Please feel free to leave any comments you wish to make :)
Tuesday 16 December 2008
Monday 15 December 2008
Experimental Video Evaluation
I believe overall my experimental video has been a great success. From the beginning stages right up to post production and even into the exhibition of the piece, everything seems to have run smoothly, with my feedback being extremely positive.
I almost instantly came up with the idea behind my video as soon as we were told an experimental video was going to be the term long task for the class. Whilst watching the six experimental examples; Koyaanisquatsi, Telling Lies and The Girl Chewing Gum, to name the most prominent, I was already conjuring up ideas of how I was going to make my video stand out from the rest of the class, and deliver that unique edge or twist to it that would give the video it's own individual status.
I believe I was able to achieve this goal in the final presentation. Creating the storyboards and constructing a narrative leading up to the inevitable lose of sight really gave light to what I had planned. Before that, my concept was merely an idea spinning around in my head with an endless number of outcomes or possible twists, ranging from witnessing pictures of the devil, randomised colours, irritating noises which would hopefully creates a sense of annoyance or frustration and uneasiness that would be an effective way of conveying how those first few minutes of losing your sight must feel. Only after I had sat down and seen first hand what was actually possible in the filming time allocated and what was simple fantasy, could I then begin the paperwork.
Luckily I had managed to stick close to my original ideas for the video. I knew the subjective view point wasn't a bandwagon people were all going to jump into instantly, so being able to pull the view off as well as I think I have been able to really has created some leverage for the piece, personifying the camera. Something difficult to do when there is no identity, yet the feedback indicates that this was picked up on whilst watching; 'You feel for the person and get an understanding of what its like to be blind'
The various mixture of noises, which on their own aren't particularly note worthy or special, came together fantastically and formed a noise suitable for the over exaggeration of everyday sound I was looking for; a point picked up on by those viewing my video as they expressed the crucial frustration that was pinnacle to the viewers thoughts and feelings towards the video. 'He's missing out on what everyone else is looking at/doing, so feels outcast and isolated'
Yet I can't simply put those feeling down to the noises themselves. The sudden, unexpected change to the black screen with unclear grey swirls floating around created an almost mesmerising pattern. Something I hadn't intentionally sought until I had read my feedback, which credited the sponteneity of the moment. Without the sense of uneasiness and isolation or the hypnotic effect it seemed to have, the video would have been nothing more than sounds on a black screen with no emotional attachment or greater meaning.
Before I allowed my audience to watch the piece, I allowed them to experience blindness first hand, if only for a minute or so. I blindfolded the viewers one at a time and lead them into the dark room. As they entered, a soundtrack of an ordinary everyday street was playing in the background; ideally representing their walk to the station as I sat them down and starting the video. As the piece begins with a fade in transition, beginning the video immediately after removing the blindfold really puts the viewer in the characters shoes as they are readjusting their eyes to the darkness at the same time as the on screen character. As noted by one of my audience members. I am sure that without this experience, the audiences' ideology of the loose of vision would have been contaminated.
This is the reason why I asked in my questionnaire what their views on blindness were and how they may have changed after viewing the video. Most people seemed to agree that a blind man 'saw' nothing whilst another raised an interesting and certainly credible point that it may change depending how severe the blindness is or what caused the circumstances; be it through illness or accident.
Although the feedback wasn't all positive; one criticism I received was that the black screen went on for longer than was necessary to convey the message. I am open to all forms of critic and I understand his point. At the time of editing I thought it suitable for the needs to the project to use as much of the time as possible. Pushing the boundary to allow the viewer to gradually warm to the idea that they were now permanently blind, that this is now how their life is and they have to act and feel as normal as possible with the disability they have reluctantly received. So in fact this also has a positive effect on how the audience preceived my video. It is definitely a point to bare in mind when I move onto my next project. Just because there is a maximum video length, doesn't mean that the video has to fulfil that exact time.
Creating an experimental video has shown me how complex something apparently so simple can be. It still takes a certain amount of time, dedication and thought into producing a piece that seems to random once put together correctly. It has certainly proven in itself to be a great learning experience with not only positives to maintain throughout my work, but also negatives that will help me improve as a film maker and student.
I almost instantly came up with the idea behind my video as soon as we were told an experimental video was going to be the term long task for the class. Whilst watching the six experimental examples; Koyaanisquatsi, Telling Lies and The Girl Chewing Gum, to name the most prominent, I was already conjuring up ideas of how I was going to make my video stand out from the rest of the class, and deliver that unique edge or twist to it that would give the video it's own individual status.
I believe I was able to achieve this goal in the final presentation. Creating the storyboards and constructing a narrative leading up to the inevitable lose of sight really gave light to what I had planned. Before that, my concept was merely an idea spinning around in my head with an endless number of outcomes or possible twists, ranging from witnessing pictures of the devil, randomised colours, irritating noises which would hopefully creates a sense of annoyance or frustration and uneasiness that would be an effective way of conveying how those first few minutes of losing your sight must feel. Only after I had sat down and seen first hand what was actually possible in the filming time allocated and what was simple fantasy, could I then begin the paperwork.
Luckily I had managed to stick close to my original ideas for the video. I knew the subjective view point wasn't a bandwagon people were all going to jump into instantly, so being able to pull the view off as well as I think I have been able to really has created some leverage for the piece, personifying the camera. Something difficult to do when there is no identity, yet the feedback indicates that this was picked up on whilst watching; 'You feel for the person and get an understanding of what its like to be blind'
The various mixture of noises, which on their own aren't particularly note worthy or special, came together fantastically and formed a noise suitable for the over exaggeration of everyday sound I was looking for; a point picked up on by those viewing my video as they expressed the crucial frustration that was pinnacle to the viewers thoughts and feelings towards the video. 'He's missing out on what everyone else is looking at/doing, so feels outcast and isolated'
Yet I can't simply put those feeling down to the noises themselves. The sudden, unexpected change to the black screen with unclear grey swirls floating around created an almost mesmerising pattern. Something I hadn't intentionally sought until I had read my feedback, which credited the sponteneity of the moment. Without the sense of uneasiness and isolation or the hypnotic effect it seemed to have, the video would have been nothing more than sounds on a black screen with no emotional attachment or greater meaning.
