Studio Shoot Initial Research

In preperation for this first meeting I will attend as Assistant Director in my film group I decided to look into the % photos we were given in the brief. The piece we make must be between 3 to 5 minutes long and use a maximum of 5 words. It must be based on one of these photos I have looked at below:

Blind Twins - Jane Evelyn Atwood (1980)

Atwood has always had her photography focus on people living on the edge of society just like this photo here. She always uses this documentary style to her photos but has this edgy focus in her pieces. I really like how bold this photo is in black and white with such a contrast about it. I feel like the meaning of this photo speaks to me a in terms of creating a film piece. I think if we could make some kind of abstract film piece about people on the edge of society in modern day (as this is obviously an old study) it might be really interesting and unique.


Untitled - Ralph Eugene Meatyard (1962)

This is an untitled photo so leaves a lot to the imagination in terms of your not told what to think. However some images from this set have adopted the title 'Meatyard' as I am assuming this is the location he was in taking them. I think a lot about this picture is very creepy because the location itself looks abandoned and also its the fact that these children are playing hide and seek which seems very innocent yet in this location and in the way he has captured this photo it seems very uneasy. It brings to my mind possible themes for the film such as the innocence of children. Maybe a piece about how innocence is bliss could be really strong.


King and Queen - Diana Arbus (1970)

I have looked at work by Diana Arbus in the past and I like how it explores a lot of personal problems she was going through in her life. She almost has this stylised documentary approach here. This photo features two winners of a dance in New York who were crowded queen nd king of the dance. Even though they should be happy they don't know each other so their faces actually show a lot more uncomfortable, awkward unhappiness than anything. I feel like this is like looking into he sub context of what is happening because once you know the story it makes a lot more sense. It could be an interesting focus to look into the sub context of people actions etc by making a piece about a couple who seem happy at first but if you break it down you see they are not.


Untitled - Hannah Starkey (1997)

This image is a moment captured and frozen in time. At first I didn't realise what was going on till I read about but the young girl has actually got a moth trapped under her fingers gazing at it intently as the older women watches drinking her tea. Starkey focuses on capturing moment like these which seem normal at first glance but are actually witnessing these people in there own quiet contemplation moment that we all have as humans. I feel like this moment of contemplation and also torture to this moth could be a really good beginning to a story for a film. I am thinking if we look at how people have these moments when they pause like for a second to inwardly reflect on themselves. This could work well as a abstract context having people actually pausing in the space.

Overall all these images have interesting themes we could explore in a film but it is just devising an concept which works with in the studio and is achievable by everyone. I will go to the meeting with these possible these and develop them further working with he rest of the crew and there ideas too.

Avid Editing Workshop 2 - Professional Toolkit

In this second Avid workshop we ran back over the basics we learnt last time (see previous post) and then we moved on to look more into the effects you can create with Avid. It was a very different process compared to what Ive used before on programmes such as Premier Pro.

Firstly we looked again at the quick transitions option again but this time learnt about an effect called fade to/from colour depending on which way you want it to dip down:

It essentially makes the traditions between shots dip down to black (or another colour of your choice) and then fade back up. To change the colour and length etc you go onto effects editor which is the button on the left of the compose panel and looks like two sliders buttons.

To access the full range of effects and not just the few you see in the quick transition option you go into the project window and click on the tab which is a purple square cut diagonally in half with triangles and it opens up the full menu:

To add these to a clip you simply choose the effect you want and you then drag and drop it onto where you want it in the sequence. Again to edit these effects in more detail you click on the effects mode button once they have been applied:

When your on the effects mode option it gives you another way to keyframe within the composer window with the same pink triangle button:

Also while your on this composer window you can use the magnifying glass buttons below to zoom in and out to help you when applying and editing effects. If you do zoom in on this composer window you can hold the ctrl and alt button down to move around when zoomed in which again can be helpful for some more detailed effects.

Other things you can do while on the effects editor window are to click the button which looks like two squares one inside the other and this puts up the safe lines for you so you can position things correctly.

