This week we are beginning to think about production and the difference between interactive video and video collage, in terms of how each form allows a different way of noticing. In class we discussed the interactive diary film Ceci N’est Pas Embres by Matt Soar, which uses the Korsakow software to connect its components. The web interface uses a tagging system to create possible relations between different parts, imbuing it with a ‘loose’ quality with no fixed sequences or editing. These automatic relations allow the viewer to notice new things such as similarities in the clips they would not otherwise have picked up on. In contrast, the form of video collage allows the viewer to “re-train” their eye to see discrete detail within a composition. This is best seen in the cinemagraphs of Beck and Burg whose work prompts the viewer to notice small movements within a largely still environment. While both encourage the viewer to notice the unseen qualities of an image, interactive nonfiction is different to video collage as it has a higher level of interactivity with the viewer. The principles of interactive non-fiction could be applied to our assignment as we intend to invite the viewer into our moments of noticing by having posts they can click on to interact with.

Before we set out to film we are ensuring we consider how equipment, location, duration, framing, camera movement, and sound offer particular ways of noticing with media. In order to do this we set out a basic recipe:

• Equipment: Nikon DSLR camera, tripod + external microphone. The tripod will allow the frame to be as still as possible, and the microphone will lessen any sound interference i.e. wind.
• Location(s): Alexandra Gardens + Melbourne CBD- Allows for clear contrast between natural and urbanised environment.
• Duration– Less than a minute each to fit within Instagram’s constraints, depending on movement within the frame.
• Framing– Each shot will be framed to align with the section of the composition it is a part of i.e. a close up, a long shot.
• Camera movement– Static, to reinforce its relationship with the still composition.
• Sound– Diegetic sound from each clip, to create as much realism as possible as a non-fiction artefact.

These considerations will allow us to linger and observe in each space with as much attention to noticing nature, manmade construction and human behaviour as possible.