Msn4 learning agreement final

When I introduced the plans for this unit at the first group critic I explained that the projects for both the self negotiated and the masters proposal were maybe a little ambitious. As I explore and research the work for the masters proposal, I find an array of reference material that seems to be falling in my lap as avenues of research open. I suppose it gives me some concern, also a delight as the adventure and exploration of ideas related to my proposed theme ‘Blurring the line between the still and moving image’. As the research develops I am dealing with two distinct areas of involvement technique coupled with the content, the later offers a diverse sensibility and at the moment as I home research into contemporary practices along with historical context. I am assuring myself as these few weeks progress I will eventually find the merging of the technique and content coming together as one.

In this unit I intend to be bold and strike out! I intend to explore the impact the digital captured moving image have on the viewer, trying to identify elements that captivate. The intention is to explore and identify the complexity involved in the viewer’s perception of the moving image. I am being ambitious with my proposal and this could be diverse research but for this unit I would like to explore the relationship audio has with imagery. To gain a glimpse at its use and an understanding of the effects that duration, sequencing, presentation, installation and listening can have. Personally I see audio as an emotional layer embedded within the footage, at times it becomes a major influence for the viewer often overtaking the imagery and adjusting the viewers perception and at other times audio can become an interference conflicting with the imagery. My own objective is to create imagery void of audio, as my desire is to hold an audience attention by the visual alone. To be a critic it is necessary to have an appreciation of the effects of audio, with the anticipation that the knowledge will aid the creation of stronger visuals. My plan involves using an audio recording I have already captured separately from any visuals. I want to explore techniques involved with editing and manipulating audio, then to create a visual sequence that establishes a mergence of audio and imagery together. The content will be either a street or country scene with a visual twist, a juxtaposition that will put a demand on the viewer, and question what they would perceive the work to be. My theme of the perception of the visual will be my intro into the masters’ project with a working title ‘Blurring line between the still and moving image’.The audio

The link below is the raw audio I intend to use as a reference to create the footage. The advice I have been given so far is to listen to the audio to get to know it, in many ways, headphones, hifi speakers and at different times of day including a variety of location to become familiar with the work. Very similar advice I was given to edit footage, I have now edited my four minute audio to one minute.

This link contains the visual with the audio form the digital camera I used to create the raw audio. What I find interesting is the imagery unconsciously created. As I witnessed the street scene I have created a visual that I think asks questions.

14th October time in the sound booth
Editing the audio from the 4 minutes raw to a one minute sequence. The sound engineer was impressed with the quality of the audio recording from the digital camera, I believe from research that the HDSLR camera are good for ambient sound but directional voice additional microphones and even separate recording device are advisable. Enhancing the sound taking away distraction

21st October second time in the sound booth
. After a brief chat with the sound technician I was on my own and got comfortable with the audio cutting the audio from one minute 10 seconds to 39 seconds of condensed sound. Now to think about imagery and many ideas have been buzzing around my head and I think this morning I have the answer. Although I had preconceived ideas what the visual might be, this is a new way of working creating the visual from the influence of the audio. The audio at first brought a vsiosn of school kids running around a playground together and creating the imagery from the kids perpective with the jostling of kids together. Due to CRB and parents consent in the time frame of this project it was going to be problematic, I still want that interaction and close proximity so my next thought is the idea of a bike/skate park that is close to me and feature the skills antics of the tricksters while trying to capture the social interaction. This be a complement to the audio as it is created from a different kind of social interaction with the hustle a bustle of traffic.

22nd October Bike/skate park first visit

This is my first rough edit on the skate park footage coupled with the audio.

The skate park was a great experience creating the footage was helped by the positive experience and being excepted by the kids at the park, this was an unusual experience for me as the work was not choreographed or staged tableau, previously being my work involved creating a pictorial narrative that is concentrated into a single image. I was not acting like a fly on the fly on the wall either as I became accepted into the space they continued their play and I captured the imagery as I moved around them. This has taken me away from the labour plus skill so inherent in my work of constructing the scene. For much of my work has been in this genre, with the use of actors, assistants and technicians to create a photograph. As I find a new definition through creating the moving image I become less of the orchestrator of cast and crew an more the sole producer.

The Impossible dream

At a conference I attended recently the video The impossible dream from Honda commercial was shown at the end of the motivational speakers talk. Will all now that commercials are designed to persuade and to to it used as a process to motivate, this got me thinking about the use of the audio against the visual in this advert. I believe the imagery and audio complement each other, with many of the footage sequences crafted in a classic approach almost echoing a still image as the subject matter moves through the frame.

