CONTENT

 

1.

What is the community you will make your documentary about?

· My documentary will focus on Marysville a town that is in Victoria.

Marysville was decimated by the bush fires that hit the township and surrounding regions on February the 7^th 2009. This day is now known as Black Saturday.

 

· The township of Marysville will act as a case study for an exploration of community. The nature of community will be explored on two levels the first level is the notion of community as the defined by place; geography, scale and locality and the second level engages with the temporal nature of community – of community grounded in place and time and yet interconnected through shared experience.

I am interested in showing in my documentary how these notions of place and experience are interrelated and connected. I want to explore the relationship between place and experience through  the township of Marysville. 

·My documentary has a structuring philosophy, that is informed by my personal relationship to the subject as I was present the day of the fires. I was a visitor in Marysville on Black Saturday.

My aim is to create a textured documentary from the voices of the community. Ideally, I want my documentary to generate interaction and build on a sense of community. My work will be an attempt to document, to unveil, discover and to find the community that exists now after the fires.

My aim is to effeciently utilise social media tools  to capture a sense of the past: of what Marysville once was or meant and to get a sense of what it has become since the fire burnt the town.

 2.

What interesting issues about community and identity will you be able to explore in relation to this community – in relation to the theorists you have read?

I have looked to these theorists to provide a conceptual scheme or framework for my documentary. I  have looked to theoretical models to generate a framework of consideration this theoretical framework has assisted  me in structuring and focusing on the elements that will be explored in my documentary:

 

·      1. Ferdinand Tonnies  Sociologicial and Cultural Theorist

·      2. Lev Manovich         Media Theorist

·      3. Paul Virilio              Cultural theorist

·      4. Gerard Delanty       Social Theorist

·      5. Dizga Vertov            Film maker and Cinema Theorist

·      6. David Marshall        Media Theorist

 

·      Ferdinand Tonnies Gemeinschaft and Gesellschaft

Tonnies as sociologist studied social formations such as, community and culture, family and society, law and legislation, economies of scale and related this to psychology and behaviour a subsequently Tonnies defines these constructs as expressions of human will.  Ferdinand Tonnies defines community through the notions of Gemeinschaft and Gesellschaft. Gemeinschaft is an encompassing term that has to do with locality and geography of communites generated in and through agriculture and the intimacy of interaction that is generated in smaller, rural areas, whereas Gesellschaft has to do with larger, wider forms such as, the city and economy and how people conduct themselves in a culture of 

production within the order of state or a nation.

Tonnies delineates the differences and similarities of community and culture of Gemeinschaft and Gesellschaft through the lens of time and space via cultural production. As well Tonnies defines the concept of society and cultural practice through production and scale. Tonnies maps the change of societies based on agriculture and agricultural production through to societies based on industry and economics organizations. Stating these differences in economic, social, cultural and psychological terms that relate to his concepts of action as expressed in the idea of; direct will, opportunity and interconnectivity between peoples.

Tonnies characterises Gemeinschaft as social groups, communities based on the local, on the small and on the family, whereas the notion of Gesellschaft encompasses ideas of societies based on large scales, of economies of the metropolis and of the state. Tonnies describes how there is a constant but fluctuating relationship between these two groups and infact communities and societies are a constant mixture of both - that Gemeinshaft and Gesellschaft cultures are notentirely independent of each other.

A very clear example of this interrelation between Gemeinshaft and Gesellschaft that Tonnies describes is demonstrated in a link I have provide in this blog to the ABC Televison 4Corners site.

This site demonstrates definitively the interelationship between the local and the state structuring bodies. The site does this

in the content of the documentary  and in the accompanying support material. Marysville is a site that demonstrates on many levels Tonnies ideas of Gemeinschaft and Gescellschaft in regard to Social Media, Emergency Practices and protocols, in information exchange between friends and so on. Thus Tonnies theories are intrinsic to the structung of my documentary content and form. 

·      Lev Manovich’s The Language of New Media 

Manovich comprehensively explores the ordering and structuring nature of the formal elements of digital media via the interface – through the veneer of windows and software applications.

 

·       Paul Viriilo’s War and Cinema-The Logistics of Perception

is another structuring influence as the documentary is being constructed for viewing within and through social soft ware.  Virilio argues strongly that media shapes culture and cultural attitudes and indeed forms behaviours.

 

 

3.

