Dope Sheet (5 seconds)

0:00 – Herbert Marshall McLuhan is often considered the ‘prophet of the digital

0:05 – age’, with his idea of the ‘global village’ [McLuhan. 1962], predicting the idea of our modern

0:10 – modern internet. His work has touched pop culture, and sent ripples through the academic world, through how

0:15 – how we see our relationship with media. ‘The Medium is the Message’, first appeared in

0:20Understanding Media [McLuhan. 1964: 19]. McLuhan use of ‘medium’ and ‘message’ take on an array

0:25 – of meanings in his work. The term medium, acts as an extension of the human

0:30 – body and mind, meaning that when he refers to things such as media, he

0:35 – is referring to not only television, films, radios, and books, but

0:40 – also items such as clothing and cars. According to McLuhan,

0:45 – media always extends at least one part of ourselves. Clothing

0:50 – Clothing is an extension of our skin, adding a second layer to us. Cars are an extension of our

0:55 – feet, allowing us to travel greater distances at a faster pace. A book

1:00 – or a magazine extends our eyes, allowing us to see more of the world.

1:05 – Television or film extends or eyes, ears and our sense of touch.

1:10 – The global village McLuhan describes, now known as the modern internet,

1:15 – extends our central nervous system, our minds, as we are able to access

1:20 – vast quantities of information, and extend our reach to ever corner

1:25 – of the world. McLuhan’s use of ‘message’ in this sense, is not as straight

1:30 – forward as that of a text message or a written letter. McLuhan’s use of the term

1:35 – focuses on the effect or impact the medium has on our lives and our way

1:40 – of thinking. Similar to the study of semiotics, the medium in which a message

1:45 – is conveyed, hold just as much meaning as the way in which it is conveyed.

1:50 – As McLuhan describes the various ways in which media extends our

1:55 – bodies and minds, he also describes the two categories into which media

2:00 – can be sorted: Hot and Cool. Hot and Cool to describe our levels of

2:05 – engagement with the media in question. McLuhan describes hot media as one

2:10 – that is full of information, feeding it clearly and directly to you, allowing for little

2:15 – input from the audience. While cool media allows for variation

2:20 – in information, so the audience has some form of interaction with the media.

2:25 – For example, a lecture is a hot media, because the information is

2:30 – being fed to students with no breaks, the information is prepared beforehand, and delivered

2:35 – as such. However a tutorial is cool, because while a general topic

2:40 – topic and subject is agreed upon beforehand, the actual content

2:45 – varies depending on the participants, it is highly interactive.

2:50 – When it comes to television vs. the cinema, TV is cool, while the cinema

2:55 – is hot. You have complete control over what you watch on the television, but in the

3:00 – cinema, you are placed in a dark room, unable to pause, rewind

3:05 – or change film during the presentation.



Terry Gilliam

Terry Gilliam, renowned director and animator, is most famous for his work with Monty Python’s Flying Circus, and his films such as Brazil, and Twelve Monkeys. Most recognisable is his animation style. Using cut out images to create short, sometimes elaborate animations. His method of movement is like that of a child playing with paper dolls, creating rapid movement rather than smooth transitions. His work is often surreal, and imaginative in how it interprets the desired message. Creating uncommon associations that also breed humour.

  • Monty Python (2015) Terry Gilliam’s deleted animations from Monty Python & The Holy Grail. [Online] YouTube. October 12th. Available from: [Last Accessed: 30/07/2017]
  • iqsquared (2015) Inside the Head of Terry Gilliam. [Online] YouTube. November 6th. Available from: [Last Accessed: 30/07/2017]
  • Monty Python’s Flying Circus. (1969 – 1974) TV. Created by Graham Chapman, Eric Idle, Terry Jones, John Cleese, Terry Gilliam & Michael Palin. [DVD] BBC: UK.
  • Brazil. (1985) Film. Directed by Terry Gilliam. [Blu-Ray] Embassy International Pictures: UK
  • Twelve Monkeys (1995) Film. Directed by Terry Gilliam. [Blu-Ray] Universal Pictures: USA

Possible inspiration

A pair of videos that the clients suggested I look at for inspiration. They responded well to the idea of a collage approach to the subject. Expressing enthusiasm, and sending these suggestions within a few hours of the meetings end. One focuses on moving covers for books. This was a suggestion they made, however they expressed an awareness of how time consuming this approach could be, given that it would only take up a few seconds of screen time. The second video is simply an example they liked, and sent to clarify that they had understood my suggestion.

