DANIEL ROSS BOOK II @danielrossbook2-blog - Tumblr Blog

This video is about ART FINAL PIECE

There is a disconnect between the subjects and the viewer

portraits of human life

https://www.youtube.com/watch?v=5wI6OX8BkL0

side profile imagery - mug shots?

ZERLINA HAIR SIDEWAYS 6 MONTH ANNIVERSAIRY

the viewer sees many profiles of a human yet never gets intimate with the subjects just like the glass between a viewer and the image in a television.

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Reformulating Rack Focussing

As shown in Porno Central Walking’s Director’s Cut I manipulated traditional focus racking by speeding the in focus points up so that they would ‘hit’ in time with the rhythm of the film. An example of its traditional use in cinema is shown above in the film ‘Crazy Stupid Love’.

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Upon feedback from my initial edit and paired with my own disatisfaction with the first version of this film I thought it necessary for me to take a step back and re-evaluate the film for what it was. I had to refine my initial edit by quite some degree in order to acheive the the clean and cathartic rhythm of editing.

I then revisited a variety of the same locations from the initial shoot in order to re-think how I could edit together the same shots and sequences.

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EXHIBITION OF FILMS RESEARCH AND DEVELOPMENT

I found my questioning in what context I wish to see these films which I have been creating.

My initial sketches and experiments drew me more towards the concept of scale and form.

I was interested by the concept of individual sculptures coming together to purpose the larger form in a vast physical expanse.

I found reference images to compliment this concept.

I thought the juxtaposition between the physically 3 dimensional sculpture and the rather 2 dimensional environment of a gallery which are predominantly catered to 2 dimensional works would not fit this concept and the juxtapostion did not add anything to the meaning of the piece.

This 3 dimensional and bold piece needed to be rooted in an equally lively 3 dimensional and changing environment in an effort to best suit the works on display through the sculpture.

GERARD BUTLER IMAGE AT VUE GOES HERE

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Here is the proof of me with the glidecam HD-2000 along with quick release, metabones speedbooster MFT to EF, Sigma 18-35mm 1.8 and the Panasonic GH4 Camera.

The setup was meant to be lightweight and bare bones with no external monitors or lighting due to the nature of the documentary style of the film (which inspired the shakey-cam nature of the first portion of the film).

The lightweight nature of the setup meant that I could dodge in and out of passers by and not damage anything delicate or extremely valuable in the process due to the degree of (lack of) control over my environment which I wanted to be as genuine and un-staged as possible in order to truly capture the ambience of the environment which I was jumping into without any external artificial elements.

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‘PORNO’ CENTRAL - INFLUENCES

I took minor inspiration from the works of Wes Anderson in respect to the side scrolling tracking shots. I felt it was important that the subject still stayed in the same position in the frame throughout the horizontally moving shot.

I was inspired by Woodkid’s music video for ‘Run Boy Run’ for the sillhouetted side scrolling shots towards the end of the first edit of the film.

The final scenes were shot at Somerset House at night. I used a special camera with a constant 1.8 Aperture which was lowered down to 1.2 (which is extremely low) so that I could light the entire scene with no external lighting in a natural environment. This adds to my inspiration from documentary style films and filmmakers such as Mathew Heineman and his 2015 documentary feature, ‘Cartel Land’ in which he is the Director and Cinematographer. Heineman used a Canon C300 Digital Cinema Camera to place himself in the centre of the action without compromising on the quality of the production values when typical documentary filmmakers would use cheap and easily concealable cameras to record undercover and exclusive access parts of documentaries. The use of high quality lenses and sensors means that the documentary does not compromise on visual quality but also allows the cinematographer to shoot in almost every environment, regardless of lighting, if any at all.

I was inspired by Director Jon Glazer’s music video for ‘Rabbit in Your Headlights’ by UNKLE.

I took elements from the documentary style of detachment from the subject. I purposely chose to only show the subjects’ face only briefly and one throughout the film to keep the detachment from the subject still relevant.

I decided to emulate the close up visual tracking shots in the film yet instead of using a camera dolly like Glazer, I chose to experiment with a steadicam style tracking shot and refined the shot with a digital stabilisation tool during the editing process on Final Cut Pro X.

I took inspiration from Paul Trillo’s ‘The Irrational Fear of Nothing’ for the inspiration behind this camera angle, only showing portions of the face of the subject at a time.

This is something I have been keen to keep a constant link throughout all my films in this project, with the subject never being fully aware of the camera and being somewhat detached from the audience. I have done this intentionally so that it keeps the audience asking questions and dows not define and constrict the piece.

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This video is about Porno Central Walking

I took inspiration from my earlier work which focused on the medium scale of a human centred in a medium parallax environment.

I wanted to explore different ways of shooting a film, instead of carefully crafted shots which have been lit professionally - I experimented with impulse shooting in a live and uncontrolled environment.

I decided so that I could move freely around the environment I would use a stripped down camera setup consisting of a Panasonic GH4, Glidecam HD-2000, Metabones Speedbooster and Sigma 18-35mm 1.8 Aperture lens (so that I could only use natural light from the environment to light my scene and not effect the image through third party man-made alterations to the image).

During the filming I experimented with two types of filming. One was the ultra sharp 4K footage at 24 frames per second. The other was the more soft 1080p footage at 96 frames per second. I decided on filming at two different speeds to not only honour my previous films in this project which were also shot at those two different frame rates.

At the time of shooting I did not feel very fulfilled with my shots however once I sat down to edit I experimented with adding music. Once I had found the right song (’Porno’ by Arcade Fire) - I manipulated the track through sound editing software to change the pitch and add various other adjustments such as a more layered bass structure.

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Based on my initial concept for the exhibition of my final piece I researched and went physically searching for different stylings and sizes of VHS televisions.

I went to junkyard skips in east London as well as searching online for the different styles.

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FILMS IN EXHIBITION

I started this book by looking at how I could present my films which I had made in the last module.

I started by researching various ways in which moving images have previously been displayed in exhibition spaces.

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