Before I allowed my audience to watch the piece, I allowed them to experience blindness first hand, if only for a minute or so. I blindfolded the viewers one at a time and lead them into the dark room. As they entered, a soundtrack of an ordinary everyday street was playing in the background; ideally representing their walk to the station as I sat them down and starting the video. As the piece begins with a fade in transition, beginning the video immediately after removing the blindfold really puts the viewer in the characters shoes as they are readjusting their eyes to the darkness at the same time as the on screen character. As noted by one of my audience members. I am sure that without this experience, the audiences' ideology of the loose of vision would have been contaminated.
This is the reason why I asked in my questionnaire what their views on blindness were and how they may have changed after viewing the video. Most people seemed to agree that a blind man 'saw' nothing whilst another raised an interesting and certainly credible point that it may change depending how severe the blindness is or what caused the circumstances; be it through illness or accident.
Although the feedback wasn't all positive; one criticism I received was that the black screen went on for longer than was necessary to convey the message. I am open to all forms of critic and I understand his point. At the time of editing I thought it suitable for the needs to the project to use as much of the time as possible. Pushing the boundary to allow the viewer to gradually warm to the idea that they were now permanently blind, that this is now how their life is and they have to act and feel as normal as possible with the disability they have reluctantly received. So in fact this also has a positive effect on how the audience preceived my video. It is definitely a point to bare in mind when I move onto my next project. Just because there is a maximum video length, doesn't mean that the video has to fulfil that exact time.
Creating an experimental video has shown me how complex something apparently so simple can be. It still takes a certain amount of time, dedication and thought into producing a piece that seems to random once put together correctly. It has certainly proven in itself to be a great learning experience with not only positives to maintain throughout my work, but also negatives that will help me improve as a film maker and student.
Saturday 13 December 2008
2.3 - Post Production Diary
I began my post production the day after filming; 26/11/08 and ran on through until the 5/12/08 using the emtire allotted time space to work on my video and to make sure it was as technically sound as possible before exhibition week. I uploaded my footage from the camera onto iMovie HD provided by the Colleges own MAC PCs
I didn't really have many problems at all when editing my work together. As my video was filmed in only one take, the only problem I really ran into was finding a good time to stop the video, as I obviously didn't want the video to cut out mid sentence otherwise the entire video would have lost its source of credibility. Fortunately I was lucky enough to be able to cut my video at exactly 5 minutes (The time limit for the piece) due to the audio effects I had added in; distorting the voices.
Once the length had been decided, I followed my storyboard to find the point at which I had planned for the vision to go completely, with the occassional blur before hand to show the audience that something wasn't quite right. After peering down at the hand, the audio begins to play a very heavy and important role in the film. I had intended to make the audio as uneasy sounding and as frustrating for the audience to listen to as possible, with the intention of exaggerating everyday sounds due to lack of real identity. A varied mixture of high pitched noises, alarm bells ringing, different pitches of static and a very eerie instrumental along with deepened voices, juxtaposed with a black screen with white blobs bouncing around in either a calm or frantic manner of movement, really helped create and emphasis a sense of tension and fear in the video.
A problem I did encounter during post production was the insertion of the title. I didn't want to make a huge show out of it becuase I wanted the experience to feel as authentic as possible without any distractions. Luckily for me, there was an ideal spot to quickly flash the title 'Mindset' on screen when I was forced to make a cut due to a Media student arriving unexpectedly. It worked well as a filler between cuts and a reason for the time lapse and change in camera positions.
Once the title had been added, I played the video over to myself many many more times to ensure everything was as I had expected and was to a pleasing quality. The final step was to then compress the movie and burn it onto a DVD ready for exhibition week.
I didn't really have many problems at all when editing my work together. As my video was filmed in only one take, the only problem I really ran into was finding a good time to stop the video, as I obviously didn't want the video to cut out mid sentence otherwise the entire video would have lost its source of credibility. Fortunately I was lucky enough to be able to cut my video at exactly 5 minutes (The time limit for the piece) due to the audio effects I had added in; distorting the voices.
Once the length had been decided, I followed my storyboard to find the point at which I had planned for the vision to go completely, with the occassional blur before hand to show the audience that something wasn't quite right. After peering down at the hand, the audio begins to play a very heavy and important role in the film. I had intended to make the audio as uneasy sounding and as frustrating for the audience to listen to as possible, with the intention of exaggerating everyday sounds due to lack of real identity. A varied mixture of high pitched noises, alarm bells ringing, different pitches of static and a very eerie instrumental along with deepened voices, juxtaposed with a black screen with white blobs bouncing around in either a calm or frantic manner of movement, really helped create and emphasis a sense of tension and fear in the video.
A problem I did encounter during post production was the insertion of the title. I didn't want to make a huge show out of it becuase I wanted the experience to feel as authentic as possible without any distractions. Luckily for me, there was an ideal spot to quickly flash the title 'Mindset' on screen when I was forced to make a cut due to a Media student arriving unexpectedly. It worked well as a filler between cuts and a reason for the time lapse and change in camera positions.
Once the title had been added, I played the video over to myself many many more times to ensure everything was as I had expected and was to a pleasing quality. The final step was to then compress the movie and burn it onto a DVD ready for exhibition week.
2.3 - Production Diary
My video production took place on the 25/11/08. My initial storyboard idea is slightly different to my final video. In my storyboards, I planned the journey on a bus, but later realised that I would have run into some financial difficulties and budget constraints had the filming gone wrong in any way due to having to pay for the bus each time.
The problem was solved simply enough by editing the pictures so my video now took place at the train station. The only contraint to this idea was gaining permission to film. Before I could begin filming on the Horsham train station I spent about 30 minutes talking to various people on the station about permission. Once everything had been cleared up with the officials I was free to film in a two hour period between 7am and 9am, just as intended due to the peak travelling time.
My production and video shoot was all carried out in one take. As this was the only chance I was able to get to do my filming, I couldn't afford any serious problems. Fortunately I didn't come across any technical issues from the camera or any physical difficults related to the general public; as the public have a tendancy to look at cameras whilst being filmed. I was able to pick up my bag (Originally scripted as my jacket but realised it would be too difficult to put on whilst also holding a camera) and find an empty seat on the train.
If anything, I believe people looking at the camera became a very effective tool for the Point Of View my video is shot in, becuase it gives the viewer a sense of person and that they really do exist in the world due to the acknwledgement from the public around them.
The only slight hitch was the unexpected arrival of other Media students travelling to College on the same train. At the time I believed my filming attempt had been jepordised as I originally planned to be on my own. yet carrying out a natural conversation in the subjective camera added to the realism of the piece.
