"A brief is basically a set of instructions that set out what you want your designers to do, along with the objectives and parameters of the design project.
It should make clear what falls within - and outside - the scope of the work. This will help everybody refer back to where they started and make sure that the design work is developing according to your objectives.
It will also help you determine how successful the project has been when you reach the end. ...
Unfortunately, all too often briefs are agreed verbally - but a well-considered brief can act as a general grounding document if the project appears to be heading in the wrong direction, so it's well worth putting something in writing.
And remember, the brief isn't carved in stone; it can be adapted as you go along, as long as it's done in collaboration with everyone involved and the new version is also written down."
(Design Council, UK)
"The project has given me a close insight to working with new people and having a responsibility within a crew. I feel as though my knowledge has excelled in the moving image area. I discovered that so much hard work and effort goes into a short five minute production."
(Zoe Stroud, 2012)
Fig.1 This short film called "Last Chance" (2012) was created as part of the coursework for the 1st year Design Practice 2 module in the BA (Hons) Multimedia programme at Nottingham Trent University (UK).
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(Start JudgeGill, UK)
"We have created this free guide to explain the process of finding and working with a designer - focusing on your needs and ensuring you get the most out of the project."
(UK Design Council)
Fig.1 "Briefing a Design Team" [http://www.bigstockphoto.com]
"The basic idea of the project is built upon the consideration of creating a moving sound sculpture from the recorded motion data of a real person. For our work we asked a Laura Keil, a berlin based dancer to interpret a musical piece - Kreukeltape by Machinenfabriek - as closely as possible with the movement of her own body. She was recorded by three depth cameras (Kinect), in which the intersection of the images was later put together to a three-dimensional volume (3d point cloud), doing so we were able to use the collected data throughout the further process.
The three-dimensional image allowed us a completely free handling of the digital camera, without limitations of the perspective. The camera also reacts to the sound and supports the physical imitation of the musical piece by the performer. She moves to a noise field, where a simple modification of the random seed can consistently create new versions of the video, each offering a different composition of the recorded performance. The multi-dimensionality of the sound sculpture is already contained in every movement of the dancer, as the camera footage allows any imaginable perspective.
Similar to painting, a single point appears to be still very abstract, but the more points are connected to each other, the more complex and concrete the image seems. The more perfect and complex the 'alternative worlds' we project and the closer together their point elements, the more tangible they become. A digital body, consisting of 22 000 points, thus seems so real that it comes to life again.
Using 3 different microsoft kinect cameras the movement of the dancer was recorded into those 3d pointclouds that were synced and exported as one large dataset as Krakatoa particle files to be loaded into 3ds max for further rendering and creation of the 3d scene including the camera movement that is controlled by the audio as well."
(Cedric Kiefer and Julia Laub, onformative a studio for generative design)