Dress Code (2016) Syracuse University: Welcome. [ONLINE] Vimeo. July 18th. Available from: [Last Accessed: 27/07/2017]

Henning M. Lederer. (2015) Covers. [Online] Vimeo. October 9th. Available from: [Last Accessed: 27/07/2017]

Image Asset Sources

All About Vision, (2016), Eye Color Blue [ONLINE]. Available at:×440.jpg [Accessed 27 July 2017].

Amazon, (2017), Logo Shirt Slim Fit [ONLINE]. Available at: [Accessed 27 July 2017].

A Serious Man (2009) Film. Directed by Ethan Coen and Joel Coen [Blu-ray] Focus Feature: USA

Car Write Ups (2011), Mercedes-Benz SLK 300 (Auto)
[Online] Available at: [Accessed 27/07/2017], (2016), Getty Image Hand [ONLINE]. Available at:×295/jpg?v=1454071805 [Accessed 27 July 2017].

Ellis, W. & Robertson, D. (1997) Transmetropolitan: Back on the Street. DC Comics: New York.

Getting Smart, (2015), Student Teacher Mentoring [ONLINE]. Available at:×335.jpg [Accessed 27 July 2017].

Help Us!, (1964), Understanding Media [ONLINE]. Available at: [Accessed 27 July 2017].

HowCast, (2013), Max Res Desfult Foot [ONLINE]. Available at: [Accessed: 27 July 2017]

IKEA, (2017), Bondis Wall Clock – Black [ONLINE]. Available at: [Accessed 27 July 2017].

IMDb, (1983), Videodrome Poster [ONLINE]. Available at: [Accessed 27 July 2017].

ISO Republic, (2015), Electric Globe [ONLINE]. Available at:×1000.jpg [Accessed 27 July 2017].

Lifewire, (2017), Wifi [ONLINE]. Available at:×693/filters:fill(auto,1)/about/wifi-1290667_960_720-copy-57efedff5f9b586c359e5548.jpg [Accessed 27 July 2017]., (2017), Rand McNally M Series World Wall Map [ONLINE]. Available at: [Accessed 27 July 2017].

Meld Magazine, (2011), Feat Image [ONLINE]. Available at: [Accessed 27 July 2017].

Muizenberg Hair, (2016), Afro [ONLINE]. Available at: [Accessed 27 July 2017].

Netivist, (2016), Global Citizen Global VIllage [ONLINE]. Available at: [Accessed 27 July 2017].

Original Vintage Movie Posters, (2013), Annie Hall Poster [ONLINE]. Available at: [Accessed 27 July 2017].

PC World, (2017), Logik L55DAB15 [ONLINE]. Available at: [Accessed 27 July 2017].

Pinterest, (2017), Cinema Seats [ONLINE]. Available at: [Accessed 27 July 2017].

Roger Ebert, (1991), The Doors poster [ONLINE]. Available at: [Accessed 27 July 2017].

SearchStorage – TechTarget, (2017), Compact Disk [ONLINE]. Available at: [Accessed 27 July 2017].

Shelby Ear Nose and Throat, (2015), Dollarphotoclub_73607640 [ONLINE]. Available at: [Accessed 27 July 2017], (2017), Sky Remote Front [ONLINE]. Available at: [Accessed 27 July 2017].

Suite Life, (2015), Cinema in Barcelona [ONLINE]. Available at: [Accessed 27 July 2017].

Teschnische Univesiteit, (2017), Abstract & Papers [ONLINE]. Available at: [Accessed 27 July 2017].