The problem was solved simply enough by editing the pictures so my video now took place at the train station. The only contraint to this idea was gaining permission to film. Before I could begin filming on the Horsham train station I spent about 30 minutes talking to various people on the station about permission. Once everything had been cleared up with the officials I was free to film in a two hour period between 7am and 9am, just as intended due to the peak travelling time.
My production and video shoot was all carried out in one take. As this was the only chance I was able to get to do my filming, I couldn't afford any serious problems. Fortunately I didn't come across any technical issues from the camera or any physical difficults related to the general public; as the public have a tendancy to look at cameras whilst being filmed. I was able to pick up my bag (Originally scripted as my jacket but realised it would be too difficult to put on whilst also holding a camera) and find an empty seat on the train.
If anything, I believe people looking at the camera became a very effective tool for the Point Of View my video is shot in, becuase it gives the viewer a sense of person and that they really do exist in the world due to the acknwledgement from the public around them.
The only slight hitch was the unexpected arrival of other Media students travelling to College on the same train. At the time I believed my filming attempt had been jepordised as I originally planned to be on my own. yet carrying out a natural conversation in the subjective camera added to the realism of the piece.
Wednesday 10 December 2008
2.2 - Mindset Questionnaire
These are the question I am going to ask the audience of my video after they have viewed it.
Did you like the film? Yes/No
What do you like or dislike about the film?
What do you believe the main idea of the film is?
What are your self-collected beliefs on the loss of vision?
Does the video challange your interpretation of what it's like to lose your sight?
If so, how so?
If not, why not?
How well do you believe the film conveyed a sense of frustration and annoyance?
Any other questions and comments?
After I have collected some opinions, I will incorperate these views intomy final video analysis
Did you like the film? Yes/No
What do you like or dislike about the film?
What do you believe the main idea of the film is?
What are your self-collected beliefs on the loss of vision?
Does the video challange your interpretation of what it's like to lose your sight?
If so, how so?
If not, why not?
How well do you believe the film conveyed a sense of frustration and annoyance?
Any other questions and comments?
After I have collected some opinions, I will incorperate these views intomy final video analysis
Sunday 16 November 2008
2.2 - Installation Plan and Method of Audience Feedback
Date: 12/12/08
Time: 3:30pm
Location: 4th floor - Room T46
The image to the left is a rough representation of how my exhibition space will appear.
The large empty room that i plan on using for my exhibition space will help represent the vast emptiness and lonliness that comes with going blind. Despite being free in the world to explore and do whatever you please, you are cursed with a physical limitation that can sometimes bring your life to a complete stand still. The pitch black room, giving off the impression of blindness.
The single seat in front of the TV will make the viewing experience more personal, as the film has been created in the first person perspective.
The light from the TV screen shining directly at the view will enhance that initial idea of being blind as they look away from the bright screen and allow their eyes to readjust to the dark room, providing temporary blindness.
As the viewer walks into the room they will be blindfolded, with a looped audio clip of a busy street playing in the background. This will act as their journey to the train station where the film begins. Both of these ideas bring a physical element to my piece along side the visual imagery.
Immediately after the video has ended I plan to hand the viewer a short Questionnaire consisting of a few simple questions about their thoughts and views on the video and what they think they can take away from watching it. Also whether or not they have become more appreciative to the gift of sight after very briefly experiencing it first hand after looking away from the screen. I plan to ask the viewer these questions immediately so their initial reactions to the video are still fresh in their head.
Time: 3:30pm
Location: 4th floor - Room T46
The image to the left is a rough representation of how my exhibition space will appear.
The large empty room that i plan on using for my exhibition space will help represent the vast emptiness and lonliness that comes with going blind. Despite being free in the world to explore and do whatever you please, you are cursed with a physical limitation that can sometimes bring your life to a complete stand still. The pitch black room, giving off the impression of blindness.
The single seat in front of the TV will make the viewing experience more personal, as the film has been created in the first person perspective.
The light from the TV screen shining directly at the view will enhance that initial idea of being blind as they look away from the bright screen and allow their eyes to readjust to the dark room, providing temporary blindness.
As the viewer walks into the room they will be blindfolded, with a looped audio clip of a busy street playing in the background. This will act as their journey to the train station where the film begins. Both of these ideas bring a physical element to my piece along side the visual imagery.
Immediately after the video has ended I plan to hand the viewer a short Questionnaire consisting of a few simple questions about their thoughts and views on the video and what they think they can take away from watching it. Also whether or not they have become more appreciative to the gift of sight after very briefly experiencing it first hand after looking away from the screen. I plan to ask the viewer these questions immediately so their initial reactions to the video are still fresh in their head.
1.4 - Tate Modern Notes
1. List the work title next to the artist's name
1 Susan Hiller - Psi Girls
2 Jonas Mekas - State of Flux
3 Dan Graham - Two Correlated Rotations
4 Pawel Kwiek - Video A and Video P
5 Dominique Gonzalez - TH.2058
2. Give a brief description of each work
1 - 5 video screens each with different colour filters including greena nd red. Various clips from films about girls with telekinetic powers; Matilda being the one i recognised. Clips switch colour every so often.
2 - Unseen projector in dark room - Sped up footage. Blurry and a shaking camera adds massive confusion about meaning.
3 - Two cameras in dark room, facing different walls. Two perspectives as video shows men spinning around eachother in circles continuously
4 - Screen and seating area - Man directing cameras in polish with subtitles. Experimenting whilst filming
5 - Video on large screen. Physical objects in alrge room include endless bunkbeds with books on. Loneliness in a devasted and destroyed city. Locked away from endless rain with giant figures
3. List all denotations from the installation, for example list every thing that makes up the entire video piece. I.e. Screens, projectors, blackened room.
1 - Consisted of a long seat placed in a dark room with 5 seperate projectors running the 5 clips in different colours and on different screens. The long seat allows for multiple people to watch the video with the idea that each person on the seat is feeling a different emotion when looing at a different screen from the individual sitting next to them.
2 - Hidden projector above a shorter single seated area allowing maybe 5 or 6 at most. The seat faces a large screen in a small darkened room tucked away in a corner of the meuseam. The small area and proximity between seat and screen creates a sense of claustophobia and confusion as the video shows sped up, colurful and blurry rapid shots.
3 - 2 erect cameras facing two seperate walls, so their lines of projection cross over eachother. Smaller screens appear on the walls compared to the much large screens for other videos, where the video plays. the camera's placing possibly in relation to how the two men holding the cameras are also spinning around eachother to give a sense of location for each man?
