Magic in Ouroboros Saga 1st Official Draft.

Ouroboros Saga – Magic (the art of becoming one with all)

Magic is name given to the Mages unique ability to bend the laws of nature to will and grant them superhuman powers and abilities. It takes years of training for someone to learn how to use magic and the following is an account of how Mages would summarise it to a non user, first lets start with the Principles of Magic.

The Principles of Magic are built upon the Union of Otherworld (Spirit world) and Midgard (Material world), at the heart of this principle is the Trinity of Being. The trinity is categorised as the Mind, the Body, and the Soul. The mind gives the spirit shape, the body is the spirits engine, and the Soul is the gate through which the spirit flows. Spirit energy (otherwise known as Aether) is found within all living things but a lucky few are born with the ability to sense and interact with this energy, this is where the process of casting magic begins.

To understand how to cast Magic one must understand the 5 elements of Midgard, Air, Fire, Water, Earth, and Aether (Spirit). The five elements are attributed to one’s own skills and thoughts, one must have great mental discipline to cast even basic spells in magic. Aether is the basis for all magic and is the only element that cannot be used as a medium. It has no true form so it cannot exist in Midgard without a powerful mind to guide it. We call these people Mages.

In order to cast a spell a Mage must give the Aether form. This form must correspond with one of the four Midgard elements. All Midgard elements are infused with a unique spiritual wavelength that a mage can resonate with provided they are compatible. In essence one’s personality also has affect on what element you can use as a medium. This allows the mage to manipulate and shape the element to into any form that their imagination can conjure, provided they have enough Aether to power the spell (the greater the spell the greater the cost). Once the Aether takes a form the Mage can shape it into any form he wills, this means the Mage can even give himself/herself the properties of the element (Iron Flesh, Sonic Speed, liquid bones, boiling touch, etc). In the essence the only limits in magic are one’s of the castor’s own mind.

Written by Sean Maguire. 26/03/2014

 

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A waste of imagination

In my short time at University I have encountered people who have incredible minds with incredible ideas. They have demonstrated the skill to produce an entertaining piece of media in a short time using only what resources were made available to them. Some if not all of these individuals demonstrate the skills to achieve promising careers in the media industry, I would like to think that one day I would walk into a cinema and think to myself; “I went to university with this film’s Director, Cinematographer, Editor, Sound designer, etc.”

It is a pity that I cannot see this same amount of creativity in myself, which begs the question why I was accepted into Coventry University in the first place. I wonder if I deserve this placement at the UK’s No. 1 University when I have no faith in my own abilities, If cannot live up to my own standards what hope do I possibly have of living up theirs? I do not pretend to understand what others see in me but it would be nice to see myself through their eyes at least once, perhaps then I may be able to see the talent that I have been lead to believe I possess.

Sometimes I ask myself who had to lose their opportunity to go to University for me to have mine. Perhaps they would have been more deserving and the four week project that I had failed to support as worthwhile member would have been even better than it was. Perhaps they could have contributed more than I did because I don’t think anyone could have been as useless as me.

I enjoy everything that I have experienced of the media industry from College to University, even when it was hard I still took something from it that increased my understanding of this complicated industry. However I cannot shake this feeling that I do not deserve this. Perhaps I’m here simply to play the lowest common denominator that motivates everyone not to sink that low. Maybe this is fates way of spitting in my face for ever hoping to achieve something in media. Whatever the case maybe this feeling of worthlessness started in College and has followed me to University.

What should I do?

Little Star (Private)

This is an expansion on the script outline that I wrote on this blog. This piece will be written according to the guidelines set by the 5 Ideas page as best as I can.

When I was planning the Little Star narrative I wanted the format to be that of a feature length film. In terms of genre however that was an interesting question that I ask myself sometimes. For those who have not read the Outline I will illustrate the basic premise of the plot. Little Star revolves around the struggles of Annie, a single mother who’s son Keekin is half human half alien hybrid, and the difficulties that come with raising him in world full of prejudice. The idea for Little Star was born out my own views of racism and discrimination, except I wanted to add a science fiction twist to the concept. One often talks about human rights but what about a creature on a equal evolutionary level? are they not entitled to similar rights or are they reserved for humans alone?

The film that sparked the idea for Little Star is Wolf Children by Masamoru Hosada. I was already familiar with Hosada’s previous work, The Girl Who Leapt Through Time and Summer Wars so I interested to see what his latest project was. The trailer for the film captured my imagination and started to think about the concept for Little Star. I should point out that the narrative themes of Wolf Children and Little Star differ, in that the former is a story about finding ones place in the world and the latter is about racism, generally speaking of course.

