too conventional and could benefit from a more innovative treatment.

3. **Overuse of Effects:** The feedback points out that fancy transition filters and fonts should be removed, indicating that these elements may be detracting from the overall impact and could be perceived as distracting or overly embellished.

**Adjustment Plan:**

1. **Revamp the Narrative:**
- Revisit the plot and identify areas where it can be made more dynamic and engaging.
- Introduce elements of conflict, character development, or unexpected twists to break the monotony and add depth to the story.

2. **Experiment with Audio:**
- Remove the background sound as suggested and explore the use of diegetic sounds like footsteps, which can make the audience feel more immersed in the environment.
- Experiment with silence or near-silence in certain parts to create contrast and emphasis.

3. **Simplify the Visuals:**
- Remove or simplify the transition filters and opt for more subtle, less obtrusive transitions that allow the content to speak for itself.
- Reevaluate the use of fonts and opt for minimalistic, easy-to-read typography that complements the visuals without drawing undue attention.

4. **Emphasize Emotional Connection:**
- Work on creating a more compelling emotional arc that resonates with the audience.
- Use music and sound design strategically to evoke emotions and enhance the storytelling.

5. **Seek Further Feedback:**
- Share the revised version with a small, diverse group to gather additional perspectives and insights.
- Be open to further iterations based on the feedback received.

6. **Focus on the Core Message:**
- Ensure that the core message or theme of the project is clear and central to the narrative.
- Every element, from visuals to sound, should serve to reinforce this message.

By addressing these points and implementing the adjustment plan, I aim to transform the project into a more engaging and emotionally resonant piece that effectively communicates its intended message without relying on gimmicks or excessive embellishments. The goal is to create a refined and impactful experience for the audience that stands out for its storytelling and emotional depth.

Inspired by Arthur Lipsett's innovative approach to filmmaking in his first avant-garde film, I decided to embark on a project that would similarly challenge conventional storytelling and explore the depths of human emotion. Lipsett's work, with its juxtaposition of familiar images and disjointed audio fragments, resonated with me as a powerful way to evoke the underlying anxieties and forgotten aspects of everyday life. Here's how I planned to take inspiration from his work:

• Black and White Aesthetic:
  Lipsett's film uses a black and white palette to strip away the distractions of color and focus on the raw essence of the images. I decided to adopt a similar approach to create a stark contrast that would highlight the emotional core of my project. Black and white also adds a timeless quality, allowing the viewer to focus on the content rather than the context.
• Sound as a Central Element:
  The use of sound in Lipsett's film is not just an accompaniment but a driving force that propels the narrative. I wanted to give music a central role in my project, using it to set the tone, pace, and emotional landscape. The choice of music would be crucial in guiding the viewer through the emotional journey of the film.
• Syncing video with Music:
  To create a cohesive experience, I planned to synchronize the editing of the black and white footage with the rhythm and mood of the music. This would involve carefully selecting clips that visually represent the beats, crescendos, and dynamics of the music, ensuring that each image change or transition aligns with the music's progression.
• Exploring Anxiety and Human Experience:
  Just as Lipsett's film peels back the layers of societal facades to reveal the anxieties beneath, I aimed to explore the emotional undercurrents in my project. By intertwining the black and white visuals with the music, I hoped to evoke a sense of unease, contemplation, and introspection in the viewer.
• Iterative Process:
  Given the experimental nature of the project, I anticipated an iterative process of trial and error. Testing different combinations of images, music, and sound would be essential to finding the right balance and achieving the desired emotional impact.
• Critical Acclaim and Educational Value:
  Lipsett's film has been recognized for its artistic merit and is often featured in festivals and film schools. This suggested that my project, with its avant-garde approach, could also find an audience among critics and educators, offering a unique perspective on filmmaking and storytelling.
• Innovative Storytelling:
  Lipsett's work is a testament to the power of innovative storytelling techniques. By using black and white imagery and music as the primary storytelling tools, I aimed to challenge traditional narrative structures and engage the audience in a more visceral and emotional experience.

