Our portion of the body assigned to us was the head and shoulders, and this led to some interesting ideas between me and my partner, Jack Van Tuyle (http://jackthomasvantuyle.weebly.com/). My 4 minute video is of me leaving the painting studio in Studio Angelico at night and heading to my dorm, a normal routine with a familiar setting. To make this video dynamic and interesting, a use of side and back shots were used, as well as walking in and out of different light sources. Changes made was we took an elevator instead of the stairs up to the 4th floor as we realized how time consuming and difficult it was to film me going upstairs while trying to keep my head and shoulders in view. We also decided that the video-in-video shooting would be during the daytime to present a heavy contrast between the two periods and light-intensities during the day. There have been changes that deviate from the storyboard's intended progression. These are a result of trying to keep the camera steady while trailing around corners, and mostly moving at a pace that feels natural and smooth, which we failed at. Filming the front of somebody while the person filming walks backwards proved to be much more difficult. As a result, neither of us were able to finish where we originally intended since we had to walk slow enough so that the person behind the camera could smoothly trail along. Jack's video, on the other hand, which only required a single 6 frame storyboard sheet to map out, is different. He decided that we wanted to be filmed at the cemetery in which his grandma is buried. What makes this particularly special is that this is the first time Jack has visited his grandma's grave since her passing. As a result, the video's main emphasis is on emotion and context. Jack becomes emotional during the beginning of the film, and from that point we don't get a front-head view of Jack for the remainder of the video, only back and side shots, which conflicts with what the original storyboard plan was, which was a constant frontal shot. Keeping Jack's full face out of shot adds emphasis to the ground, accented by Jack's natural movements, such as moving his hair, talking, and sniffing. There were undoubtedly faults on my part with shakiness and turning the camera, briefly putting Jack out of view, but I feel it to be further reinforcement on the environment around Jack, dark gravestones against snow. Another alteration is that we never made it back to my car in time as was originally planned in the storyboard. The dynamic in my film of him is of evocative power, while his video of me holds power in the changing background, the changing film shots (side and back), and the changing light sources. In the end, however, the entirety proved to be less than favorable. The far too many technical faults and manual faults while filming have lead to a piece that is lacking and nothing "exquisite" in my eyes. The bulk of this project that proved beneficial was the act of doing it all and experiencing it, not creating a note-worthy piece. NOTE1: We noticed major difficulty when filming the video-in-video portion. Indoors, it was easy and as expected, but when outside, the reflection from the filming device (Canon Powershot camera) filming the I-pod touch (which filmed both of the followings) was seen in the reflection, along with the blur from natural light. What made the subject matter even more indistinguishable was that the camera would adjust the brightness based on the center object's darkness, which was the Ipod touch's black screen, so the ground was practically all white, making it non identifiable and extremely difficult to follow the same path the original video (following) took. NOTE2: As of 2/21 Video in video filming was taken place indoors and outside at night so there was no glare or interference that would make the playback distorted or unidentifiable. Although the ground is nothing particularly interesting, the video plays clearly and smoothly, and, most importantly, the subject matter is apparent and clear. Leave a Reply. |
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