[MOOD BOARD] Filter

  The mood board is basically the subject I would like to present in my video. With the rapid development of network spreading, communication and transmission of information become more convenient in an unprecedentedly efficient manner. People can instantly receive real-time reports about the pandemic. However, it also poses a danger to the general populace as the cost of spreading rumours for individuals seems to be nothing during such a period of panic. Meanwhile, social media platforms pour fuel to the flames by mongering fear and hatred, giving rise to confrontation.   Chan Ue Yin Monique 3035691729

[Mood Board] High-tech city

In the past, people need to use about three months to discover SARS is a coronavirus. Today, scientists only spend three days to find out the DNA sequence of the COVID-19. It shows that our technology grows exponentially. I believe that people already need not to wear a mask outside in 2021, because the vaccines are probably invented and used to save people. Also, the city will become more harmonious as we can see different people help each other during this epidemic. The streets become lively, more shops are open, and everyone has a higher hygiene awareness. For example, there

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[Mood Board] Boxed

Social distancing is the way we beat the virus as the whole world begins to realize in the front of a major global crisis. Although first cases have been reported in November of 2019, we have yet to see it’s full extent in spreading worldwide faster than ever. While the West seemed to have been heavily critical of China’s ability in contain the virus, they too have bot been able to slow down the outbreak in their countries, truly showing no country seems prepared against this pandemic. Should we put the focus towards why it happened, who is to be

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[Mood Board] Relationships

The break out of the coronavirus forces people to live in a different way- home-office, online shopping, no-social activities, etc. This significant change restricts people’s movements, as everyone cannot even walk out or gather with friends and family. We may be able to stay with parents, but conflicts between generations happen more frequently. We cannot hang out with friends but playing with the phone, so the relationships between friends and colleagues are distant. So, what will happen to an individual’s relationships? Stemming from the aspects of relations between people during such a unique situation, I will create a documentary describing

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Workshop 2: Interviewing Miggy Cheng

Question (Casey): The selection of texture, pattern, and palette is often regarded as a supplementary offset of the architecture or environment in the settings… Response (Miggy): Arghhh… not really… it may have been perceived as a secondary complementary, but that’s interesting, what makes you think that? Question (continued): Oh, cause I’ve noticed you mentioned in your presentation that the colorway, or saturation of the costumes should always merge with the background of the set in order to convey a sense of visual harmony and conformity to the audience. For example, in the 2012 movie Floating City, shads of navy blue is

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Interviewing Miggy Cheng

Workshop two: Producing the set, Designing the city Synopsis: This second workshop invites two distinguished guests to come and talk about their careers relating to set production. As a costume designer and set designer, Miggy cheng has involved in many famous film making processes of different genres, including “Rigor Mortis” and “Floating City”. During the workshop, Miggy will share with us more about her personal experiences and perception as a costume researcher and art designer. Amy: Hello Miggy. Thank you very much for your brilliant speech. As I remember what you mentioned before, you said that the costume is like the

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Workshop 2: Interview with Mr. Second Chan

Questions: 1) What are some of the characteristics you learned from the architectural school that contributed to building these dramatic sets; and 2) I noticed that in your films, for example, in Kungfu Hustle, the dilapidated tenement of Pigsty Alley is very dramatic, unlike the Kowloon City from which the name is derived, what is the preparation process for coming up with such brilliant ideas? Answer from Mr. Second Chan: “[As an art director] in the movie industry, my ultimate goal is to tell the story. That’s the very reason why we are needed: to deliver the story. When we

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Workshop 2: Interview

Image from Kung Fu Hustle (2004) Wong Tin Chi:  As technology keep improve nowadays, movies usually used CG (computer graphics) to building some of the set, and I see your new movie Transition has used many CG. Do you prefer to build the sets with computers CG or build in real as much as possible? Second Chan: Actually computer graphics only starting using in these decades as the technology development. In early, there are no CG in the movie but the movie are also interesting, right? o I think people are now over-using CG and I think we should build a

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Workshop 2 Response

Question: As persons working in the creative field, how do you balance between being historically/culturally accurate and telling the story? As both of you mentioned, you both enjoy creating your own art, be it the clothes or the props as it best able to bring out the feel that you would like to tell the story. However, as content creators we also have the responsibility of being historically/culturally accurate as it through through films that people get a glimpse of the time period or the city. So, how would you balance the two and how much is it important for

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