For this assignment, I used a Canon 350D camera with a Canon EF 28-135mm lens and a tripod. My goal for the sequences was to convey the immensity of expansive spaces while using the vertigo effect to create a hightened emotional response to the subject in the forground. Bibliovertigo This sequence was shot in the back of the engineering library in Wean Hall, which I'm convinced has one of the longest rows of book shelves I've ever seen. Therefore, I wanted to emphasize the magnitude of information that is contained in this space, which is suggested by the open book that my friend is reading. (There's so much knowledge in that one book, imagine how much is contained in all of the books in this shot combined! Technically, I shot this sequence by starting up close and slowly moving the tripod away until I was at the limit of the camera's zoom. I tried to keep the tripod's legs lined up with the bookshelf on the right and the focus points in the camera's viewfinder lined up with my friend's shoulder and the corner of the book in order to create a steady sequence of shots. It was fairly successful for a first try, but about halfway through I accidentally shifted the camera's position on the tripod, which caused a little bit of a hiccup. Beauty and the Beast This sequence was shot in the main hall of the Cathedral of Learning. My idea for this one was to take an expansive space and make it smaller, thus commenting on a possible story behind the rose left on the table. The emotional significance of the rose could make everything else seem trivial as the cathedral collapses in the background, or perhaps the recipient felt a suffocating panic due to the giver's identity (or lack thereof). Shooting this sequence was interesting because although I started as close as possible, I only moved back about half the distance that I could have. After doing two test shots seperated by a little under a meter, I realized that the background perspecctive was changing extremely quickly due to its distance from the camera. Therefore I only moved the tripod back about four inches between each shot, which made the compiled animation much smoother. Still, it's not completely smooth--a dolly would have really helped. Thank you to Dave Tu for posing in the first sequence and helping me transport / set up equiptment!