Also you probably noticed when looking at the effect editor window that you can bring up the timeline of the click so that you could potentially keyframe each individual frame if you wanted to as it allows you to see a lot more detail:

If you click the promote button when in effects editor which is in the right bottom corner and looks like a 3D square it gives you a lot more options when editing the effect:

When you are adding effects to the timeline by dragging and dropping you can also layers effects so you have more than one effect on a clip. If you simply drag and drop it won't work but if you hold alt while dragging a second effect over it will allow you to layer them. When you have a double layers effect you can double click on this clip in the timeline and it opens up the different layers of effects so you can see them clearer:

You can also use the button at the bottom of the timeline which looks like two triangles one pointing up and one pointing down and this will also allow you to step in and out of a clip.

Some effects that you can add like blur don't always work on there own. You must go onto effects editor and use the tools provided to activate it and get it to work:

You can also do things with this effect like tracking which you have the option to do with the tools on the right hand side of the menu. The tracking tool allows you to select a point and then have the blur stick to this point. Avid usually works this out well itself however sometimes you need to keyframe some points along the way to help.

Another good effect that you can use is the paint effect. This can be again found in the menu and can be used for things like making a clip have a vignette. You do this by firstly adding the paint effect and then going onto the effect editor menu. You use the shape tool to draw a black square over the whole clip/frame your effecting in the composer window. Then take the oval tool and fill up most the space only leaving the black corners then and then click erase on the style menu so that this oval is removed from the black and you are just left you dark corners. Then to make this more like a vignette you can feather it on the effects editor menu like so:

The way to speed up and down a clip and play with the speed in general is to add the effect 'time warp' to the clip. However to put this effect into action you  can't use the effect editor and instead you need the 'effect motion editor' which can be found in the bottom of the timeline tools as a little film frame with speed lines on it. This bring up a slightly more complex menu:

To change the speed on this menu you can simply move the green line using the pink diamond either up to speed up or down to slow down. This will change the speed of the entire clip. If you put the speed to below 0 it will then revers the clip. You can also in this menu keyframe again using the pink triangle at certain points and this will allow you to adjust the speed at certain points in the clip like so:

There is also options in the drop down menus which can change how smooth it looks and they way it speeds up and down. 

When doing large editing like speed etc you will need to save and render the clip. If a blue dot appears next to the clip on the timeline it means it hasn't been rendered and therefore cant play at all so you must go on and render this.

We also learnt a useful way to change the interface and add certain keys and buttons in to where you want them. This isn't advised but can sometimes be useful to do. You click on the tools menu and scroll down to command palette and this will let you remap keys like so:

You can also do this for the keyboard by clicking settings on the command palette and selecting keyboard.

If you decide to add the mitten editor button to your source window it will allow you to click it before even adding an effect and you can change the speed before a clip is even on a timeline. This create a whole new clip at a new speed which you can save into a VFX bin and insert into your timeline where and when it is needed. 

To freeze frame you select the clip you want so it is in the source window and then you choose the frame you like and put an in and out marker on this one frame. Then with this frame selected click on the composer option at the top of the screen and scroll down to freeze frame where you can choose a time for the freeze frame and then you can edit it as you like:

With certain effects when you keyframe them you may want to experiment with how the clip traditions from one key frame to the other. You can do this again in the effects editor to change the way it flows:

There are several options here such as-

Spline= It slowly ease from one key frame to another smoothly.

Shelf= It suddenly jumps from one key frame to another which isn't smooth at all.

Beziae= This lets you manipulate it yourself by clicking on the expansion triangle.

We then looked at how you would go about adding captions to your timeline/sequence. You firstly should always create a new track and bin just for captions to keep your work space organised. To create a title on this track click tools then 'title application' and this brings up a menu were you either select 'title tool' which is a still simple title or 'Marquee' which can be a much more complex title which you can make a roller or a crawler with too. 

Firstly I tried to add a simple title using the title tool. This has a lot of simple options such as font, text size and style etc:

You can also on both text options select the V which removes the background so you can make the title on a plain coloured background rather than on the clip. Once you are happy with the title you save it into your captions bin and then you can apply it to your timeline. Effects mode allows you to re-edit the titles.

I also tried making a roller credit using the 'Marquee' title option which brings up a whole different screen/window like so:

There is some really cool things you can do with this window. For example you can use a light tool which you can move around and adjust which works like a virtual light shinning on the text. It is the R and C buttons on the left which let you make it either a rolling or crawling title. You then save this again in the captions bin and can then add it to the timeline wherever you like it. To effectively add the title in you need to select an in and out point on the title in the source window and then choose an in and out point on the timeline and then insert it in. The speed of which the title rolls is based on how big a space you left in-between your in and out points on the timeline.

