How did thinking in terms of shots and scenes influence your approach to communicating your design concept?I think that using a cinematic language of framing gave me pause for thought as to which aspects of the concept were most intuititve because I had to figure out how to effectively convey functions visually within very few frames. It was actually the exercise of inserting the personas into the scenarios and marrying them together with design concepts that actually helped me to explore my ideas with more clarity and notice additional user needs. In shory, I had been thinking of my concepts in a vacuum, but through storyboarding I contextualized them for the first time and this revealed new design opportunities.

What motivated your choice of storyline structure? Can you think of an exemplar from a film that uses the same structure? From the beginning I had a vision in my minds eye as to what my storyboard should look like sequentially, but learning the different type of shots that are used helped me to refine my ideas by being more aware of how to steer the audience’s thinking and direct their focus to certain features of my design concept using visual cues and framing devices. The sequence I settled on started with an accident to grab the viewer’s attention and engage them via a sense of drama, before going on to create other vignettes of applications of the concept. This is a Hollywood trope, but it doesn’t relate to any one source in particular. During class, my group used the 6-question technique to challenge the initial sequence we had in mind, by working with team members to play around with different sequential options and hear their ideas.

What choices did you make about audience and style? Were they related? Accessibility is a key priority for the design concept my team will be presenting: a device to aid road-safety training for floating populations and new migrants to Sydney; the product focuses on increasing competency to overcome fear. Therefore, a low-fi aesthetic and relatable contexts were chosen, with a friendly narrative. This is opposed to a slick aesthetic and emphasis on luxury features that I may have selected if I were targeting an affluent audience with a high-end product.

References: Tognazzi, B. (1994). The ‘Starfire’ video prototype project: a case history in Proceedings’    visited 10/10/16