This page is dedicated to the development of the final piece in relation to all of the up to date research and repeating themes within it. There has been such a great variety of practices and practitioners that I have been introduced to in the past few weeks and although I do not relate to all of them they all definitely had some interesting concept viewpoints, techniques of creation or simply new information that I had not considered before. The themes I found resonated most with me however are, Critical Forms of Observation and Imagined Worlds, whilst Spatial Tendencies and Materiality and Process have been a secondary inspiration.
The concept of the piece that I have been so far only hypothetically developing is rather fluid and not constraint by boundaries of a singular representation, meaning or explanation. However, for the purpose of bringing in some overall context to this stage of development I would like to note this simplified and bracketed synopsis. I am aiming to create a short experimental film which situates a character in an infinite space of blue light. This space aims to create a representation of a psychological space where the mind of the character goes as a way of escaping reality and finding comfort. This way of escapism is mirrored in the almost frozen appearance of the character as they are spaced out and it seems as if their spirit/essence is detached from their body. The body acts as a vessel of visualising the notion of this almost hypnotised state of escapism and relief.
Shaping Through Light
I have previously taken on some experiments which look at light, colour, reflection, manipulation of that light and the possibilities of projecting that light, however I felt like I needed to do a bit more research on how I might unintentionally create a certain effect through lighting which might communicate a different concept. In order to avoid said miscommunication I had a browse into different lighting techniques and came across a short film which tells an overwhelming visual story of how light affects ones face, the emotion it communicates. The short film is called Sparkles And Wine, directed by Nacho Guzman. The actress also undeniably knows how to communicate and play with the use of light through facial expressions. It is almost as if it is a live performance and she is reacting in relation to the movement, colour and intensity of light.
Light and Susan Hiller
On Susan Hiller
On this piece: Small Study for ‘Homage to Marcel Duchamp’ , Print, 2012
On the use of light as energy , bathing people in light, Susan Hiller’s work on this website.
explore qualities of infinite space ( as suggested in one of the experiments) do that though movies such as under the skin and series stranger things but also through artists such as James Turrel.
More on PRESENTATION
Notes on questions from presentation and considering them further!
Derek Jarman’s “Blue”
There’s a Blue Light – crooked fingers
Images of measuring space and flats and space not being big enough to create this cube.
Considering how to achieve the effect I am looking for without building said cube.
Working with 1 flat wall: what is the point of projecting a flat image on it. Instead create depth digitally and project that. Started with some gradual and subtle depth perceptions but also tried out a tunnel like space? Although I don’t want a tunnel because that doesn’t suggest this surrounding infinity but somehow restricts the space …? inspired by turrels blue tunel.
What equipment do I need after figuring out that the set up will be a 3meter white backdrop.
camera – Sony A7SII
lens 1 – Sigma Art 18-35mm F/1.8
lens 2 – Canon 24-105mm f/4 Lens
Gel Location Pack for the lights
maybe a polarizing filter just to try out if it would add anything to the blues.
2.8/f best aperture for filming. I want a higher f stop (lower aperture) in order to have a wider depth of field/more elements in focus, (but also lnot too high as I still want a good amount of light coming in as I am filming in a dark environment) such as the background. I don’t want the projection to be out of focus as the graphics on it will be a very important part of realising the illusion of infinity.
flicker happens when LED is out of speed with the frame rate or shutter speed I am using. Make sure that each frame is receiving the same amount of light. To do that if I am filming at 60fps
shutter speed can’t be more than 1 over the frame rate. Lighting in UK uses a 50 cycle/hertz system which means that the light fluctuates from darkest to brightest 100 times per second which introduces a flicker. Based on this I can shoot at any frame rate which is 100:1=100, 100:2 =50, 100:4=25 . If its an American system it would be 60cycle which is 120 times per second which means I can shoot at 120, 60, 40, 30, 24fps. When there is a frame rate which is not evenly divisible I’d need to get the shutter speed aligned. Can use website Red.com/flicker-free-video to calculate the right shutter speed. Easier to shoot at shutter speed rather than shutter angle in order to avoid the flicker. Highest frame rate we can shoot in without getting flicker is 120fps, anything more, I would need to buy specific lighting which works differently so that the flicker doesn’t appear. Projectors apparently have a 72hertz refresh rate which would mean I can shoot at 71:3=24fps
Generic lighting tends to operate at frequencies of 50 – 90 Hz
Furthering the Piece through sound
For potential sound for the work found some ideas and inspiration in this articles.