Gandalf the Grey (with added Dumbledore) | Merlin's Third Incarnation

Merlin by name wasn't used in mainstream, successful media for a significant amount of time. Possibly it's links to the British monarchy (or King Arthur, no matter how made up he may be) or because for a long time Hollywood was the leading distributer of films rather than the UK.

Of recent years the biggest, and most notable, incarnation of Merlin has been Gandalf the Grey from J. R R Tolkien's The Lord of the Rings series.

Seen here are some of the most notable quotes said by Gandalf throughout the series;

Throughout the series Gandalf, unlike many of Merlins incarnations is still learning. He lives amongst the elves to learn more until he ultimately reveals himself to one of the most powerful people in the world. However at first he is surpassed by Saruman, seemingly in power and in wisdom. But it is the lessons he receives from the people around him e.g. Elves and Hobbits that he becomes wise beyond his power. Which freaks Saruman out a little bit leading to this betrayal but that's a different story.

Gandalf is the perfect example of Merlin, wise beyond what the audience and himself believes him to be, kind and courageous (even if he needs a bit of help occasionally), old and grey with a rather long beard and the source of encouraging words. Merlin is the one with the answers when nobody else has one, he got those answers after many years searching through the woods/world and piecing it together..... sound familiar?

Sir Ian McKellen as Gandalf the Grey

Gandalf uses a staff to conduct his magic/rituals similar to what is shown in the early paintings of Merlin the druid. Tall and menacing when needed but also soft and understanding when taking into consideration the needs of those around him. Peter Goodrich has commented, "one of the most fascinating aspects of the literature on Merlin is its multiplicity and how it transforms the core details of his legend to create a panoply of mages who are remarkably varied" (Merlin: A Casebook) Gandalf is very much a creation of Tolkein under the influence of Merlin much more so than a version of Merlin Tolkien has worked around. Unlike a lot of the Merlin characters Gandalf is flawed and the flaw is in fact a big storyline for the series - Gandalf doesn't really have faith in his wisdom or powers, in fact he is scared of a lot of the situations he get's placed in. It's his closeness with others that give him the courage to believe and go fourth.

Gandalf's intentions are pure, he believes in the hobbits and their hidden abilities more so than his own, he believes in the average person (represented through the hobbits) and that's what draws readers/viewers too him. Viewers are drawn to Albus Dumbledore for slightly different reasons.

Albus Dumbledore is the headmaster of Hogwarts School of Witchcraft and Wizardry in the Harry Potter series. He is the source of all knowledge, the worlds protector and the only wizard to scare the great Lord Voldemort. When it is rumoured (or known if you're counting Harry himself) that Voldemort has/is planning to return to kill Harry Hermione says;

Because not only is Dumbledore the voice of reason and wisdom, he is also the most power wizard on earth and the only one Voldemort will not mess with making Hogwarts the safest place for Harry to be. Dumbledore does however have some faults, since he has this overarching wisdom he often makes decisions on behalf of the entire wizarding world. Decisions that weren't too great and there was probably another way to handle the situation. Including; leaving Harry with abusive relatives, not telling Harry about being connected to Voldemort, not telling Harry about horcruxes even though he knew were they were before he died and ultimately using Harry as bait to kill Voldemort. So nothing too major.

Audiences are drawn to Dumbledore because for the majority of the movies/books Dumbledore symbolises bravery and safety. Hence when Dumbledore dies the movies/books become very dark and unnerving - they don't have their protection anymore, they're on their own. Dumbledore resembles Merlin once again in looks but also in power and wisdom. He is often the person to tell you what you need to hear a the right time. J K Rowling has even gone on record saying that Dumbledore would often tell her what she needed to hear, like he came from the back of subconscious whilst writing. 

However it is the sheer power he possesses that connects him most directly with Merlin, the most powerful and knowledgeable man on earth with a traumatic past trying to do good. Now where have head that before?