What theorists will you incorporate into your documentary – summarise the ideas you engage with

 

·      Manovich Lev (2001) The Language of New Media, Massachusetts Institute of Technology

 

The issue of ordering and structuring is a determinant of both the content and the reception of my documentary as my work is an attempt to reveal and define what the Marysville community is after the fires.

 

·      The form of media dictates meaning and then the interaction

 

·      Non linear narratives can be exciting and encourage participation

 

·      Digital media allows for creative and non linear narratives which in turn can generate interaction. In my case study I wish to use social software such as Flikr, You Tube, my Blog and hyperlinks as well as digital tools to record and publish stories and images from the community of Marysville.

 

·      Delanty, G (2003), Community. NY: Routledge

 

·      Community is an idea that is constructed based on social relations

·      There is an ongoing question of what a community is and what it look like

·      Transformation and community are interlinked

 

·      My documentary will explore the idea of relationships through concepts of experience and place of identity through regeneration and transformation after tragedy

 

·      Virilio Paul, War and Cinema the logistics of perception (1984) Verso, London

 

Virilio writes about the interrelationship between images, text, perception, individuality, communities, society and their organization.

 

·      Cinematic presentations: sound, moving images, movie houses,

viewing screens and the content of these cinematic devices are inseparable from power, fantasy and the identity of a society and its individuals within it.

 

It is through the use of cinematic devices, video, photographs, sound track and editing techniques that I will attempt to order and capture what Marysville or the community of Marysville is or has become or thinks of itself. It is through these cinematic devices in the form of social software that I will engage with what was once a clearly geographic community and consider what that community looks like now?

 

·      Vertov Dizga The Man With The Movie Camera, DVD, International Museum of Film and Music (1996)

 

“ capture fragments of actuality “. Record what is already there – look at what you see

 

It  is important to approach your subject with the view to record what is rather than to construct a narrative or reinforce a point of view.

 

·      Marshall David P (2004) New Media Cultures. London

 

o      Social Software enables interaction and this interaction in turn generates more interaction

o      Social software offers the opportunity for viewers to become participants

·       

4.

Why are these theoretical concepts relevant to your project? – How do these particular ideas relate to the community you are documenting?

 

·      Manovich

·      The form of media dictates meaning and then the interaction

·      Non linear narratives can be exciting and encourage participation

 

The first idea has led me to realise that each element in my work needs to be complete – and stand as a finished work on its own.

The second point reminds me that the interaction with my blog/ documentary will determined on an individual basis – there will be a number of entrance points for the viewing of the work.

 

·      Delanty

·      Community is an idea that is constructed based on social relations

·      There is an ongoing question of what a community is and what it look like

·      Transformation and community are interlinked

 

These ideas are guiding principles in my consideration of how to arrive at my finished work and informs my approach to the survivors of the fire. The main difficulty for the project is that the Marysville I visited no longer exists. The question then becomes – How do I find people to talk to ? and how do I do justice to the seriousness of the situation?

 

Finally Delanty’s ideas influence my concept of my own experience and have the connection I have to Bush fire survivors

 

·      Virilio

 

         Cinematic presentations: sound, moving images, movie houses,

viewing screens and the content of these cinematic devices are inseparable from power, fantasy and the identity of a society and its individuals within it

 

Virilio’s idea deepens my thought about the fact that my work has power and this power is influential. My work maybe open to interpretation but is also aligned in the, ‘truth and the transparency of vision’. These ideas also invoke awareness on my part that my work is part of a long and strong tradition of:

 

1.            Narration and Narrative Structures

2.            Story telling

3.            Accounts – creating an account of reality

4.            Images and story telling – a dense history

         5.      Interaction – my work is being made to be transmitted

 

·      Vertov

 

·      “ capture fragments of actuality “

·      Record what is already there – look at what you see

 

Vertov’s direction has reinforced my determination to record and show what I discover and uncover rather than manufacture or define. His words are directions for the content of my documentary and the shape of it.

 

·      Marshall

 

·      Social Software enables interaction and this interaction in turn generates more interaction and so on

·      Social software offers the opportunity for viewers to become participants

 

Marshall’s thoughts have supplied a theoretical ballast for an experience that I wanted to include in my work. I was blown away by the extreme simplicity and et simultaneously the complexity of the Lost Zombies – GRID. This grid structures a level of interaction with the site, the concept to create a documentary itself. The work  is so appealing to me and the desire I have for – bush fire victims to be represented in the documentary. My deepest desire is for them to  be able to contribute their stories and add to the work in an honest and functional manner.

