Journal Prompt #1
Working in progress video for other subjects
How many fingers am I holding up?
Working in progress video for other subjects
How many fingers am I holding up?
Recorded a conversation with me and dad on Skype. Technology connects people when they are away. We talk every night. But when he arrives in Melbourne and is at home with me, he sits on the computer. Technology dis-connects people.
Week 4- project
Journal Prompt #3
Video Editing
Week - 5 project
Video Editing
Week - 5 project
Week 5 - Project
Journal Prompt #2
Television
The news segment I watched was a small minute and a half clip of coverage on British Airways major airport cancellation. It was constructed with interviews, monologues and wide shots. Cross-fades and jump cuts were the two editing styles used in this news segment. There was a voice over from a narrator who was speaking over videos of airports, people and luggage and there was a jump from every two seconds of the video. Honestly, I have not noticed the amount of cuts in one segment, there was over 20 cuts in a minute video that I could keep up with, it didn’t seem so hectic but now it is ridiculous the amount of changes that we have to sit through. No wonder why we live in such a fast-paced society, the media has trained us to expect to see changes every second. Compared to sport, drama and reality television, news tend to have much more short cuts in between. For example, in a soccer game there is generally a wide shot of all the players hitting the ball back and forth. Drama and reality television is all about angles and dramatization of making an actor look good or deliver a scene in a most suitable manner. So it is much more important to change camera angles to keep the audience interested. There is so much editing and cuts required just for a single minute-long news coverage.
Television
The news segment I watched was a small minute and a half clip of coverage on British Airways major airport cancellation. It was constructed with interviews, monologues and wide shots. Cross-fades and jump cuts were the two editing styles used in this news segment. There was a voice over from a narrator who was speaking over videos of airports, people and luggage and there was a jump from every two seconds of the video. Honestly, I have not noticed the amount of cuts in one segment, there was over 20 cuts in a minute video that I could keep up with, it didn’t seem so hectic but now it is ridiculous the amount of changes that we have to sit through. No wonder why we live in such a fast-paced society, the media has trained us to expect to see changes every second. Compared to sport, drama and reality television, news tend to have much more short cuts in between. For example, in a soccer game there is generally a wide shot of all the players hitting the ball back and forth. Drama and reality television is all about angles and dramatization of making an actor look good or deliver a scene in a most suitable manner. So it is much more important to change camera angles to keep the audience interested. There is so much editing and cuts required just for a single minute-long news coverage.
Journal Prompt #4
Lighting
https://vimeo.com/44013262
The warm tone in the video is very alluring. It is not trying to be a spectacular video because the content is quite dense, personal and emotional. The warm lighting is very similar to lounge room warm, tungsten sort of light. The light source is probably from a lamp shining directly to the subjects face as it created some hot spots in her forehead. There is a subtle shadow behind the figure and it looks like as if there was only one light that lit the background. The soft, warm light suggests a very intimate feeling as if the figure is someone I know speaking to me in her living room. It elludes a familiar domestic feeling to the video in relation to her personal biographical storytelling, she was able to reach the audience through warm non-dramatic lighting that shows that it is not particularly important to make her look theatrical but rather flat like looking at someone in your household.
Lighting
https://vimeo.com/44013262
The warm tone in the video is very alluring. It is not trying to be a spectacular video because the content is quite dense, personal and emotional. The warm lighting is very similar to lounge room warm, tungsten sort of light. The light source is probably from a lamp shining directly to the subjects face as it created some hot spots in her forehead. There is a subtle shadow behind the figure and it looks like as if there was only one light that lit the background. The soft, warm light suggests a very intimate feeling as if the figure is someone I know speaking to me in her living room. It elludes a familiar domestic feeling to the video in relation to her personal biographical storytelling, she was able to reach the audience through warm non-dramatic lighting that shows that it is not particularly important to make her look theatrical but rather flat like looking at someone in your household.
PROJECT 1- Television
Lily Nguyen, What are you saying?, 2017, Video
Influenced by Dara Birnaum use of media on TV in a saturated manner also Ma Qiusha style of reaction to identity and the struggles of belonging in a racist community on media.
Lily Nguyen, What are you saying?, 2017, Video
Influenced by Dara Birnaum use of media on TV in a saturated manner also Ma Qiusha style of reaction to identity and the struggles of belonging in a racist community on media.
