2016年4月21日 星期四

'Powerful stories require ambiguity': A story about Her Story _ "強大的故事需要模稜兩可" : 一個有關她的故事

source from : 'Powerful stories require ambiguity': A story about Her Story

'Powerful stories require ambiguity': A story about  Her Story

Game-makers who want to tell deeply-engaging stories must rediscover the power of ambiguity, and the power of the player’s imagination. This was the message from Sam Barlow, the British creator of the game Her Story, speaking at the Game Developer's Conference.

遊戲製作者,想說些引人入勝的故事,必須重新探索模稜兩可的力量,和玩家的想像力。這則資訊是來自Sam Barlow,Her Game的英國製作人,在GDC所演講內容。
Her Story plays with narrative and chronology by applying the flexibility of video game structure with the ambiance of the murder mystery genre. Barlow explained that his 2015 game has been a triumph, not only in terms of critical and commercial success, but also in proving to the designer that, in the video game medium, a player’s brain is still the world's most powerful game engine.

Her Story玩法使用敘述和年表,應用在電視遊戲靈活的架構上,伴隨謀殺謎團的類型氛圍。Barlow解釋,他的2015遊戲已是一個成就,不止在評論而言,和商業的成功,也向設計師證明,在電玩媒介裡,玩家的腦袋仍是世界上最強的遊戲引擎。
“This game was an attempt to push a certain type of storytelling in an extreme direction to prove a point to myself,” he said. “It reinforces my belief that the directions in which I was pushing were fruitful.”

That power derives specifically from the player’s imagination, which is agitated by ambiguity in storytelling. In the game, players trawl a database as they try to piece together the story of a murder, told via 300 dispersed clips, spliced from a series of interview sessions with detectives. Players cannot access the clips in chronological sequence. Rather, they must use search terms to query the database. If a chosen term appears in the transcript of one or more clips in the database, it is presented for viewing. In this way you begin to dredge through the archive, gradually piecing together the story in a non-linear order.


Barlow, who had the idea of using found police tapes as a delivery mechanism for a story after watching Sharon Stone’s audition tapes for the film Basic Instinct, referenced Ernest Hemingway’s maxim that writers should only show the 'top of the iceberg', leaving the reader to use their imagination to fill in everything below the water, and therefore deepen their involvement in the story.

Barlow,再看完莎朗史東為Basic Instinct(第六感追緝令) 的試演影片,有個為故事利用收尋警察影帶當傳遞工具的點子,參考來自海明威的格言: "作家應該只秀出冰山一角",讓讀者運用他們的想像力去填滿水面下的所有事情,並因此加深他們參與故事。
“When a player’s imagination adds the detail, the story becomes a lot more powerful,” he said. “The art is in not showing things.”

This is something that games generally do badly, said Barlow. “Modern video games are obsessed with continuous time and space,” he said. “All of the story beats are controlled by the player. This removes the ambiguity. We have less and less of a role for the imagination in this kind of game.”


Barlow pointed out that some of the problem is related to the fact that, if a game’s story is also the delivery mechanism for its mission objectives, then there’s no room for ambiguity; abstruseness becomes a user interface issue. “This is detrimental to telling an interesting story.”

Barlow began the creative process for Her Story, he explained, by writing a mission statement, in which he tried to outlay those aspects of interactive storytelling that felt special and unique to him. “I asked myself: ‘What is the stuff I do just because it feels like part of the template of making a video game?’ ‘What are the assumptions I can throw away?’”

Barlow 開始為Her story創作過程,他解釋,藉由寫任務狀況,他可以試著支付那些互動故事的各種面向。我問我自己”我做的那種東西,只是因為它感覺是製作遊戲樣板的一部份。什麼假設是我可以丟棄的。
He wrote a pitch to guide his thinking, that stated:

‘I will go deep on story, explore authentic and true characters. For my first trick I will make a game --
  • A game with no meaningful state change
  • A game without ‘presence’
  • A game about subtext.’

  • 他定標準去規範他的思考,列出:
“I wanted to make a point that not only could we have a game that involved subtext,” he said, “but one that revolved around subtext.”


Barlow pointed out that interactivity in storytelling is not something that is unique to the game medium. “If you’re watching a movie you’re desiring some kind of outcome,” he said. “You might want the couple to get together, or the protagonist to get the bad guy. You’re thinking through the potential outcomes, willing the character to work in a certain way.

Barlow 指出在故事發展時互動,對遊戲媒體並不是特別獨特,他說"如果你正在看到電影你會想要某種結局。"你也許希望那對情侶在一起,或"主角逮到壞人,你正想著這些潛在的結局,讓角色在某種狀況運行。

"If it’s well constructed, the character will do what you wanted, but there are unforeseen drawbacks. You then have feeling of complicity and guilt. I wanted to not pretend that interactivity is something that only games can do, but rather to look at how traditional storytellers have used dialogue with the listener and build on that.”