Even though you could argue that Harry Potter himself resembles Merlin to some extent Merlin does actually have his own role by name in the series. The phrase 'Merlin's beard' is used to show amazement, The Order of Merlin is one of the highest organisations to be a part of in the wizarding world and it's a great honour to receive it. Merlin is the most famous wizard of all time and was apparently a charms specialist in Rowlings world - he was also a Slytherin. Nice to have some house diversity going on.....

Dumbledore is the only incarnation we see on screen that has the style of Merlin and the characteristics, Merlin has the name but no body, Harry has the characteristics in training to be come the next incarnation. But for now Dumbledore is the incarnation that is the most loyal to the idea and the most popular in the modern world. 

Plus when he breaks the rules he always leaves with a bit of flair.

Shakespearian Magic | Merlin's Second Incarnation

Did Shakespeare believe in magic? 

Rather unlikely.

However in renaissance England the belief that witches and wizards lived amongst us was real, which is a solid explanation of the sudden appearance of Merlin the wizard. 

In the original text/incarnation of Merlin it's never actually mentioned that he is a wizard or has any magic of any kind. It never occurred to people to ask how he was doing these amazing things until the renaissance because until that point the average person never really questioned the elders (elders being priests, older generations etc..). But the idea of Stonehenge being brought to England by magic was just too believable to question plus they didn't really have any other logical explanation. In fact that is a running theme within Merlin, he's always the answer when there is no answer.

John Dee: Mathematician, astrologer and magician.

John Dee was a mathematician, astrologer and magician known for standing alongside Queen Elizabeth I whilst demonstrating magic (but not official magic because that was punishable by death). She trusted him to the point of having Dee choose her coronation date after consulting the starts to make sure that the day was not going to give her and the country misfortune. 

John Dee was seen by many as one of the many incarnations of Merlin. 

Trusted by royalty but practicing magic of the Celtic religion. He also matches the new-age desciption of Merlin complete with the long white beard. 

It was also the age of the 'magical spectacle' in which characters like Shakespeare's Ariel was coming to stage and producing grand literary illusions. People weren't really scared of magic anymore they were entertained by it, but at the same time they didn't want to repeal the death sentence... so they just lightend it. Now people practicing magic would only be sentenced to death if they had injured someone, if you had just been caught using it then you would simply have a lifetime prison sentence. Which was nice of them. 

In regards to this project I see this stage as the true magical revolution, gone are the trees and suffering here you have magic and astrology. Out of this world understanding and amazement at magic, with just a hint of holding back. 

It was also in this era that some fairly standard imagery came into the idea of magic and superstitions in general;

Witches in the Elizabethan era

1. Using a broom to fly
2. Withes being old/haggard without a man to protect them
3. Women who live alone are withes
4. Known to keep animals, known as their familiar 
5. Brew potions over a cauldron (Wise women could mix herbs into different potions)

Whilst none of these directly address John Dee (because he was a man and women were the only ones seen to be evil enough to practice magic), it does give us an idea of how he went unseen for so long. 

1. Didn't fly.... in general.
2. Wasn't an old woman
3. He had a family, was married multiple times (not alone). 
4. Not known to keep animals.
5. Didn't create 'potions' he did however speak to angels/read the stars

So he wasn't a woman basically but that's an argument for another day. All in all this incarnation was a step above the other magicians of his time, meaning he got away with it. John Dee is the incarnation that started the idea of magic but didn't see it to it's full literary potential due to the fact that he was a real, documented person. 

I hope to take forward the higher quality of this incarnation, conducting magic but in a way that was widely accepted as truth in a world otherwise prosecuting people for attempting it. Merlin trying to help but still trapped within a social structure. 

The Creeping Waves....

Why does it suddenly feel like February is far closer than it actually is!

Anyway I'm currently on track to have the day-by-day breakdown for the film shoot by Next Monday (Nov 21st) which is good and makes everyone a bit less stressed. Just seeing everything planned seems to calm everyone down - me especially. 

Aside from that I've been working on the videos for the Indiegogo campaign. Having made one last year I realized that keeping attention is key so I had a look at some other campaign videos to see how they did it.  A short but sweet video, colorful and atmospheric, didn't give too much away but gave away enough to garner interest and high quality. To show we mean business. And also to make people trust us with their money.

