My visit on Friday, April 21st, 2017 to the museum of the moving image (MOMI) located in Astoria, Queens, NY was indeed a wonderful experience. This visit granted me the opportunity to see and learn about the museum. With such a magnificent and beautiful design and setting, the museum is dedicated to educating the public …
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My visit on Friday, April 21st, 2017 to the museum of the moving image (MOMI) located in Astoria, Queens, NY was indeed a wonderful experience. This visit granted me the opportunity to see and learn about the museum. With such a magnificent and beautiful design and setting, the museum is dedicated to educating the public (residence and tourist) about the history of film and television arts and how these medias’ have impacted popular culture as a whole.
The museum of the moving image was established in 1988 in Astoria NY. This museum is a rebuilt portion of what we once knew as Paramount pictures Astoria film studio. It houses numerous collections of about 80,000 artifacts that are related to the art and history of motion pictures. Below are three different interface platforms technologies in moving images among many that I experience upon my visit to the museum.
A Set Plan Platform
This Set Plan Platform is nicely and creatively designed, and it maps out the different set locations and venues that different movies such as TAXI DRIVER was shot in 1976. It displays locations where scouting for movies were done, and also locations where transcripts of recordings was done to make the dialogue in Taxi Driver movie. Such transcript recording location includes the Belmore Cafeteria, which on April 29th, 1975 was used to make the dialogue in Taxi Driver (1976). To make this dialogue as authentic as possible, screenwriter Paul Schrader recorded conversations among taxi drivers at the Belmore Cafeteria on 28th Street and Park Avenue South in New York City. This comment from the recording was used in the film: “One guy just cut up. Cut off half his ear. Didn’t even want to rub him. Just work him over.” Martin Scorsese Collection, Loss Angeles.
Automated Dialogue Replacement Platform
At this interactive platform, I experimented in the above ADR studio by re-recording the recording of the dialogue of PRINCE AKEEM (Eddie Murphy) “Coming To America” which states “ I have recently been placed in charge of garbage. Do you have any that requires disposal? We’ll, when it fills up, don’t be afraid to call me. I’ll come take it out most urgently. When you think of garbage, Think of Akeem!” This dialogue can be re-recorded in a studio after filming is over. This process is called Automated dialogue replacement (ADR) or Looping. ADR is used when a film is doubled from one language into another. In the ADR studio, a brief films segment is made into a loop and projected repeatedly so that the actor can get a feel for the Scene rhythm. The actor must then speak the lines in exact Synchronization with the image on the screen.
Editing Live Television Platform
Despite the fact that there was no practical interactive re-enactment of the Editing Live Television at the museum for me to experience with, I still choose it because it was an actual project that I just completed as my midterm exams for my Television Production class (CT 205). Here, I watched how a live television editing was done professionally at the CITI FIELD while a live baseball match is going on and it really enlightened me on what it takes to perform editing for live television live. A Live Television Production, recorded in real time must be “edited” as the action occurs. In such situation, for example, sports event, news programs, and talk shows – the editorial function becomes the province of the director.
The director’s job is to select the shots that are actually seen on air, multiple cameras run continuously. In the control room, with its bank of monitors, the director watches what each camera is seeing and, via headset, instructs the camera operators and other technicians to, for example, move a camera, change focus, or prepare a close-up. They respond immediately. Special graphics elements, previously recorded sequences, and instant replays are incorporated into the live action at the director’s discretion.
In conclusion, it is really amazing the role that The Museum of the Moving Image plays in helping educate and advancing the understanding, enjoyment, and appreciation of the art, history, techniques and the technology of film, and television and digital arts and media by its constant showcase of educational programs, exhibitions and great works of moving image. The design interface and design user experience at the museum are a great tool employed and used by the museum to constantly educate the public, thereby contributing immensely to the growth and advancement of moving image.