Her Story has a disordered structure. You’re finding a jigsaw, with clips of information that you put together in your mind. “You’re seeing clips, and your imagination is crunching trying to put the pieces together,” he explained. “But because the audience is highly familiar with genre, they have a tool set of the imagination when you work in a genre.”

Her story 有一個混亂的解構。你要找出拼圖,用這些資訊片段,在你思緒裡把它拼起來。他解釋"你尋找片段,和你的想像運轉試著把片段拼湊出來"。"但因為觀眾很熟悉遊戲風格,當你是某種風格,他們有一種想像力工具套件去運作。"

Barlow also presented some ideas for how to create a greater level of investment, that might initially seem counterintuitive, “If you have a player who is deeply involved in your story, I’ve found that, if you push back against their engagement, there’s a Newtonian reaction where the player will work even harder to try to make things real,” he said.

Barlow 也展現一些點子,如何製作一個投資很棒的關卡,它可能最初有悖常理。"如果你有一名玩家,深入你的故事,我發現,如果你再倒退一次他們的參與,會發生牛頓反應,玩家會更加倍執行的讓事情成真"他說
“Twists are fantastic for this, as they reboot the simulation. Everything that came before will be seen in a new light. The imagination scurries to get everything up and running again, to convince you that it’s real.”


2016年4月12日 星期二

Understanding the Difference Between Raw, Log, and Uncompressed Footage --- 了解Raw檔, Log檔和 未壓縮檔 的不同

Reference : E.M. Taboada

____Can you view raw footage on a monitor? What's baked into the image by Log recording? What's the advantage of having uncompressed footage vs compressed footage? With more and more cameras offering a variety of outputs and formats, it's easy to lose track of just what you're getting with each option and what they ultimately mean for the final image. Well, lucky for us, there are folks like Andy Shipsides at AbelCine looking to clarify and explain the differences, as he does in this very informative breakdown for HDVideoPro.

____你可以在螢幕上看Raw黨素材嗎? 甚麼東西藉由Log 記錄被焊入到影像中? 未壓縮素材對上壓縮素材有甚麼優勢? 隨著越來越多攝影機提供多樣的輸出和轉碼,很容易忘記你在每個項目得到甚麼並且最後對成品,他們的最終意義是什麼。恩,我們很幸運,有一群人,像是AbelCine 的Andy Shipsides,希望澄清和解釋這其中的不同,如同他在為HDVideoPro所作的大量資訊分析。

____With a new wave of cameras offering raw outputs or Log recording (Arri Alexa, C500, Sony F3, RED Epic on the high end, and upcoming cameras like Blackmagic Design's Cinema Camera and the Digital Bolex on the more affordable side), it's important to understand just what you're getting:

____隨著攝影機提供raw檔輸出的趨勢,或Log的讀寫(Arri Alexa, C500, Sony F3, RED Epic 在高端, 和即將問世的攝影機像是 Blackmagic Design's Cinema Camera and the Digital Bolex on the more affordable side),了解你取得格式是很重要的。

____Raw is not Log because Log is in a video format, and raw is not video. Raw data has no video processing baked in and has to be converted into video for viewing. Log is video and has things like white balance baked into it. They're very much not the same; however, they're both designed to get the most information out of the sensor. Raw is getting everything the sensor has to offer; likewise, Log curves are designed to get the most tonal range out of the sensor. While they're very different formats, they have the same general application. Both raw and Log can be uncompressed, but that depends on the recording device. These terms, and many others, have all become part of our vocabulary in this digital cinema world.

____Raw不是Log,因為Log是影片格式,而Raw不是影片,Raw資料沒有影片處理被嵌入,並且必須轉換成影片才能觀看。Log 是影片並且有被嵌入像白平衡的資訊。他們相當不一樣,然而,他們都被設計從感應元件得到最多的資訊。Raw檔可以取得感應元件的所有資訊;同樣地,Log 曲線被設計可以從感應元件得到最多的色調範圍。他們是非常不一樣的格式,他們有一樣多數軟體。Raw和Log兩者都無壓縮,但要看錄製設備而定。這些項目,和其他,都已變成在數位電影世界中,我們詞彙的一部分。

____For the full breakdown, check out the article here, it really is a must read for folks wanting to get an informative and concise answer to these questions. As these options become more accessible, it will be interesting to see just what impact they'll have on people's creative process, or whether folks will opt for the immediate gratification of built-in looks. Do you think these options are must-haves? If you've recorded in Log or worked with a raw workflow, what impact have they had on your shooting? Let us know!


2016年4月5日 星期二

My MRT sketch book vol 14

  Today is the last day for vocation. I went home ,Kaohsiung,looked my parents and friends. Watching four movies in the second run theater, i feel so satisfy on ip man 3 that tell us to more concerns someone that cares about you.

I decide to sculpture a man, hope to finish in this year.

And finally, I pull off my MRT sketch book again.