Exhibition Photos

Post Production Diary

Post production for me started a lot later than i hoped, i spent a lot of time cutting down the clips and then began with the video fx. Overall their werent any real problems but here and there i found parts of the programme difficult to use or i found it wasnt playing the video how i wanted it to. These were soon fixed. The post production stage cost me a lot less time than the production but without a sufficient amount film i wouldnt of been able to do edit the video how i wanted to.

Production Diary

My Production took a lot longer than first expected, I filmed on three occasions. Thew first occasion, my camera didnt have enough memory for the full journey, so used that time to get used to the route i wanted to use for my video. The second occation the camera wasnt positioned well enough tocapture enough in the shots. So on the final attmpt at filming i made sure my camera was positioned correctly and also made sure i had enough memory for atleast 30 minutes of filming. The costs of the several attempts at filming was half a tank of petrol, 90 minutes of filming and reduced editing time.

Experimental Video Storyboard

4. The use of exhibition space to create meaning

Dominique Gonzalez's - Foesters, this exhibition space situated on the ground level of the Tate gallery, is concealed by red curtains made of rubber. The initial impact of this concealment provokes curiosity of the art viewer. Getting people to look at the art and the Video is a large first step. The rest of the exhibition space furthers the meaning dramatically. The large roof and floor diameter gives the feeling of the dramatic scale the event of a 2058 disaster is on. The over-grown structures of supposed insects, tower over people viewing the video and create the intimidation factor of which the art is based around, coming from the many bunk beds in place to represent thousands of people taking shelter of the disaster. Viewing this piece will help me decide how to decide what accompanies my experimental video and what scale the given space is on.

Experimental Video treatment

Btec National Diploma In Media (Film and TV)

TREATMENT (drama)




PROGRAMME TITLE: Untitled

DIRECTOR/
CAMERA OPERATOR: Shaun Sole

DURATION: Max 5 Mins

FORMAT: HD or DV

AUDIO: Non - Diegetic


OUTLINE OF AUDIENCE:

People who wouldn't usually be interested in watching someone's journey but becasue of a small amount of editing and placing in a certain location are attracted to vewing it.


OUTLINE OF STORY

Journey on a motorcycle being shot in first person, shwoing fast, slow, and speeded up clips.

CHARACTERS: /

6. Audience and audience interpretations of the work.

Understandably reactions to these videos would have been different with everybody in the group, arguably the point to most experimental videos is to provoke feelings or reactions from viewers and to feel a certain way, whether the reactions are completely different from viewer to viewer or not. Whether interpretations of the artists work differ are not the matter with experimental videos, more of the question has it engaged or affected the viewers in an appropriate way. I don’t feel it is important in experimental videos for all viewers to have one view or identical interpretations, as in many cases this is very hard. It is as or more important for the viewers to be able to connect and grasp their own concept. Several people in the group took their own interpretations of "the girl chewing gum" for example, this is to do with what people bring to the video themselves and what is triggered in their mind when viewing it, this can be down to past experiences, mind sets whilst viewing it and levels of understanding, these are all important aspects to be considered viewing experimental videos.