In conclusion, Arthur Lipsett's first film served as a powerful inspiration for my project, guiding me to explore the use of black and white imagery and music as central elements in conveying the complexities of human emotion. By carefully syncing the visuals with the music and focusing on the emotional undercurrents, I hoped to create a thought-provoking and impactful film that resonates with viewers on a deeper level.

Reflecting on the feedback provided by Professor Myria regarding the third version of my project, it is clear that there are specific areas that require attention to improve the overall coherence and impact of the work. Here's an analysis of the strengths and weaknesses identified, along with a proposed plan for adjustments:

Strengths:

• Innovative Approach: The project's attempt to incorporate experimental film techniques at the beginning is a positive step towards creating a unique and engaging introduction.
• Use of Traditional Instruments: The inclusion of the suona (a Chinese double-reed horn) at the start is a creative decision that adds cultural depth and could serve as a unifying musical theme.

Weaknesses:

• Lack of Coherence:The disconnection between the experimental film opening and the garden scenes indicates a need for a smoother transition and a stronger narrative thread to tie these elements together.
• Insufficient Storytelling:The feedback suggests that the story lacks depth and engagement, which could be addressed by enhancing the narrative structure and ensuring that it resonates with the audience.
• Color and Sound Limitations:The project may not be fully utilizing the potential of color and sound to create a more immersive and dynamic experience.

Adjustment Plan:

• Enhance Narrative Cohesion:
  - Develop a clearer narrative that connects the experimental film opening with the garden scenes, possibly through thematic or visual motifs.
  - Ensure that the story has a beginning, middle, and end that are well-defined and logically connected.
• Introduce Story Elements:
  - Add characters, dialogue, or a plotline that provides context and motivation for the scenes, making the project more engaging and relatable.
• Leverage Color and Sound:
  - Experiment with color grading to create a distinct and consistent visual style throughout the project.
  - Use sound design creatively to set the mood, enhance scenes, and provide continuity, such as repeating the suona theme at the end to bookend the project.
• Utilize Black Frames:
  - Incorporate black frames strategically to create pauses or transitions, adding a dramatic effect and giving the audience moments to reflect.
• Make the Middle Section Engaging:
  - Introduce new elements, such as unexpected twists, interactive scenes, or additional narrative layers, to make the middle part of the project more interesting and dynamic.
• Revisit the Opening and Closing:
  - Rethink the opening to ensure it sets the tone and introduces the main themes effectively.
  - Refine the closing to provide a satisfying conclusion that echoes the opening and reinforces the overall message.

By implementing these adjustments, the goal is to create a more cohesive, engaging, and emotionally impactful project that effectively utilizes color, sound, and narrative to tell a compelling story. The revisions should address the issues of coherence and engagement, resulting in a piece that is both visually and emotionally satisfying.

Reflecting on the feedback provided, it's time to take a critical look at the project and make necessary adjustments to enhance its overall quality and impact. Here's a reflective analysis based on the points raised:

What Was Done Well:

• Inclusion of a Poem:The use of a poem in the project is a strong element, indicating that the integration of literature and visual elements is a positive aspect.
• Experimentation with Effects:The initial attempt to use various effects shows a willingness to be creative and push boundaries, which is commendable in artistic endeavors.

Areas for Improvement:

• Overuse of Effects： The feedback suggests that the effects, particularly the flickering like an old TV signal, are too much and detract from the viewing experience.
• Complexity in Letter Effects: The splitting of letters into four at the beginning is seen as overly complex, which can be overwhelming for the audience and diminish the impact of other effects.
• Abrupt Ending: The ending of the project feels abrupt, and the audience is not given the opportunity to fully engage with the poem, which is a missed opportunity to provide a satisfying conclusion.