 

Lost Zombies, showed me how it can be done and Marshall

states that this ‘feedback’ methodology is valid within the wider communities of academia, business, society and within global online community as a operational device.

 

How are they relevant to the community and to the documentary project your Blog - provide a critical analysis of these ideas in relation to the community you are documenting

 

·      Manovich – The Formal Mechanism – The interface and the interaction with the interface are a constantly evolving relationship. This relationship is significantly contributes to the  qualities that define social software.

 

·       It is the very nature of the interface that demarcates it from other forms of social communication. The documentary  project is a direct engagement with social software tools – portable recording devices, file sharing software and so on and these tools decentralise the audience – from cinema or television set to individualise the reception of the work as the viewers can access the documentary in an a ‘persistent’ environment.

 

 

·      Delanty – Community - The shape and size of communities how is community defined? What are its characteristics? On what scale do communities operate? What happens when small communities are dispersed from their geographical origin? What happens to a community if its geography, environment, infrastructure and economy are decimated? These ideas have shaped the approach I am making to the content and direction of the content in my work

 

·      Vertov – Content - the nature of the content as shaped by the author. In Vertov’s case he talked of the role of the camera person as the recorder and this idea directly plugs in to the role I have designated for myself as the producer, designer, journalist, researcher and as a student. The documentary and the blog are being generated to capture and to collate the found word, belief, feeling, image, sound etc.

 

·      Virilio – Context, Social interaction- Virilio discusses the ongoing and traditional interrelationship between media forms. His particular focus is on moving images and their complex relationship with society and communities. Virilio makes a strong case for the simultaneity of interaction between the mechanism and the mind.

 

Thus in making my documentary I am in turn shaping how the community ‘feels’, about itself, I am in fact a participant in the communities construction of its own identity and in turn this is a powerful position to be in and this power needs to be rendered gently and thoughtfully.

Ideally, I will engage participants in a constructive enterprise of expression rather than generate fear or shock as in the Four Corners Documentary aired and presented on ABC free to air Monday the 28^th of April at 8.30pm about Marysville.

In this documentary the journalist was front and centre in an investigation of state processes and community concerns. I want take an approach we I as the director and filmmaker are less present in the documentary itself.

I want the social software tools to speak in that the voices of the 

community can ‘speak’ through these mechanisms to create and  

generate texture via their inherent forms – like the text and

and form of emails and recording of others.   

                

5.

How are you going to introduce these theoretical concepts in terms of the structure of your documentary or the argument you are proposing, how does the theory come in, and where/when?

 

·      The theory and the theorists chosen from the reading lists, lectures and tutorials and from my independent research are an intrinsic part of my work from the beginning to the end. The theorists are the architects of my project and I as the builder and designer are responding to their plans and blueprints and structuring principles.

 

·      Theorists such as Delanty, Manovich, Virilio and Vertov provided structure to the project and helped shape the content of the documentary. Whilst their observations, questions and arguments have determined the course of my research and in turn guided the formal aspects of my blog, my documentary or rather my blogumentary.

 

6.

What is the structure of the documentary – this could be a short treatment of the way you see your documentary unfolding?

 

·      The structure will be based upon the formal qualities of the blog

Template that is the format which determines the scale of the Blog, the font, the windows for text, the size of the images and so on.

 

·      The template is the framework that orders and structures the content of my Blog and this framework is a direct    representation of Manovich’s analysis of the interface and how the interface itself dictates interaction with the information contained within it – the interface is in itself a meaning generator because it dictates how content is shaped and secondly viewed.

 

·      Manovich illustrates that the nature and the form of the window interface is directly plugged into Western cultures visual syntax its modes and codes of expression and exchange, as such, these ideas have been added to by Marshall “the capacity of new media to personalise and customise content transforms the media experience fundamentally” (Marshall, p.22) “Feedback loops”

 

·      Both Manovich and Marshall have assisted me in my planning for the content of my Blog and documentary. That is to say – Manovich’s investigation of the non-linear narrative generated by the windows based interface, in turn, generates the personalisation of the narrative for each viewer and user.