Here is my finished timeline/sequence which I managed to create today which uses all the effects we learnt and a lot more through experimenting:

I have found everything we covered in this workshop to be very useful and I feel like I am adjusting to using Avid to edit a lot more.

Paperwork to get Surveillance Installation Signed Off - Maps and Networks

As well as my finalised Learning Agreement which I already posted about previously I needed some other paperwork in order to get my Surveillance Installation Signed off so I know that this is what I am defiantly doing...

Synopsis (already on my Learning Agreement as well) -

I have chosen the theme of Surveillance to link into the overall brief of Networks. I want to focus on the idea that Surveillance is thought of as a Network of cameras and technology and has lost the voyeuristic meaning that people are actively watching you in society. To show this I want to create an installation with a live feed camera wired up to a TV or monitor. The camera will be directly opposite the TV so that it creates a looped live image between camera and TV. This means the viewer will stand in the middle and see themselves from all angles and multiples of themselves yet will never be able to see there face as the camera is behind. Because they are looking at their own bodies as if it were cctv this adds a human face to this idea of surveillance. The fact that it is themselves looking upon their own person adds to the meaning more in the sense that it could be anyone watching you in any state and it makes you vulnerable. I will then add more of an atmosphere to this piece through a soundscape made using either the cameras microphone or a separate one on the piece itself that picks up the sound of the viewer and loops it to the TV so it builds and builds to replicate the ways the camera and TV are sending your image around. If this proves too difficult or the sound is too harsh I will make a sound scape that uses general ambient noise and camera sounds looped and looped to build up instead. Hopefully this will all put the viewer in a more vulnerable state and therefore make them aware of the implications that cctv can have on us.

Treatment -

A 

Proposal and Treatment 

For 

‘Surveillance Installation’ 

(Officially Unnamed Currently) 

By: 

Billie Williams 

25/10/2016

Programme title: (Untitled Currently) Surveillance Installation

Location: UCA Farnham Front Entrance (Gallery)

Genre: Experimental Surveillance Installation

Production Staff: Billie Williams (Sugini Nagaswaren to help install)

Production Date: Mock up for Assessment- 15th and 16th December 2016
Official Installation week- 9th to 13th January 2017

Outline Production:
My piece is an Installation based on the idea of Surveillance. It is all about how we as a new young society think of Surveillance as a network of cameras and not how we are actually being watched and monitored. I am creating a live feed between a camera and a monitor facing one another which will create a looped image effect. The space between is where the viewer is meant to stand and interact with the piece. It brings back the vouyeristic meaning to Surveillance and cctv because they are watching themselves. I also like the frustration and vulnerability it will cause because they will never be able to see their face on the screen only the back of themselves and they wont know if it is actually being recorded. I will also have the sound up on the monitor and camera so that the sounds the viewer creates also loop back and forward making it more surreal but mimicking the point I want to make.

Target Audience:
It is aimed more at the younger generation who can also be referred to as the digitalised generation which is why I think it will work so well at the front of the university where young people walk everyday. It will also be effective on any viewer willing to participate yet will only add to the fear of cctv that this older generation may already have.

Elements:
Live Feed Camera - I want to use the Canon Legia as I know how to work this and I also know I can get a live feed off of it. It is small enough to fit into the piece as well without causing a eye saw or an obstruction.
HDMI cable - I need to get an extended much longer HDMI cable which will run carefully along the floor from the camera to the monitor to create the live feed. I will secure this down with cable covers and tape.
Monitor - I need a monitor which will display the live feed upon it. I am thinking of using my old TV to do this as I know it works and the remote allows me more control over it when setting up. However I might consider a bigger monitor if I am able to get one from equipment hire as a bigger image display would be more effective.
White Plinths - I need two plain white plinths that blend well into the gallery space which I will be able to place my camera and monitor on top of. They will need to be at the appropriate height to capture people standing in the middle of the two.

Audio Elements:
Looped sound - I will create the sound for my piece by having the camera microphone on and the TV sound up so that you can hear the static between the two to create an atmosphere. It will then echo the sound of the viewer around the space back and forward between the two. However I may have to use a soundscape instead if the curator thinks this noise will be too much.