4 - Another long single seat area for multiple audiences close to the screen projector hidden behind the audience. Ideally trying to make the audience feel like the cameraman, moving the cameras whilst filming.
5 - Very light room compared to the other 4 darker rooms. Endless rows of blue/yellow bunk beds with books on top of each with large figures towering over. Huge video screen plays clips from movies off an unnoticable projector. all of this together represents the lonliness on both the inside and outside of the shelter.
1 Susan Hiller - Psi Girls
2 Jonas Mekas - State of Flux
3 Dan Graham - Two Correlated Rotations
4 Pawel Kwiek - Video A and Video P
5 Dominique Gonzalez - TH.2058
2. Give a brief description of each work
1 - 5 video screens each with different colour filters including greena nd red. Various clips from films about girls with telekinetic powers; Matilda being the one i recognised. Clips switch colour every so often.
2 - Unseen projector in dark room - Sped up footage. Blurry and a shaking camera adds massive confusion about meaning.
3 - Two cameras in dark room, facing different walls. Two perspectives as video shows men spinning around eachother in circles continuously
4 - Screen and seating area - Man directing cameras in polish with subtitles. Experimenting whilst filming
5 - Video on large screen. Physical objects in alrge room include endless bunkbeds with books on. Loneliness in a devasted and destroyed city. Locked away from endless rain with giant figures
3. List all denotations from the installation, for example list every thing that makes up the entire video piece. I.e. Screens, projectors, blackened room.
1 - Consisted of a long seat placed in a dark room with 5 seperate projectors running the 5 clips in different colours and on different screens. The long seat allows for multiple people to watch the video with the idea that each person on the seat is feeling a different emotion when looing at a different screen from the individual sitting next to them.
2 - Hidden projector above a shorter single seated area allowing maybe 5 or 6 at most. The seat faces a large screen in a small darkened room tucked away in a corner of the meuseam. The small area and proximity between seat and screen creates a sense of claustophobia and confusion as the video shows sped up, colurful and blurry rapid shots.
3 - 2 erect cameras facing two seperate walls, so their lines of projection cross over eachother. Smaller screens appear on the walls compared to the much large screens for other videos, where the video plays. the camera's placing possibly in relation to how the two men holding the cameras are also spinning around eachother to give a sense of location for each man?
4 - Another long single seat area for multiple audiences close to the screen projector hidden behind the audience. Ideally trying to make the audience feel like the cameraman, moving the cameras whilst filming.
5 - Very light room compared to the other 4 darker rooms. Endless rows of blue/yellow bunk beds with books on top of each with large figures towering over. Huge video screen plays clips from movies off an unnoticable projector. all of this together represents the lonliness on both the inside and outside of the shelter.
Monday 20 October 2008
2.1 - Experimental Video: Treatment Sheet
PROGRAMME TITLE: Mindset
DIRECTOR/
CAMERA OPERATOR: Mark Kipling
DURATION: 5:00 (Approx)
FORMAT: Digital Video
AUDIO: The majority of the audio will be provided naturally by those around me in diagetic form, whilst speech will be provided by meeither whilst filming or during post production if anything is inaudible on the soundtrack. The non diagetic sounds wiull come from weird noises I am able to find during post preduction to help over exaggerate every day noises as per my interpretation of a blinds man enhanced sense of hearing.
OUTLINE OF AUDIENCE:
Hopefully everyone will be able to watch and enjoy my experimental video and get something out of it, ideally those who have never taken the time to look or think about how the world is seen through the mind of a blind person.
OUTLINE OF STORY
A man leading a perfectly normal life with no known troubles or disabilities, working a regular office job is suddenly struck down on the train in his way to work by a sudden bout of blindness. Confusion and fear strike the man in the first few minutes, as everything he knows around him is no more. With no sight and no sense of direction he pleads for help, the only indication of where he is are the congested, surreal noises around him and the blurred outlines of objects walking past.
Can he put his life in the hands of those around him, or will the indistinguishable blurry flashes, the high pitch confusing noises and lights of an unclear world get the better of the man?
CHARACTERS:
The blind man – The identity is never revealed, and seen only through first person perspective to give the audience the impression that they are the one who is blind.
Background Characters - Everyone else in the short film will be those already on the train minding their own business, in an attempt to capture sound in its rawest and most natural state.
DIRECTOR/
CAMERA OPERATOR: Mark Kipling
DURATION: 5:00 (Approx)
FORMAT: Digital Video
AUDIO: The majority of the audio will be provided naturally by those around me in diagetic form, whilst speech will be provided by meeither whilst filming or during post production if anything is inaudible on the soundtrack. The non diagetic sounds wiull come from weird noises I am able to find during post preduction to help over exaggerate every day noises as per my interpretation of a blinds man enhanced sense of hearing.
OUTLINE OF AUDIENCE:
Hopefully everyone will be able to watch and enjoy my experimental video and get something out of it, ideally those who have never taken the time to look or think about how the world is seen through the mind of a blind person.
OUTLINE OF STORY
A man leading a perfectly normal life with no known troubles or disabilities, working a regular office job is suddenly struck down on the train in his way to work by a sudden bout of blindness. Confusion and fear strike the man in the first few minutes, as everything he knows around him is no more. With no sight and no sense of direction he pleads for help, the only indication of where he is are the congested, surreal noises around him and the blurred outlines of objects walking past.
Can he put his life in the hands of those around him, or will the indistinguishable blurry flashes, the high pitch confusing noises and lights of an unclear world get the better of the man?
CHARACTERS:
The blind man – The identity is never revealed, and seen only through first person perspective to give the audience the impression that they are the one who is blind.
Background Characters - Everyone else in the short film will be those already on the train minding their own business, in an attempt to capture sound in its rawest and most natural state.
Tuesday 14 October 2008
2.1 - My Experimental Video Overview
My Experimental Overview
Name of Film: Mindset
Creator of Film: Mark Kipling
Length: Approx 5 minutes
Visual:
For my experimental film my idea revolves around a person who leads a normal life, but is somehow struck down with sudden loss of sight. To begin when the person can seen everything anyone with sight can see; trees, buildings, litter, the pavement, cats running across the chain link fence. Everything. After a while the visuals will begin to blur as their sight begins to falter, seeing only blurred lights swirling around him, until later completely blanking out into nothingness as the condition gets worse. But instead of a black abyss, the person experiences a literal hell on earth; using visuals when in blindness to represent what this persons mind is going through, locked in a state of fear and mistrust. Stuck in a life where their sight means everything.