 

·      The viewers personal interaction with the form of information contained in the Blog is an important determinant for the content

of both my Documentary and my Blog. Marshall ideas of personalisation through feedback loops is a significant factor in the determining the projects content and role - http://www.lostzombies.com/ is an example of a degree of interaction that is ideal for my project, in that, the Lost Zombies project is user generated and the viewers are actively encouraged to generate content for the Blog by Lost Zombies.

Importantly, the means and the mechanism for engagement are simple. Lost Zombies is a site that I would like to emulate on a much more humble scale.

 

·      Another influence on the structure and the nature of my documentary is Nick Broomfield’s work – I looked in to Broomfield’s body of work as I am dealing with logistical issues

in relation to Marysville – the diaspora of the populace, cost and time management to go to the site, as well, I have had to face  personal feelings in relation to the experience of surviving the fires.

 

Importantly, I also looked to Broomfield to assist me in an approach to my documentary participants – This is because I am not a Marysville resident – not a member of the community.

 So – How could I connect ?– How could I have the right to approach and engage in this very difficult and sensitive subject of fires, community, death, loss, fear and so on?

 

Broomfield’s documentary about Margaret Thatcher –Tracking Down Maggie, is a documentary about the search for the content it is a documentary about being outside a nexus, a niche community. Tracking Down Maggie is a documentary about  generating work from the outside and documenting the investigation itself. This concept and delivery is helpful to my perception of the work I can create and generate in that it creates opportunities out of closed doors. There is now content when there was previously none.

7.

What style is your documentary – you can refer to documentary theory as you know it; if not, discuss how you see the relationship between you the documentary maker and your subject, and how that will influence the work you produce?

·      The content of my Documentary will be sincere and respectful of the people who have been affected by the Bush fires. I want to show the human spirit and the beauty of nature in the face of adversity. I want to show the strength inside all of us and to document the manner in which a community can choose to regenerate through the management of loss.

 

·      I want to capture in layers and in textures and use the tools of the blog format as fully as possible, to express the complexity of human nature . To allow others to develop an understanding through dignity and respect. I want to generate an understanding of hope in the face of loss, determination, in the face of hopelessness and pay respect to the vulnerability, the fragility and the delicacy of life.

 

 

Examples of other documentaries will be useful -

 

·      There are two documentaries that I found online in the last four weeks that have influenced my considerations and planning for my work.

·      The first was Nick Broomfield’s website

     http://www.nickbroomfield.com/home.html

 

His documentary directly related to a question of approach and logistics when it came to trying to create a work about Marysville and the people evacuated from Marysville on Black Saturday.

 

·       Whilst researching social software, in particular relation to Blog content and layout I discovered another documentary that has had a direct influence on my documentary goals.

 

     http://www.lostzombies.com/

 

·      Lost Zombies is a site that contains a documentary and this particular documentary is constructed in a community-based format – using a participation format called the Grid.

 

·      People who are members send in footage or material that is in turn used to construct the documentary – the blog and its managers/designers provide the over arching structure the format for the content.  Lost Zombies is an excellent example of a collaborative and incorporative approach to user-generated content that is particularly appealing to me.

 

I will ask people to generate their own work and add this work into my documentary whether these are simply drawings, voice recordings, photos, texts or something more detailed as in the Lost Zombies this will be decided in the editing stage of the project after all the footage and sound has been captured, chosen and collated for 

selection.

 

TECHNICAL

 

8. What type of media will your documentary consist of (eg audio files, text, stills, video, animation etc)

 

My documentary will consist of a collage of: Text, Drawings, Maps, Photographs, Scanned objects, Audio Interviews, Audio sounds, Printed texts, Captured landscape footage, old maps reprinted, possibly, satellite imagery from Google maps and imbedded references to terrain from:

http://earthobservatory.nasa.gov/

I will also include portraits of the people I interview and meet. I want to use stills to create a rhythm in the documentary.

 

9. Given that your documentary will be published on line, how will you design the production, the design values, the palette, the content, the text font and scale with the images and sounds if used? How will you manage and how do you conceive of the post production values and what of these values will be appropriate – eg image size, frame rate, and copyright?

As a test I uplaoded a documentary about the community of St Kilda to You Tube. I have generated a link through Open Salon, so that my video can be viewed. This was an important process as I encountered several problems along the way - file size, time limits, You Tube associations versus Open Salon requirments etc. It was an invaluable experiment and it was also lovely to publish my previoous documentary so that it can act as a CV for people I approach for my bush fire/ Marysville documentary. 