Project 2 - Homage
Lily Nguyen, How far can you see?, 2017, Video Installation
I created this work in response to Che Wei Chen's work Duel Portraits. He presented a small video installation of a friend telling his story about mental illness juxtaposed with a degrading image that eventually fades away. With this idea, I have used various editing techniques to display my dark inevitable future to my long family history of hereditary blindness.
Lily Nguyen, How far can you see?, 2017, Video Installation
I created this work in response to Che Wei Chen's work Duel Portraits. He presented a small video installation of a friend telling his story about mental illness juxtaposed with a degrading image that eventually fades away. With this idea, I have used various editing techniques to display my dark inevitable future to my long family history of hereditary blindness.
Zoë Croggon
1989
Pound 2016
Collection of the artist
Courtesy of the artist and Daine Singer, Melbourne
© Zoë Croggon
1989
Pound 2016
Collection of the artist
Courtesy of the artist and Daine Singer, Melbourne
© Zoë Croggon
In Zoe Croggen’s work Tenebrae, she has gathered and spliced found footage to create an abstracted, grainy and usual video work. Throughout the video, the some images were zoomed in so much that the figured was distorted and reduced to monochromatic, muted forms, similar to the delicate lines from our human body. Her title directly translates to ‘shadow’ and her projected was supposed to relate to the re-introduction of light through darkness. This has been explored though juxtaposing bright moving images of unknown figures against the blank dark screen. Each time the screen turns black, we anticipates what will appear next on the screen. Throughout the video, there was always some one obstructing the view when they walked past the projection, so that made it very distracting to try and piece together the story. The areas when one screen bled into two screens made the experience quite surreal, the synced video added to the strange world of screens that we are used to seeing all the time. Overall the video piece was quite ambiguous and abstract, it didn’t attract many people to view it as it was located at the busy lobby. In the broader context, there has been a gradual rise of female video artists that range from Claire Lambe (ACCA) to Tara O’Conal (BLINDSIDE) that have recently been exhibiting within 2017. Culturally, female video art is rising and starting to be recognised as a powerful form of storytelling as well as a unique medium to experiment with.
DANIEL CROOKS - SUBTLE KNIFE
2016, 8'23"
Sound really makes the video. After watching Daniel Crooks Subtle twice Knife online on Vimeo, with sound and without sound respectively, I was unable to enjoy the silent version of the video work as much as i did with sound. His video work plays with a sense of time and movement. Where in this video it shows windows appearing and we are taken through a journey following tram tracks. Whenever a new window appears, a new sound erupts the flow of the previous soundtrack to wake us up from this state of passive watching. This slow mechanical sound gives an impression of time travel. We are taken through many scenes of old tram houses to vast empty fields of nothingness. It's like we are wandering through these places without leaving the comfort of our own home. There were birds cooing, symbols clashing to wind blowing to surprise the viewer each time a new scene emerges. The sound and image forms a symbiotic relationship which enhances the effect of tension through stillness. There's not necessarily a emotional sound that flows through this work, but rather gives us a element of surprise to catch us off guard when immersed in the previous scene and relaxation at some points of this video. The sound seems to be jagged but at some time we are neutral to the changes every twenty seconds of the video.
2016, 8'23"
Sound really makes the video. After watching Daniel Crooks Subtle twice Knife online on Vimeo, with sound and without sound respectively, I was unable to enjoy the silent version of the video work as much as i did with sound. His video work plays with a sense of time and movement. Where in this video it shows windows appearing and we are taken through a journey following tram tracks. Whenever a new window appears, a new sound erupts the flow of the previous soundtrack to wake us up from this state of passive watching. This slow mechanical sound gives an impression of time travel. We are taken through many scenes of old tram houses to vast empty fields of nothingness. It's like we are wandering through these places without leaving the comfort of our own home. There were birds cooing, symbols clashing to wind blowing to surprise the viewer each time a new scene emerges. The sound and image forms a symbiotic relationship which enhances the effect of tension through stillness. There's not necessarily a emotional sound that flows through this work, but rather gives us a element of surprise to catch us off guard when immersed in the previous scene and relaxation at some points of this video. The sound seems to be jagged but at some time we are neutral to the changes every twenty seconds of the video.
Lily Nguyen Copyright © 2017