Audio:
The audio will become a very important factor as the film progresses and his sight gets worse. Both diagetic and non-diagetic sounds will play a big part at various times. At the beginning, when the persons sight is normal, all sound will be diagetic, coming straight off the film and everyday speech. Even when he becomes blind diagetic sound will remain important as it is now the only thing he has to convince himself he is still in the land of the living, but increasing becomes his worst enemy as the sounds of the world around him start bringing up bad images as he forgets which sound belongs to what. Combining this with several highly over exaggerated, extremely odd and ideally high pitch noises which create a sense of annoyance for the viewer. One of several physical aspects to the piece to enable the viewer to get a small glimpse into the frustrations that are as a result of becoming blind.
Premise:
I’d like this film to concentrate on the first few minutes immediately after becoming blind, My interpretation, working off the ideas of fear and mistrust and how one can never look at things in the same way again both physically and mentally; developing images in their head to represent sounds, some friendly and others much more intimidating.
What do I want people to think after viewing my film?
I’d like people to go away appreciating the simple things in life and never take something like sight for granted. To think what people may go through in their minds as something they rely on so much can be taken away so quickly whether over a period of time or instantly. What they see is all based on their personality and their thoughts. To realise the feeling of being in a permanent dream, where you’re eyes never really open again to see the wonders of the world. The helplessness one must feel as they are left in the control of those they can no longer identify with, suddenly becoming your eyes.
Name of Film: Mindset
Creator of Film: Mark Kipling
Length: Approx 5 minutes
Visual:
For my experimental film my idea revolves around a person who leads a normal life, but is somehow struck down with sudden loss of sight. To begin when the person can seen everything anyone with sight can see; trees, buildings, litter, the pavement, cats running across the chain link fence. Everything. After a while the visuals will begin to blur as their sight begins to falter, seeing only blurred lights swirling around him, until later completely blanking out into nothingness as the condition gets worse. But instead of a black abyss, the person experiences a literal hell on earth; using visuals when in blindness to represent what this persons mind is going through, locked in a state of fear and mistrust. Stuck in a life where their sight means everything.
Audio:
The audio will become a very important factor as the film progresses and his sight gets worse. Both diagetic and non-diagetic sounds will play a big part at various times. At the beginning, when the persons sight is normal, all sound will be diagetic, coming straight off the film and everyday speech. Even when he becomes blind diagetic sound will remain important as it is now the only thing he has to convince himself he is still in the land of the living, but increasing becomes his worst enemy as the sounds of the world around him start bringing up bad images as he forgets which sound belongs to what. Combining this with several highly over exaggerated, extremely odd and ideally high pitch noises which create a sense of annoyance for the viewer. One of several physical aspects to the piece to enable the viewer to get a small glimpse into the frustrations that are as a result of becoming blind.
Premise:
I’d like this film to concentrate on the first few minutes immediately after becoming blind, My interpretation, working off the ideas of fear and mistrust and how one can never look at things in the same way again both physically and mentally; developing images in their head to represent sounds, some friendly and others much more intimidating.
What do I want people to think after viewing my film?
I’d like people to go away appreciating the simple things in life and never take something like sight for granted. To think what people may go through in their minds as something they rely on so much can be taken away so quickly whether over a period of time or instantly. What they see is all based on their personality and their thoughts. To realise the feeling of being in a permanent dream, where you’re eyes never really open again to see the wonders of the world. The helplessness one must feel as they are left in the control of those they can no longer identify with, suddenly becoming your eyes.
Tuesday 7 October 2008
Experimental Analysis
1. Discuss both past and current artists and works
Discuss at least three of the artists you have looked at comparing general similarities and differences between them. Not your own opinions!
Despite all three being created in different eras, ranging from the 1970s right up until 2000, all three films share a common concept; the art of lying, yet each film uses it differently; accidentally or otherwise.
Whilst it isn’t clear from the beginning what the narrator in ‘the Girl Chewing Gum’ is really doing, he uses a psychological form of lying, relying on our own stereotypes and simply believing what we’re told as long as it seems logical. Although similar, Simon Ellis uses lying in 'Telling Lies' to prove how untruthful even your closest friends can be when communicating over the phone; a point that also applies to John Smith, as you never see the man talking.
In ‘1001 Nights’ it’s down to interpretation whether you believe they are lying. At first viewing you are lead to believe these are their own experiences, using a static camera not unlike John Smith to indicate the main focus of the film, yet, if you think about the type of people talking, they could be repeating others stories or even vivid dreams
2. The use of technology and techniques and styles
How does the use of technology differ think about when they where made was the technology new then.
Koyaanisquatsi pushed boundaries in the 80s, using large helicopter aided panning shots and risking everything with a repeated soundtrack to accompany repeated images. Through a low budget and a 70s release, ‘The Girl Chewing Gum’ is disadvantaged by not having access to modern techniques; using a static camera, occasionally panning across to a cinema queue or a clock tower. ‘1001 Nights’ is another static camera shot aimed at the women speaking. The latter two concentrate more on a concept than impressing audiences, whilst Koyaanisquatsi can tell a story through varying camera angles and styles thanks in part to a much larger budget. and advanced filming techniques of the 80s period.
3. Narrative and non-narrative structures
Discuss the story line is it simple structure Begin, middle, end or is there a more complex or different structuring happening?
Neither ‘The Girl Chewing Gum’ or ‘1001 Nights’ have a clear narrative structure. 'The Girl Chewing Gum' has a brief structure by switching from a long running joke into subtly introduce unexpected stereotypes suggesting a beginning and middle, with no real indication when the film may end. ‘1001 Nights’ follows the same basic pattern throughout of women opening their eyes and speaking; their words more important than the construction of a complicated narrative which would ultimately distract the audience from the message. Koyaanisquatsi and Gisele Kerozene form a narrative structure by ending a clearly laid out storyline, or effectively repeating the beginning at the end, reminding the audience of the continuous circles we go through to achieve.
Narritive structures tend to tie up all the lose ends left dangling throughout the movie, such as Gisele Kerozene, with the chase ending and the bad witch backing down, where as those that don't tend to leave an audience thinking about the content much longer after finishing the film.
4. The use of exhibition space to create meaning. How does the exhibition space change the meaning of the work. To be done later next week.