 

1.     

The colour of the documentary will be shaped on complementary colour

principles.

 

2.

The design of the documentary and blog will based on the template – the window, in which, the information is viewed. The image and file size will be kept small and their size will be determined by the types and numbers of the peripherals used to capture and record sound and images in the creation of the documentary. Then, I will engage with the software used to generate the blogumentary. I will look in to and match its formatting requirements as these requirements will influence the size, scale and structure of my work.

 

3.

The font for my documentary will Arial as it is clear and contemporaneous. The text will be included on colour theory principles and in relation to the window it is viewed through the imagery is interdependent with the text and they together create a composition which is about meaning and the meaning of the meaning  – an example of this approach in my work can be seen within an entry in my Blog installed on the 01.04.09. The bulk of  the image is text from a newspaper I choose a font to accompany it, so as, to describe and acknowledge my source as clearly as possible – so that plagiarism is not an issue in my work.

 

4.

My interviewees will sign a release form and copyright will be adhered to by acknowledging sources  and by clear referencing. Or, if copyright is required I will follow the appropriate channels and follow procedures and protocols with the governing or officiating body.

 

10. What are your skills in making this type of media?

 

I have limited technical skills, but,  I have recorded footage on mini dvd and created images, sounds, and constructed text to, make short films. I have used a range of software applications for these projects because I have worked across Macs and PC platforms and applications. However, this time, I will construct my work on a Mac in entirety and only use the Mac applications I have on my machine – Quicktime, iMovie, GarageBand, iTunes, iPhoto,  and more.

 

I have been utilising my USB contention to download and upload images and sounds from my camera to computer. I also, have enabled Bluetooth for further options in file transfer.

 

11. Are you enlisting the assistance of anyone or employing a crew for the production of this documentary?

No .

 

12. Will you need to borrow any equipment from the applied communication technicians? If yes what will you borrow? When will you borrow it?

 

I have organised to borrow a sound recording device called a H2 ZOOM that Dean Keep recommended and this device is USB capable – to transfer files to my computer.

I have would like to experiment with this tool on the weekend of the 3^rd and 4^th of April, 2009 as a practice run for my project. I have had the appropriate documentation signed for the borrowing of the

SOLID STATE RECORDER KIT – H2 ZOOM from RMIT

 

 

PREMISSIONS

13.

The appropriate release forms have been provided by Jenny Weight and Dean Keep. I have a copy of the personal release form that I will use when I interview people for my documentary.

14.

No. I will not be interviewing any minors.

15.

I will negotiate permission on an individual basis and approach Murrindindi Council for permission or permissions to film in fire affected areas if required.

 

POST – PRODUCTION

16. 17. 18.

My Post – Production will be done on my Mac and this work will be a process of refinement, of tweaking the content as well as adjusting the assemblage of the said content.

The organization of the content of my documentary will be determined by the overarching principle of ‘recording actuality’, and the stylistic considerations of cuts, close ups, dissolves and framing will be dependent on the rhythm of, the images and forms, as well as, on the overall tone of the work.

The imagery and sound needs to be merged in to  a construction that is: aligned, arranged and adjusted, so that,  it is consistent with the overall meaning and premise of the work. The sound in an important layer in the overall impact of the work.

I have learnt that sound is intrinsic to understanding of and the  interaction with, a documentary by the audience. That sound quality is intrinsic to reception, so, my focus will be on manipulating the sound for clarity and for consistency with the intended meaning of the documentary.

In addition, I will experiment with recording and manipulating the sound and footage from my LG Viewty Camera, which makes movies, records sound and has hand writing capability.

 

PUBLICATION

19.

What social software environment will you publish your documentary to? Because Facebook, You Tube, Ning , Deviant Art, Experience Project    and Second Life are interoperable social networking sights that will support and display my blogumentary. I have to make a decision about which ones I prefer. I like to swim against the tide of popularity and there fore will keep away from Facebook. I appreciate You Tube for its ease of access and for its diversity, so, I will use it and I want to use Ning for my documentary because I read an article about social networking platforms and (API’s)by the founder of Ning –  it was well written and impressive in it’s clarity for a layman like me, so, I also want to use Ning in my work.

In addition, no one I know,  talks about Ning and for some perverse reason this appeals to me and makes me want to experiment with Ning.