This video uses footage shot on location by Klara and Tom, sound by Jonny and Duane, storyboards by Chris and excerpts of the script. A fairly good overview of the film I'd say.

A lot of this video was sheer gut instinct, I wasn't working with people (faces), I didn't have to worry about cutting people off on a strange frame or a blink. I did have to treat the locations almost as a character to try and relate what was being said and what was happening on screen. At the beginning I wanted the theatre to feel like a beach, the chairs being the waves, the stage appearing vast and open. I wanted the two worlds Logan inhabits to juxtapose to show her conflict - it may only appear that way to me but it makes sense in my head.

Video shot in G28 - this was originally supposed to join not he end of the other video but it didn't have the same atmosphere about it so it was decided that it would become a different video.

Once again it's keeping the flow of words rolling, keeping the audiences attention and ultimately showing that we are reliable (yet fun and semi-relaxed....) and just putting a name to a face. A lot of Indiegogos that don't have a personal touch to them don't do that well mainly due to the fact that people don't trust the internet itself, they do however trust the people on it. Occasionally anyway.

In this video Megan asked for a GIF however Adobe don't allow Mac users access to the GIF option? Not entirely sure why,  I did spend far too long looking for it, but I exported the video so that Megan can just drop this video into premier and make it into a GIF (hence the subtitles).


So that's my contribution to the Wallpaper campaign (along with my deadline submission). I hope you like it - the audience seems to have been happy with it if their donations are anything to go by! 

Download Knowledge from the Tree

Coming up the visuals of the piece is driving me slightly insane because I'm not sure I feel comfortable leaving it as a 'Radio piece with visuals' but at the same time I don't want to over estimate my ability to make something 'graduation show' worthy through animation.

As I learnt in Y2 my animation skills are few and far between with my actual design skills lacking more so. This is something I'm trying to fix but it's not something that I can change over night, hence why I'm playing to my strengths within technical drawings and abstract shapes. I'm aiming to have storyboards done for this piece around Nov 22nd with the hope of animating them to a brief soundtrack in time for assessment. But first I need to do some research, so here that is.

Flow, A Short Abstract Animation from Snowleopard24 on Vimeo.

Like here for instance, I love the ending scene with the pink plants glowing and swaying.

Still image from 'Flow, A Short Abstract Animation

I like the vastness of the image and the serenity it brings with it's colour. It feels magical but is also representing science and structure, with nature and the human body being represented through the organisms glowing like electrodes in the brain. To me this demonstrates knowledge something Merlin without fail has throughout history. It's a similar idea to Avatar (2009 Dir James Cameron) in which the Na'vi are creatures who can connect to nature and acquire (download) knowledge from their ancestors.

Avatar (2009) GIF Found here

Here the Na'vi connect themselves to nature to help save one of the films main Characters

Nokta . from Onur Senturk on Vimeo.

In this film I'm drawn to the fact that the sculptures created still feel real, the audience is connected to the object and enthralled by it, they want to know more. One of the aims I have with this project is to make people are curious as I was when I was first starting to learn about Arthurian legends.

Whilst researching I found a really interesting tutorial that I may have to look at soon so I'm keeping it here for safe keeping.

After Effects Tutorial - Abstract Plexus Shape from graphicINmotion on Vimeo.

What I'm getting from this (very brief) piece of research is the flow of the piece and the colours I'm aiming to use. The colours will change throughout the piece but this has helped a lot with coming up with the colour scheme and getting ideas of the motion of the piece.

I also think I'm going to come up a narrative/story/script to this piece to help it flow a bit better, that will be coming soon! 

Wild Man of the Woods | Merlins First Incarnation

For Merlin right now I'm still researching and pulling out ideas/legends that I can visualise myself, in my tutorial with Kathleen we were trying to distinguish what I was actually aiming for. What we came up with is as follows;

Merlin in the Woods by Alan Lee

These texts describe imagery and origin Myths of Merlin’s incarnations. Symbols such as dragons, speaking to apples, pigs. The work explores pantheism (I will understand this at one point.....soon). I want to concentrate on Merlins madness and disassociated states, which shamanic madness. Experimental radio piece with a moving image.