Adjustment Plan:

• Simplify Effects:
  - Remove the flickering effect to create a smoother viewing experience and to allow the content to be the focus rather than the technical effects.
  - Simplify the letter effects at the beginning to make them less distracting and to build up to the more powerful effects later in the project.
• Enhance the Impact of Effects:
  - By reducing the number of effects and making them less intense, each effect used will have a greater impact when it does appear.
• Smooth Transitions:
  - Work on creating smoother transitions between different sections of the project to avoid a disjointed feeling.
• Allow for Complete Engagement with the Poem:
  - Extend the ending of the project to allow the audience to hear the poem in its entirety, ensuring that this core element of the project is fully experienced.
• Adjust Audio Levels and Timing:
  - Keep the volume of the poem's voice consistent until the end to maintain the emotional connection and then introduce the heartbeat sound effect.
  - Start the heartbeat sound effect a bit earlier to create a seamless transition and a stronger emotional connection.
• Reevaluate Animation Elements:
  - Ensure that the animation does not flicker during the recitation of the poem, allowing the visuals to complement the audio without distraction.

By addressing these points and following the proposed adjustment plan, the project should become more engaging, emotionally resonant, and technically polished. The goal is to create a piece that effectively balances creative effects with a clear narrative and emotional impact, resulting in a more powerful and cohesive final product.

Reflecting on the feedback provided, it's essential to address the specific points raised to improve the overall quality and effectiveness of the project. Here's a reflective analysis of the areas that were identified as needing improvement, along with a proposed plan for adjustments:

Areas for Improvement:

• Heartbeat Sound Effects:
  - The feedback indicates that the heartbeat sound at the beginning and end is too abrupt and has a strong rhythmic presence, which may be distracting.
• English Subtitles:
  - The subtitles need a unified style and should be distinct from the background to ensure readability.
• Background Voices and Video Length:
  - The middle section with questioning sounds could benefit from additional background voices and extended video clips to give this part more depth and time.
• Special Effects and Sound Transitions:
  - The transition effects when clicking on the stone tablet should start softly to avoid being jarring.
• Voiceover Clarity:
  - The voiceover before the crane transition should not be overshadowed by other sounds and should be made more prominent.
• Poetry Recitation Layering:
  - The final poetry recitation could use additional layers for a richer sound, and the latter part should focus on the recitation without other sound effects or music.

Adjustment Plan:

• Adjust Heartbeat Sound Effects:
  - Modify the heartbeat sound to start more gently and fade in and out to create a smoother auditory transition.
• Improve Subtitle Visibility:
  - Standardize the subtitle style to ensure consistency and legibility.
  - Add a subtle shadow beneath the text to separate it from the background without being too distracting.
• Enhance Background Voices and Extend Video Clips:
  - Incorporate more ambient voices to enrich the auditory experience during the questioning section.
  - Extend the corresponding video clips to allow the audience more time to engage with the content.
• Smooth Transition Effects:
  - Adjust the sound effects for transitions to start at a lower volume and gradually increase, ensuring a more natural flow.
• Highlight Voiceover:
  - Ensure that the voiceover before the crane transition is clear and not overshadowed by background sounds or music.
• Add Layers to Poetry Recitation:
  - Introduce additional layers to the poetry recitation for a more nuanced and textured sound.
  - In the latter part of the recitation, remove sound effects and music to focus solely on the voice, allowing the audience to fully appreciate the recitation.
•  Reevaluate Overall Sound Design:
  - Review the entire sound design to ensure a balanced auditory experience that complements the visuals and narrative.

By implementing these adjustments, the project aims to become more immersive, engaging, and emotionally impactful. The goal is to create a harmonious balance between visuals, sound, and narrative that effectively communicates the intended message and captivates the audience's attention.

Reflecting on the provided feedback, it's essential to reassess the project with a focus on enhancing the visual and auditory experience. Below is a reflective analysis addressing the points raised and proposing an adjustment plan:

What Was Done Well:

• Inclusion of Traditional Elements: The use of a white crane and suona (a Chinese musical instrument) shows an appreciation for cultural elements, which is commendable.
• Attempt at Varied Pacing: There is an attempt to create a dynamic experience with different pacing in the narrative, indicating an understanding of the importance of rhythm in storytelling.

Areas for Improvement:

• Extended Crane Effect: The white crane's special effect should be extended to include a flying away process for a more satisfying visual.
• Balanced Intensity:The suona's intense music should be balanced with periods of calm, providing a more nuanced auditory experience.
• Smooth Background Music Transition:The disappearance of the background music in the landscape painting scene should be smoother to avoid abrupt changes.
• Consistent Tone in Poetry Recitation: The tone of the poetry recitation should be consistent to maintain the emotional integrity of the piece.
• Abrupt Ending:The ending of the project needs an end credit sequence to provide a clear conclusion.