The impossible dream

These few images below are crude screen grabs from the footage, I feel that they are strong images that could be still images that stand alone from the moving sequences.

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An example of audio and imagery not working successfully together in my opinion.

sailing from Ugurcan Kara on Vimeo.

Masters project proposal draft-1

Blurring line between the still and moving image

The power of photography is to immortalise a moment and freeze time. Where as the moving image brings uncanny realism which is absent in photography or painting.

Still and moving images command equal power in our lives. As the way we consume information changes our methods of viewing must evolve also and thus equally how we create. I used to create a moment in time now it is evolving into moments, as I now begin to shoot matching stills and film elements. I am moving beyond pure photography and I hope, closer to how clients require content. Still Photography has been going through a fascinating, if challenging, time in how it is created, viewed, sourced and priced. While there has been a lot of pain in all that change, photography is still growing in its role in our culture. Image prices may have often gone down but that doesn’t reflect the real value of images. Obvious reason for pricing change is the use of developing technology and as I have mentioned before it is disruptive technology, as it is changing the way we work; as artists we develop and choose the most efficient tools to solve a creative and technical solution.

My research so far is diverse there are however two specific areas developing, one being technique and the other content the emergence of these two will create the final work.

In much of my work I search for a balance between or, if possible, a meeting point for humanity and nature. I look to capture a human moment where it seems nature’s forces have united to create that split second in time.

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‘Bullet Time’ – a visual effect that allows the audience’s point-of-view to move around the scene at a normal speed while the action unfolding is played out in slow motion.
The ‘Time-Slice’ camera was first devised in 1980 by Tim Macmillan at Bath Academy of Art during his BA. Fine Arts degree course. Originally a painter, Macmillan was interested in combining Cubist theory with contemporary technology. Initially using hand-made photographic emulsions and photo grams, he went on to create a series of cameras creating multiple viewpoints of a space which were then collaged together. The multiple camera concept then made a lateral leap to being applied to cine film. The first camera involved a length of 16mm film negative, clear Perspex spacers providing a focal length and a strip of opaque 16mm cine magnetic tape with a pinhole drilled into each frame. A simple shutter over the magnetic tape then provided the means of exposure. The result was a tracking shot through a space. The profound revelation was that while the viewer experienced a move through space, time was frozen. A paradox! The effect is also known as ‘temps mort’ (dead time) & ‘virtual camera’, with various companies advertising under names such as ‘Timetrack’, ‘Multicam’ & ‘Big Freeze’.

Tim Macmillan Early Work 1980 – 1994 from Time-Slice® Films on Vimeo.

‘Steps for Stress’ – Healthier Scotland from Time-Slice® Films on Vimeo.

Eadweard Muybridge

I will visit this exhibition in early January to research the historical context. The British artist Eadweard Muybridge is known for his pioneering work on animal locomotion which used multiple cameras to capture motion, and his zoopraxiscope, a device for projecting motion pictures that pre-dated the flexible perforated film strip. Muybridge was the man who famously proved a horse can fly. Adapting the very latest technology to his ends, he proved his theory by getting a galloping horse to trigger the shutters of a bank of cameras. This experiment proved indisputably for the first time what no eye had previously seen – that a horse lifts all four hooves off the ground at one point in the action of running.

Mona kuhn

Mona Kuhn’s photographs of groups of beautiful nudists lounging around in apparent lazy luxury have sparked international interest. She was a finalist in the BMW-Paris Photo 1st prize for Photography, and her luscious large format color prints are in demand from collectors worldwide.

Elina Brotherus

Footage is created when Elina get’s in a crisis about her still photography, the moving image is created consciously for either screen of digital projection.

The Baigneurs (bathers) video installation portrays nude swimmers in Finish nature. The form is cyclic, repetitive: a swimmer plunges into the water and returns, waves hit the shore; only the places and figures change. The bodies are simultaneously beautiful and banal. Baigneurs examines beauty through through the national (National) Romanticist landscape and the classical bather motif. The water plays a role as important as the figures: its colour, the reflection rippling of the surface. Baigneurs is a sister work to Elina photographs of the same theme. It is interesting to compare them to each other. The still photographs easily fall within the bather tradition in painting (nudeby the waterfront), wheras the movement in the video brings in uncanny realism which is absent in photography or painting.

ebrotherus-baigneurs video click here

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jock sturges

Jock Sturges (born 1947) is an American photographer, best known for his images of adolescents. His work, often taken on the nude beaches of California and France, has been the subject of controversy. “Commercial photography forces me to take a fashion subject and find out who he or she really is. I want to turn the key in that lock.” Jock uses his gracefully style in his commercial working with the fashion models clothed he poses his models the same way he would drape them if they would be nude, I believe he is frustrated by the layers of clothing and sees a different person. What reflects here for my is using this imagery as a representation into commercial work in the clothing and leisure markets like the resort/spa markets.