The piece will focus on several incarnations/states of the Merlin myth, some more visual than others, acting as a timeline to this legend as he comes into the 21st century.

Wild man of the Woods (14th Century Merlin)

Before wise old Merlin we have, crazy wild man Merlin.

'Did eat grass as oxen, and his body was wet with the dew of heaven, tell hairs were grown like eagles' feathers , and his nails like birds' claws' (Merlin: A Casebook)

'After the battle of Arfderydd (a real one, in c. 573) Myrddin is no longer in the world of lords and warriors, and ladies, but along, in nature; in self-chosen exile and weary melancholy he represents a wisdom that a reject his society and its values.'  (Merlin: Knowledge and power through the ages)  

Poems relating to this period (aka the few stanzas I can actually find);

Yr Afallennau 
(The apple trees)

I'm still hunting for the original poem, I can only find the first verse in Welsh.
A poem written as if form Myriddin's (Merlin) perspective

Awallen peren a tif in llanerch.
y hangert ae hargel rac riev Ryderch.

amsathir in y bon. maon yn y chilch.
Oet aelav vtvt dulloet diheueirch {ibid:, lines 35-38). 

(Sweet apple tree, growing in a glade,

a treasure hidden from the lords of Rhyddrech.

With a crowd round its base, a host around it,

delight to them, brave warriors.

Now Gwenddydd loves me not, nor welcomes me,

and I am hated by Gwasawg, Rhyddech's ally.

I have destroyed her son and daughter, 

death takes everyone; why does he not welcome me?

After Gwenddolau, no lords revere me, 

ano sport delights me, no lover seeks me out.

In the battle of Arferydd, my torque gold,

today I am no treasure to a swan-like girl.)

Yr Oianau (The Greetings)

I'm still looking for this one... I'll find it eventually.

Ymddiddan Myriddin a Thalsiesin 

(The dialogue of Myriddin and Talisen)

Conversation between Merlin and Welsh archetypal poet Tailspin, alter ego of Merlin,
 discussing the aftermath of the battle of Arferydd.

Seith ugein haelon. A aethan ygwllon.

yg coed keliton. y. daruuan 

(Jarman 1982: 2, lines 35-36).

(Seven score generous nobles went into madness; 

in Celyddon Wood they died.)

Cyfiesu Myriddin a Gwenddydd ei Chwaer

 (The conversion of Myriddin and his siter Gwenddydd)

Myriddin speaking from the grave about his death and the death of his brothers. 

Och annwylor oer esgar.

 gwedy dyuot yn drydar. 

gan unben dewr diarchal. 

dy ylodi y dan dayar....

Och leas di veduaeth.

neut ym dianmaeth.

hoet da adoet pandygir clot vino. 

pwy draetho gwir.

Olochwyt kyuot a thauot

llyfreu awen heb arswyt

achwdyl bun a hun breudwyt 

Marw morgeneu marw kyfrennin moryal. 

marw moryen mir trin.

trymaf hoet am dy [ad]oet ti vyrdin.

Digones douyd digued arnaf

marw morgeneu. marw mordaf.

marw moryen. marw agaraf (Evans 1911: 4, col. 583).

( [Gwenddydd]

Alas, dear one, for the separation; 

after going into battle

with a brave, unconquerable lord,

you will be buried under the earth....

[Gwenddydd]

Alas, for your death, mead-nourished one,

I am destitute (lit., ‘totally lacking in nourishment’); 

[There is] grief for [the news of] your death,

[You of] excellent fame, who utters the truth?

[Myrddin]

From a sequestered place rise up 

and speak of books of divine inspiration without fear,

and a tale of a maiden and a dream in sleep. 

[Gwenddydd]

Morgenau dead, strong Morial dead, 

Morien dead, the wall of battle; 

heaviest [is] the grief for [the news of] your death, Myrddin. 