Adjustment Plan:

• Extend Crane Effect Duration:
  - Lengthen the special effect of the white crane to include a graceful flying away motion, enhancing the visual narrative.
• Introduce Calm Moments:
  - After the intense suona music, introduce a period of calm or black screen to provide a contrast and allow the audience to absorb the experience.
• Smooth Music Transition:
  - Carefully time the disappearance of the background music to ensure it fades out naturally rather than cutting off abruptly.
• Maintain Consistent Recitation Tone:
  - Work with the reciter to ensure a consistent tone throughout the poetry recitation, possibly through coaching or editing.
• Add End Credit Sequence:
  - Design and add an end credit sequence that includes the necessary credits and provides a clear conclusion to the project.
• Reevaluate Sound Design:
  - Conduct a thorough review of the sound design to ensure all elements contribute to a harmonious and engaging auditory experience.

By addressing these points and following the proposed adjustment plan, the project should become more immersive, engaging, and emotionally resonant. The goal is to create a piece that effectively balances visual and auditory elements to deliver a compelling and cohesive final product.

Reflection on the Soundtrack of the Short Film

The soundtrack of our short film was an important aspect that added depth and emotion to the story. We used a combination of traditional Chinese instruments and modern sound effects to create a unique and immersive audio experience for the audience.

One of the key decisions we made was to incorporate the suona, a traditional Chinese instrument, into the soundtrack. We were inspired by the famous suona piece "Hundred Birds Paying Homage to the Phoenix," which is often used in traditional Chinese ceremonies and celebrations. This inspiration came from our early case study , specifically the blog where we mentioned taking inspiration from director Wu Tianming's "Hundred Birds Paying Homage to the Phoenix" and decided to use this traditional Chinese instrument.

In addition to the suona, we also added various sound effects to enhance the realism and immersion of the film. These included sounds of water droplets, footsteps, wind, and other ambient noises. By adding these sounds, we were able to create a more immersive experience for the audience and make them feel as if they were part of the story.

However, there were also some challenges and areas for improvement in our use of sound. One issue was that the sound levels were not always consistent throughout the film, which could be distracting for the audience. In the future, we will need to pay more attention to balancing the sound levels and ensuring that they are consistent.

Another area for improvement is the use of silence and pauses in the soundtrack. While we added some pauses to give the audience time to breathe, we could have used them more effectively to create tension and build anticipation. In the future, we will need to be more intentional about using silence and pauses to enhance the emotional impact of the film.

Overall, the use of sound in our short film was a valuable learning experience. We were able to create a unique and immersive audio experience for the audience, but also identified areas for improvement in the future. We will continue to explore the use of sound in our future projects and strive to create more engaging and impactful soundtracks.

Xinyi Liu

Reflection on Color and Storyline Design

Color Design

In the beginning, I struggled with inconsistent color tones in my videos, which made them look unprofessional. However, I gradually learned how to adjust the color settings to achieve a unified style. Later, I even dared to experiment with black and white tones, inspired by experimental films from The national Film board of Canada. This was a bold move that added a unique touch to my videos.

Looking ahead, I will continue to explore different color palettes and styles to enhance the visual impact of my videos. I will also pay more attention to the emotional and thematic connotations of colors to better convey the intended message.

Storyline Design

Initially, I tended to create stories with happy endings, which felt rather clichéd. However, I later realized that an open-ended conclusion can leave a deeper impression on the audience, allowing them to think and imagine for themselves. This approach requires more creativity and courage, as it leaves the interpretation of the story to the viewers.

In addition, I have also started to incorporate more twists and turns into my storylines to make them more engaging. This requires careful planning and structuring to ensure that the plot remains coherent and compelling.

In the future, I will continue to challenge myself by exploring more complex and thought-provoking storylines. I will also strive to balance creativity with accessibility to ensure that my videos can resonate with a wide range of audiences.

