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Paul Bond

Simonian LOLcat #ds106 #wire106 #VisualAssignments

1 min read

I decided to try my hand at the Shakespearean LOLcat assignment, but since this is Wire106 and not Hamlet106, I made a Simonian LOLcat.


coaltrain


It’s a picture of my friend Coaltrain from across the street. I’m not sure why it was all green in my Flickr account. I brought it into Photoshop and went to The Wire - Wikiquote to find a line to go with it. It’s a quote that Herc said to Kima early on in season 2. I typed it in and used the eyedropper tool to pick up the dark color from the fur. I duplicated the type layer, then used the Layer->Rasterize function followed by the Filter->Gaussian Blur function to make the shadow. I used the arrow keys to shift the shadow so it was slightly offset.


Coaltrain is anything but a house cat. He’s always looking for something o kill, usually in my back yard. It's more of a quiet chuckle than an LOL, but there you go.

Paul Bond

Contrasts wire 106 se02 episode 7 #wire106 #ds106

2 min read


I liked this shot for the unconventional floral arrangements, but on closer look I notice the way that the colors of the flowers are matched in the statue in the foreground. Nice bit of balancing at work there.


This one caught my eye for the feeling of perspective. The lines in the ceiling, the repeating shapes and figures growing smaller the further away they are, all give a sense of depth.


It's a dark room anyway, but Stringer in silhouette looks pretty ominous. We know he's behind all the sadness, but none of the characters do. He's a shadow moving through their lives.


I thought this was an interesting angle, another example of a surveillance shot. Usually they're in black and white, so either technology has advanced or there's more money here.


A lot of this season feels lighter than the first. You even see it in the architecture.


I like the orange/blue contrast, and the way the two characters match their respective containers. There's a divide between them emphasizing the contrast.


I noticed the difference between the weight of the screen when we see Avon and String. It's so much heavier in front of Avon. I'm not sure what to make of that. Avon doesn't really know what's going on, so maybe that's part of it. His view is obscured.

Paul Bond

We have the 9-10pm slot on Tuesday, Wednesday and Thursday on ds106radio. I haven't been paying attention this week because we're doing the visual tweet-along, but I want to get things the class has created in the playlist.

Paul Bond

Taking shots at episode 6 #ds106 #wire106

2 min read

price

The title of the episode was "All Prologue." I think that relates to D'Angelo's epigraph, which came in his response to the book discussion assertion that "there are no second acts in American lives." The discussion leader was novelist/screenwriter Richard Price (pictured above in the NYT), who wrote some episodes of The Wire.
02omar
I pulled out a few shots to look at. I like this close-up of Omar for the dark/light contrast. 


 04background

In this one, they're talking about the case and the target, who happens to be pinned to the bulletin board in the background. Even though it's the background, it's still pretty prominent because it's right in the middle of the shot.


 

05carver reaction

I mentioned in the tweet-along that so much of the acting is in the expressions and eyes. This is Carver's reaction to a casually crude statement of Herc's. 


 06background-floor

The floor to the meeting room is like a target, and now the whole union is in it. The shot has a tilt to it, like there's some quiet turbulence going on. 


 07perspective

Here's another shot from a surveillance camera angle. The composition interests me too - something about the balance, and the light and dark. I'll have to think about it.

 


tennisball


Paul Bond

Epigraph for wire106 week 4 #wire106 #ds106

1 min read


Butchie said this during one of the episodes we listened to on ds106radio. Totally coincidental and totally appropriate. We'll be running episodes 6, 7 and 8 this week - same time, same channel. Live tweeting is optional. Now we'll see who is and who is .


Paul Bond

WIRE106 radio bumper #ds106 #wire106

Paul Bond

maddenGIFERATOR - The Wire version #ds106 #wire106

1 min read

bills_emanuel3_playactionpass


I've been seeing these maddenGIFERATOR images in my Tumblr stream, so I thought I'd try one with a quote from The Wire. Apparently "I tell your wife, you tell mine" is an illegal use of words, so I had to censor it. Whatever. It's all in the game.

Paul Bond

TV on the radio #ds106 #wire106

2 min read

One of the illustrious ds106 internauts came up with the idea of live tweeting an episode of The Wire. A very cool idea, especially for an online class, because it helps create a sense of community. So for Intro to Audio week, we’re playing episodes on ds106radio and live tweeting as we listen. It’s an interesting way to experience the show. So much of it is visual, and so much of the acting is in the eyes and expressions. All of that gets lost on the radio, but we get to focus purely on the sounds, and see (hear) just how much is going on in the audio track, and how much of the story it tells. Someone pointed out all the oldies in the soundtrack. That reminded me of the opening epigraph for the season, “Ain't never gonna be what it was.” The nature of labor and its place in society has changed. In some of the characters, Frank Sobotka especially, I see a longing for the way things used to be. The oldies reinforce that. The epigraph has a certain fatalism to it though.

[caption id="attachment_1926" align="alignright" width="300"]dock workers from http://www.geh.org/ne/mismi2/m198304960001_ful.html[/caption]

Maggie Stough’s brilliant analysis of episode 4 ended with a photograph that seemed to have some significance. I was curious about it too, but didn’t think to look into it until she brought it up. Now, how do find out about a picture when it doesn’t have any information attached? I ran the URL of Maggie’s image through Google Image Search and found an article about the photographer, A. Aubrey Bodine. The picture is of men unloading a ship on Pratt Street in 1935 - Baltimore dockworkers from days gone by.

Getting back to audio, several of our wire106ers talked about the revelations regarding the complexity and impact of sound that they got from the Jen Ralston interview. I hope people take to audio, because we’ve been given the keys to the Tu/W/Th 9pm slot on ds106radio. It’s there for us to use, so let’s take advantage of it.

Paul Bond

The Contest Somebody Should Win #ds106 #wire106

1 min read

For this assignment, I told myself I would pick something random and do whatever came up and make it about The Wire. So what do I get? The Contest Nobody Could Win (Video-Mashup Edition) The directions are to: Create a mashup of 6 video clips (either TV or Movie) no longer than 2 seconds each. See if anyone can guess your favorite films! Since we already know it’s about The Wire, it sort of defeats the purpose. So I picked an episode, not necessarily my favorite one, and tried to pull six clips that don’t give away which one it is. Can you figure it out?


I used MPEG Streamclip to grab the clips. The Edit->Select In and Edit->Select Out functions marked the clips, and then File->Export to Other Formats saved them. I did this for eight clips, then imported the six I liked the best into iMovie. There, I pulled exactly two second from each one and put them together. Here is the result:


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Paul Bond

String’s Gonna Get You #ds106 #wire106

1 min read


Today’s Daily Create was to make a themed video montage. I took all the Stringer Bell clips I had saved from the first season and put them together with the song String’s Gonna Get You (YT) which I actually have on an LP. Youtube credits it to Rutabaga, but it’s really the legendary Andre Williams.


I made this with Audacity and iMovie. The song is about five minutes long, and it’s about a Texas sheriff, which doesn’t really fit the theme. In Audacity I cropped off the first few minutes with all the lyrics and applied the Fade-In effect at the beginning, then I exported it as an MP3. I imported that and my clips into iMovie. Since my clips only added up to a few seconds, I duplicated them over and over again until it filled up a couple minutes. I right-clicked on the clips and used the Detach Audio function to get rid of the sound. My sound file was still running longer than the video clips, so I cropped the end off. And there’s my String video, such as it is.

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