SEA Y2 - Research, Workflows, mock ups etc.

Artist research/Reference Point

A reference point for a work I’ve held onto for a long time has been ‘Fase’ by Anne Teresa De Keersmaeker, Michèle-Anne De Mey, and Steve Reich. Within our brief of Body, Object, Space I looked to explore making a work inspired by this in collaboration with Robyn McCrae. Originally I set out to make a Super 8 movement study documenting a silhouetted performance by Robyn. I will demonstrate my plans for this in the next written entry. It is something I hope to still make but temporarily is on hold due to the time frame of this semesters’ crit project being not suitable, Super 8 is now very uncommon and to develop it incurs a long wait time. I have since explored other ideas of presenting a similar movement study using slide imagery, experimenting with printing my own slides testing inkjet images onto acetate. Initial tests looked promising but the acetate material did not dry and the images blurred and ran. See images below, I tried to dry the ink with UV light but think the material needs to be replaced. I am in the process of getting more suitable material and will try again.

I have also explored the idea of shooting slides through my camera but E6 chemistry for developing slides is now very rare and expensive, there are no labs in Glasgow which can do this except cross processing. I considered the idea of using cross processing - shooting E6 slide film and developing in C41 chemistry can yield some very interesting results but unfortunately the film itself then becomes a negative and would not be suitable for use in the slide projector. My two remaining options are to shoot negative film and investigate if it’s possible to develop this in a lab using E6 chemistry to make them positives and suitable for slide projection or to go back to the original idea of printing the images onto acetate and cutting them out to make slides on my own. The final option is to put this project on hold and come back to it with a bigger time frame available and shoot with the original intention of Super 8 moving image format and project with projector in room. See next entry.

Workflow for producing video art — Diagram 1 (see right) demonstrates the workflow I employ when making video art using glitch gear, CRTs, projection and VHS handicams. Explained in more detail below.

Source footage (underwater iPhone footage for eg.) playing on PS4 through YouTube / Sent via HDMI to Projector / Projected onto studio wall / Wall filmed by witness camera (handycam) / Composite out sending footage in real time into T+ processor / Experiment with visuals, “playing” buttons, dials, and feedback loops whilst listening to tracks / Composite out of T+ / CRT plays back the “psychenized” footage / digital camera on tripod pointed at CRT filming screen / ingest and edit in Premiere Pro, grade, double exposures, sequencing etc.

An additional way of capturing the “psychenized” footage as well as filming the CRT I sometimes use is by plugging an Elgato video capture in to the outputs of the T+ box and taking the video signal into the convertor which then converts the signal to digital and I ingest on my laptop. This gives a different texture from the filmed CRT which I appreciate mixing in.

Visual references for a new project, cutting 16mm footage from favourite filmmakers and resequencing footage set to my own music.

This is something I do for a lot of projects that are visual / abstract. Words can often be challenging to articulate the nuance of the filmmaking I work in. Particularly the textural aspects of the work. Words rely on the reader interpreting the language the same way as you intend so I often reach for a bank of visual references to lay it out for people on the team.

Untitled Super 8 project - a study of place, texture, and motion.

Experiment printing the first film I ever shot, as a student, for David Findlay. The film was shot digitally, cut and colour graded before being sent to Italy to be printed on 16mm film. I originally had the idea of painting on the 16mm film and then having it scanned. This is the scan in it's original form with some colour correction. I hope to one day find the time to paint the roll of celluloid and then have it scanned again.

Printing digital images to film experiment. Bouquet (2016) dir. David Findlay