 

20.

Is the media you are creating appropriate for that environment?

Yes

21.

Have you become a member of that environment?

Not to exhibit my work – like all sites that I have come across there are differently layers to the participation you can engage in and hierarchies of membership that determine you access to services, facilities and information. At present I am a member of Open Salon and have started a blog in that space.I will embed my film in You Tube and exhibit my work through a link to You Tube from my Blog.

 

22.

Have you done a ‘test’ publication?

Not of Video footage as yet, but, I have been testing colours for fonts, and finding out what is scannable and works on screen. I have been composing images and working at ways of including personal touches,

through collection and touch so to that end I used, the scribble tool for this assignment to demarcate my answers to questions in the CONTENT section of this assignment. I have also been recording different sounds with my mobile phone to test for quality and finally, I went to the Shire of Murrindindi to face my fears and to find out if I could even construct a documentary about Marysville. By facing the smell of fire that had haunted and overwhelmed my senses, and by returning to the burnt out landscape and looking around I then went around practicing recording techniques with my camera and car in a very small and tentative manner and in turn by visiting important sights and photographing them I realised I had the ability to document and create a documentary about the fires.

 

23.

Does the environment stipulate any limits to file size, file types etc?

Yes, all digital environments have requirements for uploading images and sound. For images jpegs are popular and in the case of my blog the image can be no larger that 2MBs. MOV files and VOB files are important for videos and sound can be manipulated and transferred in iTunes in to mpegs.

 

24.

Are there any competitions or other deadlines that the environment imposes? 

No.

 

LEGAL

25.

Have you got copyright permission for all the content you use?

The planned footage and sound will be generated by me, however, if my idea changes and I require someone else’s material I will apply for the appropriate copyright permissions.

 

26.

Do you have the appropriate credit list that attributes every work and everyone involved?

I have the beginnings of a list – people I have contacted and places I have visited that I will continue to build upon.

 

27.

Is there defamation and slander? – None is allowed.

No.

 

28.

Any other legal issues?

At present there are none that I am aware of, however, if an issue arises I will source relevant assistance and seek out appropriate documentation

 

RISK ASSESSMENT

29.

What are the most likely things that could go wrong with your project?

My hard drive could crash – so I will back up all that I shoot and create on an external hard drive. My car could break down and I would be severely restricted in my movements and ability to travel in Victoria. Or I could have an income drop and the luxury of travel may not be achievable?

 

30.

What is your back up plan if these things occur?

In regard to technology I will copy and save everything to an external hard drive.

In regard to my car – I will have to borrow a friends car and in regard to financial hardship, I’ll just find a way to move on and achieve what I need to; I have done it before - very good and kind friends are a bonus and a privilege.

 

PROJECT MANAGEMENT

31.

What date are you showing your rough cut?

We are all showing our rough-cut in week 12 we are now in week 5.

The date of the rough cut showing is 2oth of May 2009

The finshed documentary is to be handed in on the 27th 2009 

 

32.

What is the final date?

Is week 14, June the 9th

 

33.

When do you intend to start post – production?

As I film and record and assemble I will edit as I go to create an ongoing rough– as each part and aspect of the documentary needs to be complete. I will do a rough sketch of the whole work on the week of 11^th to the 18^th of May to test the flow and the content of the work.

 

35. Have you booked the technical equipment you need?

At this stage, yes.

 

36. How do these dates fit in with other deadlines for other subjects?

I have other subjects that have similar due dates and also complex work requirements. How, I am tackling these timelines is, to work consistently and chip away at the body of the work. In terms of the Transient Spaces work requirements, I have made tests in my Blog of ideas for textures in my documentary and I have made inclusions of ‘actuality’ by scanning in to Photoshop – forms and objects that connote and denote space as well as encapsulating my experience of both the bush fires and of the community that surrounded it.

Fore instance, I have scanned in the keys to the house at Marysville – that I thought would still be there the day after the fires. These keys  symbolise a great loss for me and also remind me that it is important to live each day fully, as there might not be another certainty to return to.

In formal terms the scanning of the keys works really well they look good themselves the metal works really well with the scanner and they add a sense of dimension another tactile layer to the other information I collaged together in the image for my Blog.

 

37.

 Consider talent availability and production timelines do these schedules match up?

I am not engaging talent in my project.