Masters time line

Commercial context

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Reference material

The Photograph As Contemporary Art
“An essential guide.”—Seattle Post-Intelligencer For this new edition, Charlotte Cotton brings the story of contemporary art photography up to date with a chapter on artists who emphasize the physical and material properties of photography, who use photography as just one component in their pan-media practice, or who choose to experiment with new modes of dissemination for their work.

From stills to motion
David Spagnolo
Douglas Gordon
Tacita Dean

boys toys on the pond from gary john norman on Vimeo.

MSN4 Evaluation

In this unit I divided my time between the draft proposals for the masters’ project and a task I had set myself of developing an appreciation of audio. Often the two projects paralleled each and at other times a merging would occur that allowed for a reflection on both. After a period of time working in still photography I am now developing my skills within the moving image and being introduced to all the demands of a time based media. Creating a photograph I am not used to significant time restraints only those created by viewer of the work. Within a time-based media the ability to stop, restart, rewind and fast-forward is available to you the viewer. For the project I used a prerecorded piece of audio as inspiration to create imagery, the audio I thought would have no direct relationship to the imagery. On viewing the original recording and reflecting on the work created I found a connection within the imagery of a social interaction.

Working in the sound studio the introduction to audio provided insight to a similarity to the ways I worked within photography, filtering, decision-making and the language. Contemplating my process for the audio, the knowledge that subtracting can have extraordinary adjustments and enhancements to the audio. The rhythm of coupling audio and visual is complex, as one influences the other, the power of silence cannot be underestimated.

After a tutorial with Tom I had more confidence with the reductive process of working with audio. Creating more than a surface but providing a foreground and background a phrasing looking inside the edit to create a visual gesture and using repetition in both the audio and visual. What was important to me was retaining a style inherent in my photography and to avoid vagueness between the visual and audio. For a presentation to Shaun I presented the sequence with the wrong synergy I had created audio that was lazy, I could not justify why it was there. Every element should serve as a reason and I had underestimated my audience.

Moving forward I still wanted to explore the image and audio relationship, my ongoing interest with the characters from the model boat pond. My intentions were unfortunately postponed due to the weather as the pond was frozen. An idea was to create a still portrait of my subject with their beloved yacht and overlying an audio interview to accompany the image. I then wanted to contrast this with a hand held moving image camera sequence and audio interview. My purpose would have been to evaluate the relationship of aural and visual. I would of enjoyed witnessing audience attention, to see the effect that elapse of concentration or even questioning would have.

I have questioned the shortness of the work and mainly the pace of the edit, using the audio to often direct a cut between imagery and viceversa. The audience attention and their participation is something I concern myself with, although the work was ultimately to justify my own satisfaction, I could see it being used as a web viral or a teaser introduction to a longer feature.

Creating the evaluation presentation was an idea that developed from the editing process. The narration requires improvment many times over, hearing your own voice is always nerving, although it has provided confidence and also an insight into narrating over imagery. Having the ability to sit back and press play give me the ability to watch audience participation and gauge interest. Being totally honest for this part of the unit I have not found myself using any obvious references, only guidance form those with knowledge of audio. This has been refreshing as I approached this with total naivety and my only intention was to take a glimpse at audio.

With the audio experience and conducting research on the masters proposal I found a merging within this unit. The positive energy of doing! Coupled with creating allowed for something new, forging forward to use as a reference. As I am developing the proposal the future of the work is centering on what I do not do, rather than rely on my strengths, using a reductive process to strengthen the work and creating a rhythm to the structure.

Msn4 Tutorial Tom Simmons

Due to working away last week I was fortunate as Tom moved my time slot for the tutorial discussion and I was pleased that we were able to talk and some positive outcomes evolved. A concern that I will outline more later, briefly though I feel commercial knowledge hinders some creative growth, discussion with Tom has allowed a slight side ways shift into my creative process and changing my approach to creating & viewing imagery. At the end of the day I have to establish a commercial outlet, although want I feel is required today is a style unique to me.

Links Tom has directed me to:

Link to notes for Lefebvre

The skate park was a great experience creating the footage was helped by the positive experience and being accepted by the kids at the park, this was an unusual experience for me as the work was not choreographed or staged tableau, previously my work involved creating a pictorial narrative that is concentrated into a single image. I was not acting like a fly on the wall either as I became accepted into the space they continued their play and I captured the imagery as I moved around them. As I find a new definition through creating the moving image I become less of the orchestrator of cast and crew an more the sole producer.