[Myrddin]

God has brought death upon me. 

Morgenau dead, Mordaf dead, 

Morien dead, dead those that I love.)

Gwasgargerdd Fryddin yn y bedd 

(The Diffused Songs of Myrddin in the Grave)

Gwr aleueir yny bed.

a dysgwyt kyn seith mlyned. march marw eurdein googled.

Eryueis i owin owydyr gwynn.

gan rieu ryuel degynn.

myrdin yw vy enw uab moruryn (Evans 1911: 5, col. 584).

(A man speaks in the grave

what will come to pass before seven years: 

March dead, supreme lord of the North.

I drank wine from a splendid glass with resolute lords of war;

Myrddin is my name, son of Morfryn. )

Peiryan Faban

(“Commanding Youth”) 

Myrddin vab morwrynn oedd hebawc gwynn

pen vei yr rym wrthryn. ar ymdaraw

pan vei varw llonn pann vei ysgwyd tonn.

 pann vei waet callonn ky noe gilyaw.

O gof gyndoleu ae gyt gynedeu.

gwae vi am angheu hwyret y daw
 (Jarman 1951a: 105, lines 28-33).

Myrddin son of Morfryn was a white hawk (hebawc)

when the mighty battle would be fought,

when there would be joyful death, 

when there would be a broken shield,

 when there would be heart’s blood before he would flee.

Because of the memory of Gwenddolau and his kinsmen [?], 

great misery to me for my death-how slowly it comes. 

As per usual I'm still reading but this is the one incarnation that I believe leads to the rest existing, it's interesting and gives some amazing visual aids such as the white hawk. Whilst I've been researching I'm been making notes of key areas I would like to look further into.

My next venture is into renaissance Merlin complete with John Dee and Shakespeare (because what project of mine would be complete without Shakespeare).

Not just a war film

When I first read the script I was thinking very literally about the soundscape, war sounds v city sounds but then I started thinking more about the perspective of the soundscape. Just as the visuals have a perspective so does sound, I started thinking about Jules' perspective on the situation and what she herself would remember and how her emotional connection to the event would change the soundscape.

For me there is 3 key areas I need to look into for this to work as I planned; London life, Lebanese life and emotional connection to event. 

London is pretty easy to figure out, London has a distinct sound within film (however it can sometimes be confused with NYC, I'll watch out for that). The strange thing about London in films is if it is not about the royal family is London as a character tends to take a backseat whereas places such as New York are always seen as a main character. Yes I know referring to places as characters is strange but it makes sense to me, moving on.  What I do like about London is it's seemingly politeness in film, possibly due to the American understanding of British customs, the sound in London is not often over powering. The human characters are in control.

Here the character are controlling the scene and the city is just in the background reminding us that they are in fact outside and probably very cold. The quietness can also be seen as a reflection on the main characters mindset at the time. She is completely focused on the other characters in the scene, the city has no real influence on her at this point meaning the sounds quite rightly fade into the background.

I first noticed this when watching Brooklyn (2015) one of my favourite films, simple and elegant the film uses sound to reflect where Eilis's heart is at the time. For instance when she first arrives in Brooklyn the noises of the city overpower her as she is yet not comfortable living there. In fact it isn't until her mini-breakdown happens and she enrols in the college that the noise's start subsiding and softer, less industrial sounds come in such as birds and children. This becomes the norm as she finds the romance she had been hoping for but as soon as news of her sisters passing has her returning to Ireland she experiences the reverse. 

When she arrives back in Ireland her heart is back in Brooklyn wit her now husband, so the sounds are industrial and strong. She's no longer as comfortable in Ireland as she once was. This however starts fading into the softer tones but never quite does completely as she moves back to Brooklyn before allowing herself to get too comfortable in Ireland. 