After visiting the Tate Modern I have come to realised that the location of a piece of video can dramatically change the meaning or context of the art. Be it placed in a dark room with 5 colour filtered projectors like 'Psi Girls' by Susan Hiller or a simple video projected onto a wall, the placing of the video easily changes the reactions and thoughts taken away by the audience.
If you watched a piece like 'TH.2058' by Dominique Gonzalez in a classroom instead of its intended environment, it takes away the true meaning and emotion behind the video itself. Without the large exhibition space given to the piece, the shocking connotations of the extent of the city wide problem, and of the lonliness experienced by the people both inside the shelter and out would no longer exist, as the never ending line of Bunk beds really highlight the exclusion from the rest of civilisation.
The various film clips representing the suffering of the outside world, and how the rain and large figures have dominated London, creates an ironic message as both the inanimate objects affected by the rain and people are sheltering in the same space, making escaping your problems an impossible task.
Both 'TH.2058' and 'Psi Girls' share a common denominator; the use of context to create meaning. Whilst TH.2058 uses physical objects to create an emotional attachment to the video, 'Psi Girls' uses the expression of colour on 5 large screens each showing different clips from films involving girls with telekinetic abilities. As the clips switched screens so did the colour the clip was shown in. A red filter would give the room a red tint being as the only source of light, creating a very menacing feel to the video, whilst a green filter would make the clip seem more relaxed and stress free; thanks to all the typical connotations we associate with certain colours, despite holding the exact same content. Completely changing the context.
If taken away from the dark room into a classroom environment, the art simply would not be affective, as the 5 large screens and dark room are a vital and crucial key to the overall feel of the movie clips as the colours change.
The voluntary nature of art and both the physical and visual elements to a piece can maintain an interest in individuals who initially wouldn't have taken the time to view it.
5. How these works might inspire your own work
Talk about your own ideas and how they may have been inspired by the work that you have seen.
The two in particular that are helping inspire my experimental piece are ‘Telling Lies’ and ‘The Girl Chewing Gum’. Both pieces concentrate on lying, which, in the right circumstances can prove an extremely dangerous tool. The black screen in ‘Telling Lies’ for me creates an illusion of the unprecedented fear one must got through when they can’t see, and the unreliable stories and lies in both films makes me think how could someone possibly trust a voice with no facial identity. the use of diagetic or non diagetic sound applying heavily, especially when noise could cloud your sense of judgement when it’s all you have.
6. Audience, and audience interpretation of the work
Was the reaction different within the group? does this matter? is it important that we all have one interpretation?
It is important that different audiences have different interpretations of the same film. A certain movie can mean many different things, depending on your point of view in consideration of the subject matter.
A man from the 70’s or 80s may view koyaanisquatsi in a different light from someone born and raised in the 90’s and present day. Having witnessed and lived through achievements and turmoil of the 80s, certain aspects provoke stronger or weaker emotional reaction based on their knowledge of events. This also applies to any other film, experimental or otherwise. An audience from the 70’s may never understand the story behind ‘Telling Lies’. Due to its rapid, quick fire editing and modern lexical use, but largely down to their possible inexperience with vocally communicating a lie to someone because technology may have prohibited such events for a certain person.
For ‘The Girl Chewing Gum’, the reactions were different throughout the class. Some saw it as an attempt to abuse the right we have to control what people think, and others expressed ideas of predictability and how everything we do is so routine that a random person on the street could interpret our next move.
Discuss at least three of the artists you have looked at comparing general similarities and differences between them. Not your own opinions!
Despite all three being created in different eras, ranging from the 1970s right up until 2000, all three films share a common concept; the art of lying, yet each film uses it differently; accidentally or otherwise.
Whilst it isn’t clear from the beginning what the narrator in ‘the Girl Chewing Gum’ is really doing, he uses a psychological form of lying, relying on our own stereotypes and simply believing what we’re told as long as it seems logical. Although similar, Simon Ellis uses lying in 'Telling Lies' to prove how untruthful even your closest friends can be when communicating over the phone; a point that also applies to John Smith, as you never see the man talking.
In ‘1001 Nights’ it’s down to interpretation whether you believe they are lying. At first viewing you are lead to believe these are their own experiences, using a static camera not unlike John Smith to indicate the main focus of the film, yet, if you think about the type of people talking, they could be repeating others stories or even vivid dreams
2. The use of technology and techniques and styles
How does the use of technology differ think about when they where made was the technology new then.
Koyaanisquatsi pushed boundaries in the 80s, using large helicopter aided panning shots and risking everything with a repeated soundtrack to accompany repeated images. Through a low budget and a 70s release, ‘The Girl Chewing Gum’ is disadvantaged by not having access to modern techniques; using a static camera, occasionally panning across to a cinema queue or a clock tower. ‘1001 Nights’ is another static camera shot aimed at the women speaking. The latter two concentrate more on a concept than impressing audiences, whilst Koyaanisquatsi can tell a story through varying camera angles and styles thanks in part to a much larger budget. and advanced filming techniques of the 80s period.
3. Narrative and non-narrative structures
Discuss the story line is it simple structure Begin, middle, end or is there a more complex or different structuring happening?
Neither ‘The Girl Chewing Gum’ or ‘1001 Nights’ have a clear narrative structure. 'The Girl Chewing Gum' has a brief structure by switching from a long running joke into subtly introduce unexpected stereotypes suggesting a beginning and middle, with no real indication when the film may end. ‘1001 Nights’ follows the same basic pattern throughout of women opening their eyes and speaking; their words more important than the construction of a complicated narrative which would ultimately distract the audience from the message. Koyaanisquatsi and Gisele Kerozene form a narrative structure by ending a clearly laid out storyline, or effectively repeating the beginning at the end, reminding the audience of the continuous circles we go through to achieve.
Narritive structures tend to tie up all the lose ends left dangling throughout the movie, such as Gisele Kerozene, with the chase ending and the bad witch backing down, where as those that don't tend to leave an audience thinking about the content much longer after finishing the film.
4. The use of exhibition space to create meaning. How does the exhibition space change the meaning of the work. To be done later next week.
After visiting the Tate Modern I have come to realised that the location of a piece of video can dramatically change the meaning or context of the art. Be it placed in a dark room with 5 colour filtered projectors like 'Psi Girls' by Susan Hiller or a simple video projected onto a wall, the placing of the video easily changes the reactions and thoughts taken away by the audience.