Overall, my journey in color and storyline design has been one of experimentation and growth. I am excited to continue learning and evolving in these areas to create more compelling and visually stunning videos.

In the early preparation process, I learned the ability to collect information and make plans. When we received the theme of China, we began to use brainstorming to spread our thinking and ensure the final theme which is inscriptions, because I think inscription is the carrier of history and the embodiment of the spirit of the literati words, and there is a special museum of inscriptions in Suzhou. Later, I looked up relevant literature and found that inscriptions are truly an indispensable part of inheriting culture in Chinese history. In addition, because I am good at calligraphy, I can restore inscriptions to a certain extent. In the selection of the shooting address in the back, we are also screened together. According to the green color of mood board, some gardens dominated by bamboo forests are determined, plus the inscription museum. In the middle period of shooting, it was also relatively smooth. At the beginning, I wanted to shoot more materials, such as character materials and landscape materials, close-ups and long vistas, but in fact, we did not shoot completely according to the storyboard, which also laid a hidden danger for me when editing the story line, because there were too many people in the scenic spot at that time. We decided which people less where to shoot, and can not shoot a few seconds soon someone will enter the camera, so it is inconvenient to edit those materials which only have few seconds in the post production. This actually led to the fact that when I edited the story line narrative, it would be very unclear because it was all random material and had to be put together to make the story line. This has taught me the importance of following the plan in advance. Subsequently, I made up for the shortcomings of fragmented material by editing and adding narration. In the later stage, we didn't know that the videos would be the same at the beginning, so we each made a video. We chose improve the video based on my video version at the professor's suggestion, and then decided that I would edit the video and put the animations of both sides into the same video, so that Bai lin Li could devote himself to the animation, and the brilliant animation could also add points to the video. As for my animation part, since I need to be responsible for the post-production, I do not plan to use the most time-consuming hand-drawing, but follow the most efficient AE tutorial of billibilli to make animation, and the another advantage of AE animation is that there is no obvious separation from the video part. For example, three parts of my animation part are combined with real scenes. The first part is the 3D stone tablet effect generated by me clicking on the electronic screen. This is to insert the animation into the real scene to enjoy the stone tablet more intuitively and shocking. The second part is the animated cranes flying around the tower in the real scene. The cranes are perfectly integrated into the picture, and at the same time, they echo Bai lin Li's animation cranes transforming people. The third part is landscape painting animation, which is transformed from real landscape painting to AE animation. In the production process of these three animations, I found that animation should serve the video and story line instead of blindly pursuing fancy pictures, because the video is a whole. In the previous versions, I pursued a lot of fancy special effects, which actually degraded its look. Moreover, under Professor myria's suggestion, the video clip also became more interesting and rich from the initial simplicity, which made me understand that I need to improve the quality by repeated experiments and improvements in the future editing process. In particular, many attempts on sound and color have made me understand their importance. For example, I boldly chose suona, a traditional Chinese instrument, as the background music. Its loud and high sound is actually risky, but it can complement each other with my black and white colors. There are also some sound effects such as the sound of walking, water droplets, flapping wings will add a bit of highlight to the video. At the beginning, I was a little too anxious, whether it is video or animation. I want to be the most full and best, so the whole video is very crowded, and there is no chance to give the audience a breathing space, that is, the so-called white space. The video need to be a hurry and slow is more conducive to the audience better immersed in the story. Therefore, in this course, although there were some twists and turns in the middle, continuous reflection and improvement not only made my final video quality rise sharply, but also I learned a lot of new knowledge and skills in the process. The preliminary preparation made me understand the importance of investigation and planning, the mid-term preparation made me understand the difficulty of video shooting, and the continuous improvement of the output of seven video versions in the later stage gave me new understanding and refreshing in rhythm control, color design, sound design and narrative of the story line. You can see the big improvement from the first version to the seventh version. The initial film had some potential shortcomings, including an unclear narrative, overuse of effects, inadequate sound design, and poor color grading. To address these issues in the future, I plan to develop a clear narrative and storyboard before shooting, use effects sparingly, invest more time in sound design, improve color grading, and continue to experiment with different techniques to enhance my skills and create better films.