Constraints and Contingency: 

I will need to check that all the equipment I need will be available for the period of the exhibition. Otherwise I will have to source it from elsewhere. I also need to make sure I have power sources for my camera and TV to plug into while installed so that they wont run out of battery. If not I would have to find battery powered items and charge them overnight. I am also conserved my piece wont look sleek enough to be presented in the gallery space so I need to make it as presentable as possible. I also need to make sure the Curator allows me enough appropriate space for my piece to work properly.

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Storyboard (mine is a diagram as Im not making a film) -

Schedule (again on Learning Agreement as well) -

-I plan to get all my research and a full proof plan sorted by mid November.
-I will then spend the rest of November sourcing all the materials and the rest of the skills needed for the piece.
-December will then be spent on assembling and practising my installation so all the issues are worked out ready for my assessment on the 15th of December.
-I will then spend the installation week in January setting up my piece in the actual installation space.

Budget -

I possibly won't need any budget at all as I am planning to get basically all my equipment on loan from the University for free. The only item I may need to purchase is a long HDMI cable...

2Metre HDMI Cable for Canon Legia - £3.99 x2 (one isn't long enough) = £7.98 + shipping

Overall budget to allow for more expensive purchase = £15

Risk Assessment - 

This is all the paperwork I believe I need at this current stage to get my proposed project signed off. I will obviously continue to develop the idea as well but I am happy with what I have so far and what I have proposed. 

Avid Editing Workshop 1 - Professional Toolkit

This was my first workshop learning how to use Avid Editing. I have always loved the editing side of film work so I have quite a large understanding of editing but I have always used Adobe Premiere Pro so I jumped at the chance to learn to use Avid instead. I took a lot of notes during the Lesson as there was so much information being taught to us but here is roughly what I picked up and learnt:

Firstly here was a picture of our basic set up:

So we have three monitors and the two on the left are used for the actual editing software and then the one on the right is used as a preview monitor. We also have two sets of headphones so we can listen either individually or together whilst editing. Then their is a special editing keyboard which as you can see is colour coded and has symbols on to help you know what does what on Avid. There is also just a standard computer mouse to use which runs across both left hand screens.

So unfortunately when we were setting up a new project in Avid in the Project Window I did not take a screen however I took notes so that I new the general standards when setting one up. It should be set to 1080p/25-HD because most things will be shot in progressive at 25 francs per second especially here in the UK. If on the Project Window you go onto settings you can then choose 'Source/Record Editing' which is the general layout that you want to work with. Also while in these settings you can check that your audio is set to 'alternating L + R' so that the sound comes out properly on a two speaker left and right system. Also while in the Audio settings here you can click on 'hardware' and select ' - 18 dbfs' which is the right sound level you want. You should also when in the project window go to 'Render' then 'Video resolution' and click the option that says 'DNxHDx185xMXF' and also make sure its set to 'N Drive'. This will make sure the quality of the video while editing is set correctly and therefore will also render and export correctly. Now once you have set this all correctly and named your project you can create it so that you then enter the actual Avid Workspace.

We then imported some practice materials/videos into the project and we also then went and organised our bins like so:

Sp that is the Bin window opened up where you can create bins, delete bins etc. As you can see before I started editing I created a new bin called edits to work from as you should never mix up your media.

So sometimes when you import media into Avid the files will be transcoded so Avid is usually able to format these files so it is able to work with them however if it can't then their are always plug ins available to do this before it goes into Avid.

Once you have imported your files into the project you can start editing them. However the files we imported for this practice were linked files (have a little chain symbol next to them):

You should never edit linked files and instead should move them and delink them into a different bin. You do this by electing the linked clips and going onto 'Transcode/Consolidate' then 'Transcode' then 'N;Drive' and then make sure the same settings for these clips (quality 1080p etc) are the same as before when you set the project up. This will then unlink the media and you can put the unlinked files you want to edit into a bin called rushes.

If you want to change the way your bins look then you can. As you can see from the last image there are lots of columns with different information in them about each clip. You can add columns in or take them away in the settings and you can even change the order. This can be saved as a preset if you like as well. One thing to keep in mind while doing this is that you should never change the name  of the clip because you need it to match to the original. Instead if you want to add names you can add a custom column called details and then you can write in this what you want.