Model yacht pond

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Tutorial with Shaun 18th November 2010

Comment from one of the participates.
“Interesting. seems to be very short and an awfull lot of black. Shall not be there on Saturday due to another appointment. Hope you enjoy”. Mike

Establish a technique coupled with content

More Super Slow Motion [Water] – 550D from Rickard Bengtsson on Vimeo.

7000 Frames Per Second from Mike Matas on Vimeo.

Corey Arnold

Distribution of the image

‘the old is catching up with the new’ Shaun Camp

You can make a drawing of the sunrise at 6am and send it out to people by 7am” by David Hockney

Each image as it appears on another iPhone or laptop is virtually identical to the original, although Hockney points out that even with a manufactured item such as this, there will probably be minute differences. Even so, the drawing on my phone not only looks like the one on his, digitally and in almost every respect it is the same. This is profoundly subversive of the art market as we know it, with its focus on the signed original work.

Like many people, Hockney thinks that this technology will change the world of news media and television quickly and irreversibly. But drawings, like songs, Hockney believes will always be with us: it is only the means of making and delivering them that will change. This autumn, Hockney remains in love with his iPad, and almost every day new drawings he’s done on it arrive in my inbox. “Picasso would have gone mad with this,” he says. “So would Van Gogh. I don’t know an artist who wouldn’t, actually.” By Martin Gayford

Phillip Bloom

4th November 2010 Group Tutorial

Discuss the fact that I was critised for lacking the ideas up front but preparing the reference and technique, suggested reading by Gerhard Richter.

What the process is, showing what the process is

Exploring abstract through photographic process


Still images created from the sf01 footage shoot.

Although I wanted to shoot more still images during the footage shoot the imagery below portrays a more relaxed style of shooting, perhaps I allowed the action to perform in front of me rather than force a situation. I find myself always directing the scene to keep the action flowing and to obtain a natural scene from a produced staged scenario. Four of these images have been selected and uploaded to the Image Bank collection for Getty Images.

The above image has very strong concept potential for placement in a assortment usages. An obvious use as image reference for education and career markets for all the female roles in the space, science, technology markets today.

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Exploring the cross fertilisation of the digital still and moving image.

All good plans often have a diversion, and like any good adventure it is so often not about arriving at the destination but the journey involved. My outcome for this unit has remained true, to produce footage utilising the new hybrid tools available to image-makers. What has changed slightly was my own brief I was basing my idea on creating imagery of craft and the craftsperson. Due to the production time involved and possibly being too ambitious I changed the idea. To utilise the production resources from an existing planed shoot entitled ‘make believe’. This was to enable the emphasis of my time and resources to focus on the footage creation.

My requirement for this unit was too critical analyse the footage outcome and exploit the new HDSLR technology available to the image-maker. The latter I feel a slight disappoint with my outcome as I concerned myself with the techniques, the language and the discipline of the moving image and comparing it to the still image making process.

The technology
For stills/footage crossover for a creator using the HDSLR system for creating footage there are a few initial pitfalls, with a lack of dynamic movement with the camera, as the stills background often has creator used to setting up the camera in one fixed place and letting the movement happen across the shooting plane. Using a still camera to create footage the ergonomics & control of the camera have been built for photography; its ergonomics for footage picture acquisition present challenges for smooth movement or proper lens control, this includes manual focus and zooming. The discipline that is traditionally used on cinematic cameras needs to be applied to this camera as well; this includes rigs for focus pulling and hand held steady operation. The HDSLR camera isn’t perfect for every sort of filmmaking with the camera’s limitations for focus and movement.

This is disruptive technology, it is changing the way we work; as we choose the most efficient tools to solve a creative and technical solution there are demands.
This is a learning curve and making mistakes along the way is inherent with technology. The idea alone does not overcome technicalities, once the merging of creativity and technology exists then you have a unity.

The creative
The art of image making should not replicate a copy of the real World the content needs to be compelling, to take us away form what is real. The imagery I create requires intensive production and the success of the imagery is twined with the creative process. This unit has been no exemption, by creating a simple shot list of ideas that forms a checklist and as guidance to varying set-ups as much as possible to assist in the flow of energy during the shooting process. These ideas form utilising reference imagery sourced through web, virtual discussion with art director and finding references on this occasion while making and sourcing materials for the props from recycled items.

This is an example of my text notes ‘One kid alone, concentrating on a project. Going for details showing his/her creativity at work, as well as wider shots to see the pay off of the final product. – A group of kids working together on a project, in construction, shooting it loose but making sure the viewer can get what’s going on’. None of this is a big revelation to the reference imagery that I have sourced and stored on my blog that can be resourced for inspiration and then printed out this then forms a simple checklist or storyboard that I could keep in my pocket and reference for creative direction and inspiration.

The footage

The outcome for this footage was not for the purpose of art film making, rather a commercial context in the license footage market that required consideration in its outcome and the work required a strong concept with a high level of visual competence. The conflict I dealt with was the pre conscious knowledge of creating still imagery. With moving imagery there not only exists different language that identifies a variety of techniques. For example camera movement are given titles like pan, establishing shot and tracking shot, the words take and action are also familiar and although I would be more comfortable directing a still shoot I found myself using the words ‘action’ much to my embarrassment. It became a necessary part of the dialogue as the talent required direction to complete the action through a whole scene that would last a period of time not just 1/125 of a second as we are used to the still capture of the deciding moment.

With the functional HDSLR technology still images can be created while shooting footage, I was disappointed with the lack of stills imagery created during the footage shoot, on part I believe my concerns where with creating the footage. The small amount of still imagery created has a relaxed style of shooting, perhaps I allowed the action to perform in front of me rather than force a situation. Or the HMI continuous lighting compared to the strobe lighting, allowed for a bigger scene to be created. The style of lighting had also made a change; normally more contrasting strobe lighting would be used for the still imagery compared to a flatter film/TV lighting. This in part was due to utilising the experience of a lighting rigger to manage the heavy and specialised HMI lighting technology and the requirement to have a large scene illuminated evenly.

The still image of the girl and boy holding rockets in the air referenced on the blog holds a strong concept for placement in an assortment arenas, for example education and career purposes with concepts for markets for the female roles in the male dominate science and technology industry this image is a success, the importance is to achieve conceptual ideas into the footage imagery too.

Lessons were learnt form the first production; I felt another was necessary to help satisfy the thirst for new imagery. With the idea of utilising a country garden and approaching the shooting with a looser approach, less crew and using natural light with reflectors. This formed the prescription for spontaneous approach that would allow child talent to be them-selves and after working with the talent a familiarity was developing, while directing skills will be tested as I try new techniques and exploit the technology further. A small amount of success produced a few good segments of imagery; just what was required three to five seconds is all I need. Adding another hard scenario to grasp that so much time goes into a segment of footage that has such a brief potential for viewing.

The journey

Attending a symposium at Kingston University called Present Technology, I was witness to film makers using the moving image in a variety of questioning outcomes. What concerned me most was how the filmmakers used sound in the footage. An example one piece entitled ‘Sea Shanty” the filmmaker informs us that the murky water in the glass is actually seawater. As the film plays we listen and then watch to see the tape recorder thrown at the glass sitting on the floor against a white background. For me not a grand piece of image making although it provides intrigue and questioning. It could have been any old murky water, what it dealt with was the dichotomy of change believing into be one thing when it is not.

A film by John smiths made in the early 60’s titled “The Girl Chewing Gum” a commanding voice over appears to direct the action in a busy street, what becomes evident is the supposed director is only describing, not directing the scene, Smith is using the narrative a director would use. I find the requirement to mention this due in part to a piece of technology that is missing in my footage the element of sound is a layer I have no intention of introducing I believe it is an emotional layer that has dynamic influence on moving imagery my desire and concern is with creating imagery alone that can captivate attention.

Coming away from the symposium with a concern that I have had for a while that sound makes demand on the moving image one has a tendency to dominate. When we view footage it requires collaboration between the maker and the audience by hitting play it is viewed for a determined period of time. My opinion is the still image-maker has to rely on the merits of the image to secure the audience attention for a majority of still image placement.

As a close or a leap into the next units, the requirement to label what we do has been a conflict in this unit, photographer or filmmaker. This has affected the working practice & outcome a notable conflict exists between creating for still or moving. New technology, new techniques and new delivery methods in a new media economy, I think it deserves a new label and it will not be long as the new image-makers with the thirst for creating imagery develop their own.

Reference material



FilmFellas Cast 7

Take off two from gary john norman on Vimeo.

Take off one from gary john norman on Vimeo.

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Hi Gary.
We went with the 1d mark 4 for the look of the final image. It appears to have a more film like quality and no Jello and other issues that the 5d mark 2 had. Then added Zeiss lenses to also increase the contrast and give it a more cinematic look, much better. Our rails and focus as well as full lens shade are made by Vocas. We tried the Red rock and they call it rock for a reason, the bounce and shake you get from this system is terrible. The Red rock sits so high on your fluid head that it increases the weight considerably making for greater shake. The closer the weight of your camera set up is to the base of your fluid head the more stable you will find it. Wonderfully simple focus gears that line up with each of our lenses without having to adjust size, they all fit the same.
The big money item that keeps our motion looking truly cinematic is the fluid head we put it all on. Our head made by O’connor their 1030hds will hold a full Red system up to 68 lbs. With a head like this the pan and tilt is smooth as silk, no retakes because of camera shake, but it wasn’t cheap. Add a 1080p Marshall monitor with 18 hour battery and your view is super detailed. Oh yea and a good set of sticks. We purchased carbon fiber sticks to help keep the weight down.
That and about 4 neutral density filters and life is quick and simple. We also added a dolly system that is bendable to go around corners made by Verizoom. Also a Vocas hand held camera mount to go off tripod and you pretty much have it.
This system is so solid yet so light and quick to set up. We can have it up and running in 5 minutes if that. I will get a photo of it to post but take a look at Vocas and see how simple they made it, also they left the weight as low as you can go no big ugly cage around it like the Red rock. Hope that helps.

Reference imagery for second make believe shoot.

Many lessons have been learnt form the first production so another was necessary. With the idea of utilising a country garden and a looser approach with less crew using natural lighting and reflectors, the prescription for spontaneous approach that would allow child talent to be them selves. Also after working with the talent before familiarity will be a plus, while directing skills will be tested as I try new techniques.

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Link to film maker dinner party.

Link to Getty Images footage submission requirements.

msn3/sf01-1 image reference from gary john norman on Vimeo.

Sf01 shoot plan thoughts

With the stills/footage crossover for creators there are a few initial pitfalls with footage with a lack of dynamic movement with the camera, as the stills background often has one used to setting up the camera in one fixed place and letting the movement happen across the shooting plane. However, while that can certainly work well in some instances, we should not forget that motion can happen in multiple directions within a clip, for example the kids can be moving and the camera too! Getting good dynamic movement happening within the time span of the clip can really enhance the content, and make it more nuanced and immediate. By starting outside a room or outside a window and move in to reveal the kid at play; or vice versa, also by starting a shot close up on the hands of a kid working away at making something, and slowly pull back to reveal the huge creation he/she has made. By having kids running past the static camera to capture their action, other versions where you move along with the kids and catch the motion from within.

Variation and specific shots to aim for, the following for any of the various props and costumes:

– One kid alone, concentrating on a project. Going for details showing his/her creativity at work, as well as wider shots to see the pay off of the final product.
– A group of kids working together on a project, in construction, shooting it loose but making sure the viewer can get what’s going on

– With a group of kids playing in costume, transforming their environment to fit their imaginary world – going for both really loose moments, full of energy and activity, also not to hesitate to orchestrate something a bit more elaborate and controlled if the props/setting allow. Like, a line up in a parade, have them all carrying something towards a big construction they’re working on, etc

– Group of kids with adult supervising, to show the idea of education or an arts class, including adult interaction with individual kids

– Individual/pairs/and group shot portraits, proud and happy

– Candid portrait shots, like the attached Tylenol ad tear sheet, kid not making eye contact with camera

– Kid/kids in dress up stuff, playing a different game, an example, sitting and reading a book or having a snack while in cape or tutu.

– Kid asleep in dress up costume

– Drawings left on floor or table

None of the above is a big revelation to reference imagery sourced though it’s just a simple checklist. To varying set ups as much as possible, so I don’t just swap individual kids in and out of the same scenario, this just overlaps always narrows things down on the editing end. However, in footage there’s a lot more need for multiple takes on the same shot, from slightly different angles or with different key talent rotated in, so in motion the requirement to feel free to work each situation more thoroughly than with stills.

The Girl Chewing Gum
(1976) 12 mins. B/W. Sound. 16mm.

“In The Girl Chewing Gum a commanding voice over appears to direct the action in a busy London street. As the instructions become more absurd and fantasised, we realise that the supposed director (not the shot) is fictional; he only describes – not prescribes – the events that take place before him. Smith embraced the ‘spectre of narrative’ (suppressed by structural film), to play word against picture and chance against order. Sharp and direct, the film anticipates the more elaborate scenarios to come; witty, many-layered, punning, but also seriously and poetically haunted by drama’s ineradicable ghost.” A.L. Rees, ‘A Directory of British Film & Video Artists’ 1995

Link to john smith

Link to symposium Kingston University

‘My son loves dressing up as a super-hero and we have great fun making his outfits. Most of the boys in his class come in ready-made Batman/Spiderman outfits, but he loves to create a unique super-hero by coming up with something totally new! The last outfit involved sweat bands for his arms, a home-made mask for his eyes and his bright red pillow case as a cape. He looked fantastic and we didn’t spend a single penny.’

Link to

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Camera view, angle, movement, shot

* Aerial shot
* American shot
* Bird’s eye shot
* Close up
* Crane shot
* Dolly zoom
* Dutch angle
* Establishing shot
* Follow shot
* Forced perspective
* Freeze frame shot
* High-angle shot
* Long shot
* Long take
* Low-angle shot
* Master shot
* Matte
* Medium shot
* Pan shot
* Point of view shot
* Rack focus
* Reaction shot
* Sequence shot
* Shot
* Shot reverse shot
* SnorriCam
* Tilt (camera)
* Tracking shot
* Trunk shot
* Two Shot
* Video frame

Keeping the props very generic and hand-made, nothing that gets overly specific or costume-y. A sheet-around-the-neck-as-cape is the best example to keep in mind, particularly if aiming for a naturalistic, sort of slice of life aesthetic.

Props & Idol

Spaceman-bubble wrap, foil, plastic drink bottles, colander, boots

Racing driver- bike helmet gloves steering wheel

Doctor Nurse- scrubs overalls stethoscope teddy bandages pjs

Super hero- Capes from curtains trunks tights mini skirts boots

Boat captain/sailor-stripey top binoculars from loo rolls pringle boxes painted

Weightlifter-shorts vest costume leopard patten shirt

Captain of Plane- biggles style

Firemen-boots oxygen tanks hose bell

Painter/ artist- smock berry frame palette paint

Muscian- saucepans for drums sticks?

Knight- tin bin lid, sword belt bow and arrow

General props

Hand painting footprints potato paining big paper messy hands cleaning up aprons

For kids, covering more timeless variations on imaginative play, dressing up, etc is always good, though I might steer you clear of being too specifically oriented to Robin Hood and the bows and arrows. You already have some strong material with the pirates, and honestly I don’t think there’s a function difference for clients needing bows and arrows vs. the swords – the main idea is just ‘dress up’ and kids playing at being heroes. I’d encourage you to branch out a little further with the range of what the kids are playing at. That is, rather than have them being Robin Hood, I’d like to see them being an architect, or a scientist, or an athlete. That is, create a couple scenarios that show the kid(s) playing, but with the idea of what they might grow up to be:
-building a big fort
-being a super daredevil and piling up pillows on the lawn to dive onto from up in a tree
-using their imagination to accomplish something extraordinary
– dedicated/obsessed with a sport, like practicing juggling soccer balls with other balls all around the yard, or same with tennis, hitting a bucket of balls against the side of the house, or practicing weightlifting with homemade weights…
But also a parent playing with a kid, collaborating on a project like this could be really great: doing a big puzzle; building a big structure out of blocks; etc.

The AD of this shoot actually cut together a short film with this material, editing the clips together into a full narrative sequence from the boat being built, then put on top of his car, driven to a lake, and finishing with him afloat in it. I unfortunately don’t have access to this to send you, but the AD and filmmaker conceived of the project with the final narrative sequence in mind, which I think helped shape the look of the individual clips. They all work well on their own, but have a dynamic quality to them with the sense of each action we see leading on to the next one, with visible progress happening and a final tangible goal throughout. This is a nice thing to keep in mind with all of the crafting ideas – the process is key, but in the end it’s about making something useful and rewarding. You could also think about these ideas in more mundane ways, that is, oriented around the idea of people taking pride in their every day chores and tasks. While a craft brewery or a skilled woodworker would be beautiful subjects, you can also shoot someone working on their yard, their garden, or other hobby with pride and passion. We actually really need scenarios showing people out and about around their homes, with ‘weekend warrior’ chores and projects: painting the shutters, cleaning the gutters, waxing the car, weed-whacking the yard, trimming the hedges, etc. It’s just a thought, and I figured I’d throw it out there….!

Link to boat building fooatge

Link to Gettyimages footage information

Link to 5d forums

Link to cross media video stock

Link to squeezing more out of 5d

Link to location

Link to image ideas

Link to talent

“The Last 3 Minutes” Behind the Scenes from Shane Hurlbut, ASC on Vimeo.

Link to BJP hollywood-comes-knocking

Link to International boatbuilding school

Link to three rivers race

Link to classicboatworks

Duncan Mcnicol artisans

Getty stock footage contract

Okay, sounds good. I’ll get you set up with a footage contract, and connect you with one of the footage Art Directors (probably Alwyn Gosford, who is in our London office) for guidance on the submission guidelines. He can also be a good support for the shoot ideas, and the three of us can certainly coordinate communications around productions as well.

Exploring the cross fertilisation of the digital still and moving image.

Norwich University College of the Arts
Learning Agreement
Course and Unit Number: MDA MSN3

Name: Gary Norman
Proposal: What do you intend to do?

Exploring the cross fertilisation of the digital still and moving image.

In the early 1990’s when I began my photographic career my concerns as a creator were with creating the image on a piece of film that was processed by the film laboratory, after editing the imagery was passed to the client and then published. As my career developed I would soon be asked to shoot moving imagery, I would refuse as in my training in photography I had found that the disciplines were very different and the crews involved too large. The underlying reason for the clients asking was often to save cost in production and whilst I could be sympathetic with clients needs, I would not be willing to sacrifice the quality of the still imagery that I was producing. I felt the disciplines to be so varied, issues of time capturing a single frame of time, versus multiple frame for motion the fact that equipment was larger and required more crew meant that I would not engage with these requests.

Now move on two decades and I see myself creating moving imagery alongside my still photography. So what has happened? In this unit my aim is to explore the new technologies that have opened up creativity for the still photographer to exploit the endless possibilities of the moving image. We now see the tools of the cinematic-photographer being used by the still photographer and the tools of the photographer being used by the cinematic photographer a cross fertilisation of tools and knowledge. With the availability of new inexpensive light weight camera technology we can now create HD footage allowing for smaller crews as the size and versatility of the camera has allowed moving image makers to break new boundaries in film making with unseen angles and styles. Couple that with the audiences thirst for cross media imagery, as the delivery platforms rapidly change.

I intend to further explore new creative approaches available to moving image from a still photographer perspective. This will build on work from a previous unit that allowed some preliminary research into filming a craft and I approached the content by filming the space that the craft-person works in and made a short film on wine making. Now , for this unit I will take the craft idea further and will be looking at the skills and the tools used. Utilising the new HDSLR camera I intend to explore the perspectives and angles that can be acchieved, with one idea of creating the view point from the first person perspective, but not limiting myself to this angle I am using this perspective for guidance only to lead to further exploration for filming direction.

The outlet for my footage is the license image industry that supplies short one to thirty second segment sequences of footage for clients to edit together for commercial use. My footage will be presented in a form of a segment of sequence footage rather than a edited narrative and this requires a skill in creating imagery in a continuous scene so editors can have a lead and end to edit. Markets for this footage are various from financial institutions, advertisers promoting unrelated products and imagery to advise on services.

Assessment Work:

During the last three units my time has been spent in an exploratory capacity asking questions about my practice and learning the new tools to create and edit footage. For assessment I intend to create a critical analysis of the moving image I produce along with emphasis that I keep to the theme that I have set out above. Using referencing from existing creators who are also now exploring the HDSLR footage techniques and how they are developing and using the new tools as well manipulating the image in both still and cinematic photography. The work will be presented as screen based QuickTime format and as expressed above in lengths of short segement sequences rather than edited together as a narrative. This can become harder to read, compared to the fast edits we see in contemporary edited footage, in creating the work it is important for me to think in these segmented sequences for the license market outlets I intend to place my work.

Schedule of Work: (to include the deadline for submission of assessment):

Time table

Week one 20th May
Draft proposal & tutorial
Week two 27th May
Complete proposal
Week three 3rd June
Research footage first person perspective present thoughts at tutorial
Week four 10th June
Research crafts
Week five 17th June
Production/research crafts
Week six 24th June
Week seven 01st July
Shooting footage
Week eight 08th July
Shooting footage
Week nine 15th July
Post production editing footage
Week ten 22nd July
Post production editing footage
Week eleven 29th July
Write & prepare presentation
Week twelve 5th August
2-5pm final presentation

Resource requirements:

Reference material



MDA2 Collaboration evaluation

Reference Material

Blog link for visual reference link reference:

mda2-s89 “The Colors of Prague”-Documentary-BTS

Link to Czech Lion awards

Link to Barrandov Film Studio

Link to baba film

Link to “The Colors of Prague”-Documentary-BTS

Links to Prague film school & collaboration with Tampa film school

Link to famu
Link to ut
Link to greyhousefilms
Link to circafilm

Footage reference & intro of DSLR HD video

The Story Beyond the Still “The Cabbie” – Behind The Scenes from Vincent Laforet on Vimeo.

Link to Jonathan Ross photographer

mda2/sf01-footage reference

Link to gettyimages

Link to gettyimages-one80

mda2/sf01-footage reference

Link to gettyimages

Link to gettyimages-one80

mda2 collaboarive footage ftp storage presentation research

Web streaming research.

mda2 Art therapy and questioning collaborative working