If you watched a piece like 'TH.2058' by Dominique Gonzalez in a classroom instead of its intended environment, it takes away the true meaning and emotion behind the video itself. Without the large exhibition space given to the piece, the shocking connotations of the extent of the city wide problem, and of the lonliness experienced by the people both inside the shelter and out would no longer exist, as the never ending line of Bunk beds really highlight the exclusion from the rest of civilisation.
The various film clips representing the suffering of the outside world, and how the rain and large figures have dominated London, creates an ironic message as both the inanimate objects affected by the rain and people are sheltering in the same space, making escaping your problems an impossible task.
Both 'TH.2058' and 'Psi Girls' share a common denominator; the use of context to create meaning. Whilst TH.2058 uses physical objects to create an emotional attachment to the video, 'Psi Girls' uses the expression of colour on 5 large screens each showing different clips from films involving girls with telekinetic abilities. As the clips switched screens so did the colour the clip was shown in. A red filter would give the room a red tint being as the only source of light, creating a very menacing feel to the video, whilst a green filter would make the clip seem more relaxed and stress free; thanks to all the typical connotations we associate with certain colours, despite holding the exact same content. Completely changing the context.
If taken away from the dark room into a classroom environment, the art simply would not be affective, as the 5 large screens and dark room are a vital and crucial key to the overall feel of the movie clips as the colours change.
The voluntary nature of art and both the physical and visual elements to a piece can maintain an interest in individuals who initially wouldn't have taken the time to view it.
5. How these works might inspire your own work
Talk about your own ideas and how they may have been inspired by the work that you have seen.
The two in particular that are helping inspire my experimental piece are ‘Telling Lies’ and ‘The Girl Chewing Gum’. Both pieces concentrate on lying, which, in the right circumstances can prove an extremely dangerous tool. The black screen in ‘Telling Lies’ for me creates an illusion of the unprecedented fear one must got through when they can’t see, and the unreliable stories and lies in both films makes me think how could someone possibly trust a voice with no facial identity. the use of diagetic or non diagetic sound applying heavily, especially when noise could cloud your sense of judgement when it’s all you have.
6. Audience, and audience interpretation of the work
Was the reaction different within the group? does this matter? is it important that we all have one interpretation?
It is important that different audiences have different interpretations of the same film. A certain movie can mean many different things, depending on your point of view in consideration of the subject matter.
A man from the 70’s or 80s may view koyaanisquatsi in a different light from someone born and raised in the 90’s and present day. Having witnessed and lived through achievements and turmoil of the 80s, certain aspects provoke stronger or weaker emotional reaction based on their knowledge of events. This also applies to any other film, experimental or otherwise. An audience from the 70’s may never understand the story behind ‘Telling Lies’. Due to its rapid, quick fire editing and modern lexical use, but largely down to their possible inexperience with vocally communicating a lie to someone because technology may have prohibited such events for a certain person.
For ‘The Girl Chewing Gum’, the reactions were different throughout the class. Some saw it as an attempt to abuse the right we have to control what people think, and others expressed ideas of predictability and how everything we do is so routine that a random person on the street could interpret our next move.
Friday 3 October 2008
The 3 C's
Craft- Craft is a certain skill required to achieve something.
Concept- A concept is the reason behind the making.
Context- When a phrase is taken out of context, it is taken from its original sentence of meaning and used to create a whole new meaning which can be either good or bad.
Concept- A concept is the reason behind the making.
Context- When a phrase is taken out of context, it is taken from its original sentence of meaning and used to create a whole new meaning which can be either good or bad.
Thursday 2 October 2008
Experimental Film Reviews 2
Name of Film: Telling Lies
Name of Creator: Simon Ellis
Duration: 4.00
The premise to this short film is to show that everybody lies and how easy it can be to lie, especially when it isn't face to face. The film doesn't use physical actors, merely their diagetic voices. Presented with a black screen, the non-diagetic sounds of the phone dialling tone, tell you these conversations are taking place over the phone. On screen, the words pop up in time to them being said, only on occassion the words on screen differ from those being spoken; flashing or getting bigger or smaller as the volume or intensity of the conversation changes. The text tells the truth, representing the persons mind and telling the audience what really happened, whilst the physical voices lie, demonstrating the unconcious decisions we make every day about written text being more official than our own spoken word, purely because we assume when something is written, it's final.
Telling Lies
Name of Film: The Girl Chewing Gum
Creator of Film: John Smith
Duration: 9.00
Within the 9.00 minutes not a whole lot really happens, but what does happen aims to intrigue and make you think. One moment you think you understand what's going on, and half way through it twists and throws everything you believed right out of the window.
The short film is in black and white, filmed in a continuous shot placed on a seemingly random street in 70's London; ocassionally panning around to view a cinema queue beside the camera. As people begin walking in the street a voice is heard, predicting everyones movements as if he were the director of a film. Soon enough small details in his descriptions become far too accurate for a real director. So maybe you start to think he's simply non diagetically narrating a recorded piece to seem diagetic. Even once the joke's up he still continues to narrate, going into excrusiating detail over the buildings, and at times making things up and assuming certain characteristics about people based on stereotypes. One point in particular involves an alarm that has been going off in the background the entire time, but not until it's been taken completely out of context do you notice it and instantly change your views on those walking past.
the film plays on the idea of control, appearing to have a strong influences from George Orwell's book '1984'. Questioning what we believe to be happening and when it may be taking place. Frequently messing with both the audio and the visuals on several occasions, makes for a bizarre and oddly facsinating piece of film.
The Girl Chewing Gum
Name of Creator: Simon Ellis
Duration: 4.00
The premise to this short film is to show that everybody lies and how easy it can be to lie, especially when it isn't face to face. The film doesn't use physical actors, merely their diagetic voices. Presented with a black screen, the non-diagetic sounds of the phone dialling tone, tell you these conversations are taking place over the phone. On screen, the words pop up in time to them being said, only on occassion the words on screen differ from those being spoken; flashing or getting bigger or smaller as the volume or intensity of the conversation changes. The text tells the truth, representing the persons mind and telling the audience what really happened, whilst the physical voices lie, demonstrating the unconcious decisions we make every day about written text being more official than our own spoken word, purely because we assume when something is written, it's final.
Telling LiesName of Film: The Girl Chewing Gum
Creator of Film: John Smith
Duration: 9.00
Within the 9.00 minutes not a whole lot really happens, but what does happen aims to intrigue and make you think. One moment you think you understand what's going on, and half way through it twists and throws everything you believed right out of the window.