If a '*' appears next to the bin this means this bin hasn't been saved so hit ctrl and S and this will save it for you. This is the same for the project and files with in it as well.

You then to start actually adding a sequence to edit on right click on the bin you want this to be in and then click new sequence. You can then add things to the timeline but always make sure the sync locks are on. Heres what the time line looks like:

The sync lock is where the blue squares that say V1 A1 etc are. They should all be synced and therefore highlighted blue but originally when I set this up I forgot to do this. As you can see I have also added more lines of audio in. When I did this we had to make sure the audio tracks were set to mono but you should always create two at a time because of the two speakers you will have usually.

Next we learnt about what the keys mean when editing on the timeline:
V = Has a yellow arrow pointing right on it. This means you will splice in the piece of footage your adding to the track making everything shuffle up an not deleting anything.
b = Has a red arrow pointing right. This will add footage in to the track but instead of splicing in it simply over rights the footage that was underneath deleting it.
z = arrow pointing up. This lifts out the media selected on the track but leaves a space empty where it once was.
x = again arrow pointing up. This lifts out media off a track again but his one closes up the gap left automatically.

Then we learnt about the tool bar next to the timeline:

If this is locked on and all selected it means your actions are restricted when editing the timeline because it guesses what tool you want and what your trying to do. Instead it is a lot easier to just click on which tool you want. The min ones are the red and yellow arrows. The red arrow allows you to select and clip sections but deletes what you place it on when moved. The yellow arrow moves the other material around the cup you are trying to add in.

Here some more hints and tips I picked up:

If you have the caps lock on when scrolling through footage frame by frame this means you can hear the sound of each frame too.

The J, K and L keys allow you to play and fast forward or back the media.
If you press the K and L keys together you play it in slow motion.
Press the L key once to play normal speed and the more times you press it the more fast forward it gets.
J works the same as L but backwards.

We then learnt about the term checker boarding. this means you should always keep different elements of sound, video and special effects etc on different tracks therefore creating a checkerboard effect. Here is my simple example from what I made:

If you need to change the audio levels etc  there are a few ways to do so. One way is to right click the clip in the bin an then press audio gain which brings up a quick way to push the audio up.

Another more complex way to edit the sound levels is to go onto tools then 'audio mixer' which then gives you these sliders for you tracks and clips:

There are two sliders, a left and a right for each track. You can change the pan of the track with the dials at the top of the sliders. Then you simply push the sliders up and down to change the level/gain. If you open the audio mixer for the whole timeline you will get the master track come up too but never change any of the setting on the master.

You can click on the expand icon which is sometimes know as the 'burger' and this will let you look at a lot more options. For example audio clip gain will let you edit the file on the timeline. Always avoid clicking on the waveform option for audio on the timeline though because it takes up so much memory germinating these waveforms and this will just slow down the whole system.

Another key on the keyboard which is really important is the bright pink triangle. This is the keyframe button and lets you add keyframes to clips. If you press alt you can then move the keyframes once they are on the timeline. Holding alt on the timeline lets you lasso around any part of it you need to. At the bottom of the timeline is a symbol made of two triangles which has to be selected to allow you to be able to click on the keyframes.

Other things you can do when editing on the timeline are to click on the icon which is the 'Quick Transition' button which kets you add a number of simple effects and traditions to video and audio such as cross dissolve or fade etc. Here is the menu that comes up when you do this:

This lets you change all the parts of the effect as well and move it around.

The last important piece we learnt was that the easiest way to get rid of an effect you no longer want or like is to click the symbol that looks like an no entry sign and this is actually the remove effect symbol. Only do this when your cursor is over the effect you want to get rid of.

This first Avid session was really hard going because this whole programme is new to me however the principles are similar to Premiere which did make it a little bit easier to understand. I am hoping the more practice I have the more likely it will be for me to actually remember everything and start using Avid for editing over Premiere. Here are the two timelines I managed to create in this session:

I am very happy with my progress I only wish I could have actually exported this videos if I had time to do so. It was very good practice though.