Racism is the idea’s central theme with a world caught in the midst of an upheaval caused by the arrival of the Gaizan. When the aliens arrived on earth their ships were damaged and they crash landed on the planet, which caused a lot of death and destruction for both the humans and the Gaizan.

Media Production 101 – TV Standards

Whats in the Picture: an Introduction to TV standards and Aspect Ratios

Television standards as we call them are the Encoding standards for the recording and reception of video “Synergy between the video and how we play it”.

The 3 Standards are:

NTSC= National television standards commitee

PAL= Phase Alternating Line

SECAM= Sequential Colour Memory

A TV’s video output is made up of 25 to 30 frames which display every second, each frame is made up of 625 scan lines (525 for NTSC 625 for PAL and SECAM).

NTSC is the TV standard of the Americas, it was created in 1941 as the standards for black and white TV broadcasts.

Strengths: there is less flicker and smoother motion in the video output because of higher frame rates and it produces less noise.

Weakness: the lower number of scan lines means the picture isn’t as clear as PAL and the contrast level poor. Colour levels can fluctuate from frame to frame.

PAL was created for UK broadcasting in 1961.

Strengths: has more scan lines so the pictures have higher picture detail, higher levels of contrast and better colour reproduction than NTSC.

Weakness: lower frame rate means the picture motion can appear to flicker more than 30 frames and colour saturation can vary from frame to frame.

SECAM was created in France in 1967, it is now an unpopular standard.

Strengths: the high number of scan lines means a good quality picture, the colour hues are in constant saturation and it has stable colour reproduction.

Weakness: like PAL there is more motion flicker and Pattern effects seem to crop up on the picture from time to time, there are also many many variants of SECAM from country to country alot of which are incompatible with one another.

Aspect Ratios

Aspect Ratios by definition are the relationship between the width and the height of a film (or video) frame. An example of an aspect ratio would be Terminator 2 which has an aspect ratio 2.20:1. This means that the image is 2.2 times as long as it is high.

There are many different aspect ratios, and some cameras will only be able to film in certain aspect ratios. What follows is a few examples of popular types of aspect ratios.

 

 

 

 

Academy Standard 1.33:1 (or 1.37:1) it is also known as 4:3

one of the earliest aspect ratios was popular through out Hollywood’s “Golden age”.

It was used after silent films had fallen out of fashion. The NTSC used the Academy standard for TV screens as it transferring films to TV easier. A famous example of movie filmed in the academy standard would be Casablanca from 1942.

 

 

 

 

 

 

Standard Flat 1.85:1 (or 1.66:1)

In the early 50’s widescreen cinema had become very popular which made life difficult for film makers as it required them to use specialised cameras and projectors which cost a lot of money, so they came up with a wider solution which was a new standard called Standard Flat. Many theatrical films use the Standard flat to this day, an example of a modern film would be Trainspotting which was released in 1996.

 

 

 

Anamorphic Scope 2.35:1 also known as true widescreen

All feature films are shot on film reels. The drawback of this practise is that there is not as much room in the picture, so in order to widescreen you would need a wider film stock. In Anamorphic scope the film is shot with a “anamorphic” lens attached to the camera. An optic located inside the lens contracts the light waves together as they enter the lens. The image is then compressed on it’s horizontal axis, to half its original width. An example of this would be a 2.35:1 image would be compressed to 1.18:1. Later on when the movie is played back at the cinema the picture is stretched back out to its full width. An example of a movie filmed in anamorphic scope would be live action 101 Dalmatians from 1996.

 

 

Vistavision

1.66:1 / 1.85:1 / 2.0:1

More flexible than other film formats. It allows for more aspect Ratios. It was created in 1954 by engineers and Paramount. Filmed with a special camera mounted on its side. its image quality was better t

han a standard 33 mm, but it did require a special projector.

Movies shot in Vistavision include Vertigo, North by North West, White Christmas.

 

 

 

IMAX

1.43:1 / 1.78:1 / 1.9:1

Widescreen in nature, the system originated in Canada at the Expo 67 fair in Montreal where a group of Filmakers/entrepreneurs designed a new system using a single powerful projector rather than multiple projectors that industry standard at the time. this revolusionised.

Movies shot in IMAX include Contagion, Real Steel, Puss in Boots.

http://www.imax.com/corporate/history/

 

Cinerama

2.35:1 when transferred, 2.60:1

This uses 3 cameras and interlocks the 3 images together which creates an extremely wide presentation in 2.60:1 but when its transferred to video it’s aspect Ratio becomes 2.35:1 as the film is reduced to a 35mm anamorphic print.

movies shot in Cinerama include How the West was Won, The Wonderful World of the Brothers Grimm, and Seven Wonders of the World.

All Images used came from Google images.