The short film is in black and white, filmed in a continuous shot placed on a seemingly random street in 70's London; ocassionally panning around to view a cinema queue beside the camera. As people begin walking in the street a voice is heard, predicting everyones movements as if he were the director of a film. Soon enough small details in his descriptions become far too accurate for a real director. So maybe you start to think he's simply non diagetically narrating a recorded piece to seem diagetic. Even once the joke's up he still continues to narrate, going into excrusiating detail over the buildings, and at times making things up and assuming certain characteristics about people based on stereotypes. One point in particular involves an alarm that has been going off in the background the entire time, but not until it's been taken completely out of context do you notice it and instantly change your views on those walking past.
the film plays on the idea of control, appearing to have a strong influences from George Orwell's book '1984'. Questioning what we believe to be happening and when it may be taking place. Frequently messing with both the audio and the visuals on several occasions, makes for a bizarre and oddly facsinating piece of film.
The Girl Chewing GumTuesday 30 September 2008
Experimental Film reviews
Name of film: Koyaanisquatsi
Name of creator: Godefry Reggio
Duration: 1:23:00
'Life out of balance'
The film is an artistic look into humans striving to achieve greater things. The film begins with a very slow zooming reveal of a very early cave painting, showing that even at the beginning of time, we as a race had the urge to explore and push our boundries of what we believed was physically possible. The film then cuts to the slow motion take off of a rocket, fire and smoke everywhere as we now have the capability to go beyond our own world and take that final step of evolution onto another planet, leaving the old behind.
The film then goes on to demonstrate all we have gone through in the world to get to this particular point of finally moving on. Fast motion clips of industry, workers in factories providing the energy needed to keep the world running so others can continue working on pushing that barrier further. All intercut with images of poverty showing that whilst people are trying to get into space, others are still trying to find a life for themselves on earth first. With the use of aerial view shots and other filming techiques rarely seen in 1980's cinema, Godefry shows off the technical marvel of the world, and how we managed to build all these fine cities with huge structually sound buildings and machines which seem to dominate the world of the 20th century. The clips of war symbolise how such amazing and world changing concepts and ideas can come as a positive outcome from such terrible events.
The music suits each scene according to the pace of the visuals; slowly building up or calming down, adding emotion to a very enjoyable piece.
Koyaanisquatsi
Name of Film: 1001 Nights
Name of Creator: Jananne Al-Ani
Duration: 6.00
1001 Nights is a very simple film with a whole lot of meaning behind it. Visually, the short film consists of a black screen with five boxes in the centre filled with coloured images of western women with their eyes closed. As the film begins, the black screen draws your attention to the boxes, and one after the other each woman opens their eyes and begins recounting a harrowing tale experienced in a time of war. Each experience is recollected in the point of view of a victim of war, caught up in other peoples conflicts and anger.
The stories told are not necessarily those of the woman in the film. Being all western, it is unlikely that these people have ever experienced what is being said, but used purely as a way of telling the audience that war can affect anyone, no matter how far away they are from the fighting itself.
There is no music in the piece, only the diagetic voices of the five woman, helping to create an instant reality to the film, something that hollywood style music would never have achieved, only taking away that dream like feeling you get by the end.
Name of creator: Godefry Reggio
Duration: 1:23:00
'Life out of balance'
The film is an artistic look into humans striving to achieve greater things. The film begins with a very slow zooming reveal of a very early cave painting, showing that even at the beginning of time, we as a race had the urge to explore and push our boundries of what we believed was physically possible. The film then cuts to the slow motion take off of a rocket, fire and smoke everywhere as we now have the capability to go beyond our own world and take that final step of evolution onto another planet, leaving the old behind.
The film then goes on to demonstrate all we have gone through in the world to get to this particular point of finally moving on. Fast motion clips of industry, workers in factories providing the energy needed to keep the world running so others can continue working on pushing that barrier further. All intercut with images of poverty showing that whilst people are trying to get into space, others are still trying to find a life for themselves on earth first. With the use of aerial view shots and other filming techiques rarely seen in 1980's cinema, Godefry shows off the technical marvel of the world, and how we managed to build all these fine cities with huge structually sound buildings and machines which seem to dominate the world of the 20th century. The clips of war symbolise how such amazing and world changing concepts and ideas can come as a positive outcome from such terrible events.
The music suits each scene according to the pace of the visuals; slowly building up or calming down, adding emotion to a very enjoyable piece.
KoyaanisquatsiName of Film: 1001 Nights
Name of Creator: Jananne Al-Ani
Duration: 6.00
1001 Nights is a very simple film with a whole lot of meaning behind it. Visually, the short film consists of a black screen with five boxes in the centre filled with coloured images of western women with their eyes closed. As the film begins, the black screen draws your attention to the boxes, and one after the other each woman opens their eyes and begins recounting a harrowing tale experienced in a time of war. Each experience is recollected in the point of view of a victim of war, caught up in other peoples conflicts and anger.
The stories told are not necessarily those of the woman in the film. Being all western, it is unlikely that these people have ever experienced what is being said, but used purely as a way of telling the audience that war can affect anyone, no matter how far away they are from the fighting itself.
There is no music in the piece, only the diagetic voices of the five woman, helping to create an instant reality to the film, something that hollywood style music would never have achieved, only taking away that dream like feeling you get by the end.
Tuesday 23 September 2008
Brighton Pictures
The first image I have selected is of the infamous burnt out pier in Brighton. This image is an unusal site to see at the stereotypical, safe, family friendly environment of the seaside becuase it is unseen in any advertisments or postcards. the image also creates a menacing look into the darker side of the fun and games, when things go wrong, and how years of memories and merriment can be destroyed unexpectedly.
My second image is a close up of an open and overflowing bin, inside, the rubbish that those walking up and down the sea front don't get to see. The rubbish that is simply thrown into piles at the back of the nearest allyway, away from the main tourist sites of Brighton to keep the appealing aesthetic. This picture reveals the unclean underbelly of Brighton, and also the party atmosphere that accumilates during the week, evident by the beer bottles showing that Brighton doesn't recieve any special treatment becuase of its seaside status.
What IS Experimental?
An experimental video gives the student an opportunity to experiment and to play around with concepts and ideas that you would find unusual to see in a big screen movie, It allows freedom to express yourself through whichever means you wish, varying in design style and colour techniques to change the atmosphere and mood of the video to convey the emotion or meaning behind what is being seen on film. This method of filming may also be used to see what the majority of film goers like and if any new styles can be introduced into the film industry with an overall good reception.
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