Finalised Learning Agreement - Maps and Networks

After further developing and changing my Surveillance idea for this project here is the new version of my Learning Agreement:

Digital Film & Screen Arts Learning Agreement				YEAR:		2
NAME:  Billie Williams			DATE:  19/10/16
Unit Name/No: Maps and Networks		Deadline for submission: 15/12/16
GROUP PRODUCTION:	NO	INDIVIDUAL PRODUCTION:			YES
DESCRIPTION: A synopsis of the work you intend to undertake in fulfilment of the aims, outcomes and assessment criteria of the unit giving fuller detail in response to each of the five sections below.
I have chosen the theme of Surveillance to link into the overall brief of Networks. I want to focus on the idea that Surveillance is thought of as a Network of cameras and technology and has lost the voyeuristic meaning that people are actively watching you in society. To show this I want to create an installation with a live feed camera wired up to a TV or monitor. The camera will be directly opposite the TV so that it creates a looped live image between camera and TV. This means the viewer will stand in the middle and see themselves from all angles and multiples of themselves yet will never be able to see there face as the camera is behind. Because they are looking at their own bodies as if it were cctv this adds a human face to this idea of surveillance. The fact that it is themselves looking upon their own person adds to the meaning more in the sense that it could be anyone watching you in any state and it makes you vulnerable. I will then add more of an atmosphere to this piece through a soundscape made using either the cameras microphone or a separate one on the piece itself that picks up the sound of the viewer and loops it to the TV so it builds and builds to replicate the ways the camera and TV are sending your image around. If this proves too difficult or the sound is too harsh I will make a sound scape that uses general ambient noise and camera sounds looped and looped to build up instead. Hopefully this will all put the viewer in a more vulnerable state and therefore make them aware of the implications that cctv can have on us.
RESEARCH: (Initial reference material and sources)
Initial research was looking at pieces such as: -       Susan Philipsz, Sound Installation Pieces to influence my Sound Collage -       Bruce Naumen, Live Taped Video Corridor to link to Surveillance -       Anthony Gormley, Blind Light linking to the human form in installation -       Tony Oursler, Projection Installations link to my idea of reflecting projections Future Research: -       Look into installation pieces (the Welcome Collective) -       Look further into the network of Surveillance -       Find out how to make a sound loop and visuals image loop work on my piece.
CONTEXTUAL UNDERSTANDING (How the work relates to your future goals, previous work, work by other practitioners and so on) -       This work will help me gain a better understanding of installation art and possibility help me consider a more curator based role in the future. -       This work relates to past pieces I have made which have considered the effect of surveillance. -       My work fits well into our current culture and how society is becoming overcrowded with cctv. -       It links well to the themes that a lot of Physcogeorgraphers look at like have urban culture has taken over.
TECHNICAL AND CREATIVE SKILLS (Propose specialisms, resources required, relate to the above) I will need to find myself: - A Camera which will work for a live feed. (canon Legria G25 camcorder) - A longer HDMI cable from the camera to aTV. I will need to shop online or if not talk to a technician about the possibility of making one. - A TV screen or Monitor, See if Equipment store has one if not bring mine in from home. - If the camera/TV doesn't work I need to get a microphone and two speakers and find the skills necessarily to loop the sound on a live recording (technicians help)
COMMUNICATION (How you will communicate with the staff team and collaborators/How the work communicates with an audience, crowd funding, dissemination etc) I need to attend the workshop on practical skills to learn how I can install my piece. I need to learn the specialist sound skills required for my idea which I am hoping sound tutor James can help me with. I will ask a technician at the Equipment hire to help me with sourcing the cable, camera and monitor. I will need to communicate with the Curator at a very early stage to be able to get a place in the gallery where my work will fit and not cause any health and safety risks. I am going to ask colleges in the class and possible a technician at the gallery to help me actually set up my piece ready for the exhibit. My piece is very interactive and therefore makes the viewer a part of it. I am hoping it will pull people in because they will want to know what it is. I want it to cause the viewer to feel vulnerable and left more aware about the ideas behind cctv. I am hoping word of mouth will help get people around campus interested.
SELF MANAGEMENT (Work plan, schedule cross referenced with timetable, assessment deadlines etc) I plan to get all my research and a full proof plan sorted by this time in November. I will then spend the rest of November sourcing all the materials and the rest of the skills needed for the piece. December will then be spent on assembling and practising my installation so all the issues are worked out ready for my assessment on the 15th of December. I will then spend the installation week in January setting up my piece in the actual installation space.
STUDENT SIGN:		DATE:
TUTOR APPROVAL:
TUTOR SIGNED:		DATE: