Frame Form Fracture : Completed Project

Please note, when viewing the videos below, please click on the title (in white), as clicking on the ads which keep swamping the footage will redirect you.

Having captured some footage of “Dolly” with and without projection, I wanted to take one last look at what I had done, and see if there was anything further I needed to do with it.

This time, rather than using iMovie, I thought that I should try FinalCut Pro, as it is more professionally recognised software, and many people had told me that they found it easier than iMovie.  Having never used the software before, I accessed Atomic Learning to find out a few basics, but realising that time was beginning to run out, I decided to just have a bash at it instead of going through numerous tutorials, which could wait for another day. I had saved the footage as Quicktime movies, which I then dragged into FinalCut Pro, but unfortunately couldn’t find a “magic button” which would stop the camera shake. I did however find the filters, and like a child in a sweet shop had a bit of fun trying them out!

In my previous post, I had been looking at the work of  Swiss artist, Katja Loher, who works in New York. She makes sculptures and installations which she projects upon  the surface of orbs (which she calls Videoplanets and Miniverses) that are hanging in the gallery space . She collaborates with with dancers, choreographers, musicians and designers to create synchronous footage which she edits to create kaleidoscopic effects. Her work reflects the human condition in a globalized world.

01_Katja_Loher_Videostill_from_Timebubble_2011_3_min_loop_THIS

Looking at the moving wheel in the “Cycle” video, I wondered if I could make a similar kind of kaleidoscope effect, as a kaleidoscope is one of my most memorable “fractured” images since childhood. I found the “mirror” filter, and immediately felt that it provided the kind of transient, evolving image which reminded me of a kaleidoscope. The cogs in the centre of the wheels started to resemble eyes as they moved into full wheel view position, and the shadows of the wheels circumference looked like an extension of the horns. In some ways, the camera shake probable aided the fact that the piece almost looked like it was breathing as it had a kind of pulsating feel to it.

Next I decided to go back to the footage of  the side view of “Dolly” with cells projected behind her. I wanted to keep this fairly simple, and used a filter called “equalize” which eliminated the colours of the projection, creating a stark, high contrast effect. The wheel in the background is a metaphor for Dolly’s life cycle hanging in the balance, as it turns and twists precariously. The stark black shadow creates a mirror image, again, a reference to the cloning of the object, and the sinister repercussions which it may have .

Finally, I used the front on footage of Dolly with the projection, and again used the mirror filter. This gave a much more kaleidoscopic effect, entrancing and hypnotic, with the background simulating female human genitalia…I blame David Kefford! The sheep’s head also began to morph into an almost human resemblance, leading me to think of the  elusive “Green Man” whose mysterious face is said to represent  a cycle of growth or rebirth.

And so ends the project, having used up just under 12 hours. On reflection, I am satisfied with the outcome, although I really do need to address the camera shake problem. Also, having had a go at Final Cut Pro, I feel that I would like to learn more about video editing, as this could prove to be invaluable in the future.  Also, it might have been an idea to add some sound into the video, but I did not have time on this occasion, and a very careful choice of sound would have to be made, as any noises resembling sheep would probably have been too obvious.  My favourite video was the final Dolly_Kaleidoscope, as the piece ended up taking on a different form altogether, and I liked the fact that it had become much more obscure yet still held elements which the viewer could interpret within its intended context, representational yet partly abstract . Perhaps in future I need to redress the balance, to create pieces which seem slightly less obvious, and with more of an abstract, playful feel, like the works of David Kefford.

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