The Brick, (2017), Samsung 32″ 720p LED TV [ONLINE]. Available at: [Accessed 27 July 2017].

Three, (2017), Space Grey [ONLINE]. Available at: [Accessed 27 July 2017].

Toronoto School Initiative, (2016), Marshall McLuhan [ONLINE]. Available at: [Accessed 27 July 2017].

μεταμοσχευσημαλλιων, (2014), Haircut back 02 [ONLINE]. Available at: http://μεταμοσχευσημαλλιων.gt/wp-content/wuploads/2014/06/Haircut-back-02.jpg [Accessed 27 July 2017].

Wait But Why, (2017), Brain 1 [ONLINE]. Available at: [Accessed 27 July 2017].

Wikipedia, (2017), Lenovo G500s Laptop [ONLINE]. Available at: [Accessed 27 July 2017].

Wise Geek, (2017), Male Arm Against White [ONLINE]. Available at: [Accessed 27 July 2017].

Zippy Pixels, (2015), Realistic book cover mock up [ONLINE]. Available at: [Accessed 27 July 2017].

Tutorial 26/07

In this tutorial with Alan, I brought up to him the decision to change the videos style, and switch to Premiere, rather than Flash. He agreed, and we both decided that Terry Gilliam would be worth looking into as an inspiration. The next steps decided upon at this point, was to create a dope sheet. Breaking the dialogue down into second counts, turning it into an excel spreadsheet, and making notes as to what will be happening on screen for each word or sentence.

Making the rip effect


After much debate, I decided to use outside sources mixed with my own. However, I needed a method to help the images appear as though they belong on the same page, instead of clumsily put together. I took a few magazines and tried cutting images out, but found that a rip looked far more natural. With that in mind, I started thinking about how best to transfer that thought on to the screen. When an image is ripped, it is never a clean cut. The ends fray, and depending on the material, a lighter texture is revealed underneath. I took the images into Photoshop, and added a lower layer that is an off-white colour. With a speckled and uneven eraser brush, I tried to go around the part of the image I needed, without being completely clean. This revealed the lower layer. I then did the same to the lower level but on a slightly larger scale to give the images an uneven border. I feel this works well to give the desired effect. When these are put together, they all appear as separate entities pasted to a page.

Method in Images:

Screenshot (101)Screenshot (102)Screenshot (103)Screenshot (104)Screenshot (105)

Change of style

With the now added influence of Terry Gilliam, and the opinions of the clients, a change in asset style is required. Originally, the plan was to used hand drawn assets. The same as those used in the digital storyboards. The look and feel of Gilliam’s work borrows heavily from collage. The act of appropriating images from different sources to create a new image. This creates a slight problem. Do I take photos and use those? Do I use online assets? Do I continue drawing assets and attempt to make them appear from different sources?

The School of Life examples

At the suggestion of the animation lecturer, I took a look at the YouTube channel for ‘The School of Life’. Most of their videos relate to relationships, sex, life style and mental health. However, the interesting aspect of their channel, is the fact that videos are worked on in different styles from each other. While the scripts are written by the same source, and usually read by the same person. Different animators, directors or editors are given the task of transferring the scripts to the screen. Some of these are fully detailed animations. Others similar to the collage style I am attempting. And a few involve live action footage, either filmed by the director, or taken from other sources. These videos provide a useful and intriguing look at how different styles can be used to transfer information to the screen.


The School of Life (2016) The Fear of Being Bad in Bed. [Online] YouTube. June 13th. Available from: [Last Accessed: 21/07/2017]

The School of Life (2016) The Joy of Sexting. [Online] YouTube. February 10th. Available from: [Last Accessed: 21/07/2017]

Meeting with animation lecturer

It was suggested that I meet with a new animation lecturer starting at UH. Our meeting was short, and contained mostly to conversations about animation in general. However. While going back over my storyboards, she noticed the method to which I had the car move off panel with feet. She made a suggestion to try a Monty Python/Terry Gilliam style approach, as the car moved much like his work. I agreed with this. She suggested I look at ‘The School of Life’ to examine how they assign script to different styles of animations.