I like how in this film the distinction between places is also effected by the characters point in the story, how we as humans perceive sound changes deepening on our mindsets. Those who are consumed by something and aren't present in the moment do not hear anything above the noise. Noise being the sounds the city makes whether you are there or not so cars, airplanes, general public, walking, street lights, boats (on the Thames) and technology (phones, pagers in 2001 and radio). When they become present in the moment conversations happening around them become clear, laughter is heard, nature becomes prominent and their perception of the world changes. They become more observant and welcome in the stimulation of the senses rather than when they are preoccupied and are trying to rid themselves of distraction. 

When trying to get an idea of how the flashbacks should be treated I watched The Bourne Ultimatum, how the run up to the flashbacks are treated and the transition in and out. 

Enhanced surrounding noise, Footsteps prominent, Industrial sounds, Low music, Heightened senses. Flashbacks loud, Distorted sound, Strange panning (seems distant), No connected voices, Heavy breathing, Echo, Reverb. Poignant change of sound between reality and flash back, sensory overload even when not in shot and always hearing heavy breathing even when not in shot. 

I think the war aspect is almost the easiest, everyone knows somewhat what a war sounds like for the media is saturated with it. What they don't know is this one perspective of the war and that's how the audience is going to engage properly. They need to be surprised with what they hear, not because of the sounds themselves but the way they are treated within the life of Jules. 

The 8 hour movie

Stranger Things (2016)

Stranger Things is one of the latest hits to come out of Netflix this year and Megan asked me to watch it as it was a reference she used when writing the script for Wallpaper. So I watched it. It's a little hard to get into at first (for me anyway but that could be my inner sceptic coming out) but overall it's a great series and I can't wait to see what season 2 brings... and explains.

As an Avid editor I follow a lot of the Avid Blogs, websites and have a subscription to their email service - then the other week I got an email through talking about the fact that Stranger Things was actually edited on Avid and they were going to have a Q+A with the editors live on their website. So I set the date and watched the entire thing, I even asked a few questions regarding Avid itself. 

Below are the notes I took whilst in the webinar (I was mainly listening to advice on editing itself rather than show specifics, they spoke a lot about how they got to where they are in the industry etc...) and the webinar is available online now so I can go back and re-watch.

Stranger Things Webinar Notes

Kevin Ross - Editor

Dean Zimmerman  - Editor

Kathryn Naranjo  - Kevin AE

Nat Fuller - Dean AE

Notes;

• Edited as 8 hour movie rather than episodic
• Organic appearance on 80s films
• If someone is looking one way, they are still looking that way in next cut
• Don’t cut on a blink
• Shot at 6k quicktime, imported at 4k DNX files
• Animatte - 5 sec freeze frame on cuts

Inspiration

Edgar Wright

Directors didn’t give visual aids for editors, gut instinct.

Transitions

Sprinkler - EP1

Hamburger Patty - EP1

Sound design aiding transitions 

Favourite scene

Dean -
EP 1 Dinner table scene, Will was taken

2 year old cut away, when everyone going crazy

Reversed cuts (Bag of tricks)

Turned into comedy scene, wasn’t touched after editors edit.

Kevin - 
Holly get’s up and follows christmas lights

How much monster

Why didn’t Joyce see it

Finishing process

Feature workflow

THEY SHOT IN 6K WHO DOES THAT!

Anyway moving on....

The main reason Meg asked me to watch was for the pacing and the story development but it's been very interesting to hear the reasoning behind the edits. From what I heard a lot of what they did was based off instinct. They even alternated episode edits between editors and they just happened to have the same way of handling the footage to the point that they didn't have to change anything to make it look seamless. 

One of the big things I took away from this was the idea that they treated the project as one long movie, albeit a 8 hour movie, but a movie. Which is why I believe I like the pacing of the show, they don't rush things but they also don't linger too long because people would get bored (especially at the beginning when they aren't as invested in the characters as they are at the end).

Stranger Things (2016)

So that's a small chunk of my research for my role, I believe a lot more will come after Christmas when I have footage to work with. Right now I'm focusing more on a possible sound edit (I know I'm not sound designer but it's easier to edit together a soundscape than it is to wait for footage - I'll figure something out for assessment).