To continue the speculative sketching process, Errol and I have chosen to go with the idea:
3. Skate Video on Different Platforms
The case study and skate video in general are suitable for distribution among unrestricted, linear online services. However, what would happen to skate video when it is distributed across a variety of different platforms? Also, what happens to skate video when it’s structure is reorganised or it becomes interactive?
To test the relevance of this idea and also potentially seek further development of the idea, we tried to come up with 14 sketch to address this notion:
1. Vine – what happens to skate video when it is distributed through Vine?
2. Snapchat- what happens to skate video when it is distributed through Snapchat?
3. GIF- what happens to skate video when it is distributed via GIF?
4. Silence – what happens to skate video when it is created without music?
5. No SFX – what happens to skate video when it is created without sound effects (without the syncronised audio)?
6. Special Effects – what happens to skate video, when is created with special effects?
7. Transitions – what happens to skate video when it is created purely from transitions?
8. Context Mix – what happens to skate video when it is mixed with other sports, music, news, etc?
9. Blog Posts – what happens to skate video when it is distributed through blog posts and what might this look like?
10. Photos – what happens to skate video when it is created solely from photos?
11. Sound – what happens to skate video when it is created solely from sounds?
12. Resolution – what happens to skate video when the pixel resolution is altered?
13. Interactivity – what happens to skate video when it includes user submitted content?
14. Documentary – what happens to skate video when it is presented like a documentary and what might that look like?
(This question and sketches were further developed – see later blog posts – final probe here)
Prominent throughout the case study; skate video in general as a practice of online video; and as well as recurring consistently across my group’s sketches for project 2 is an emphasis on visual relationships and transition between images. What purpose do visual relationships serve in terms of a narrative / non-narrative?
2. Hybrid Contexts
Grounded in the case study is the juxtaposition, whilst simultaneous blending of skate video with street art documentary. What would happen to skate video if it were placed within a completely separate context? How could they not only be distinguishable from each other, but more importantly compliment each other? Could a dialogue be formed throughout a balance of the two context?
3. Skate Video on Different Platforms
The case study and skate video in general are suitable for distribution among unrestricted, linear online services. However, what would happen to skate video when it is distributed across a variety of different platforms? Also, what happens to skate video when it becomes interactive?
Reiterating Eric Booth’s innovative sketching, Monday’s studio provided the context for how the development of project 3 is designed to function. The point of the project is to create a stream of idea development. Firstly the project entails writing down 3 things that interest me about the case study or my previous work in project 2, creating each one of the new ideas to be separate from the others. Then by taking one of these ideas (the one that stands out the most), and trying to list as many possible sketch that result from the original idea, one particular sketch or potentially an area of interest may arise which can then be further explored. The idea is that this process of constant improvement and reflection will produce an innovative idea, something much stronger and more advanced than the first, original notion. i.e. take something from online video and push it sideways and play with it.
This encourages my group to be more experimental in our approach. By understanding that our original ideas may be completely reshaped and transformed by the end of the project, a relief is granted upon the production of original ideas and the brainstorming process gets underway much more quickly than previously. See the next blog post regarding speculative sketching to recognise these statements. Most importantly, today’s studio encouraged me to go outside of my comfort zone and embrace notions of continuous improvement in order to maximise the effectiveness of the brainstorming process and potentially produce more advanced results.
Reflecting upon project 2, I felt rushed toward the end of it and I have noticed that Errol and I spent too much time caught up in the brainstorming and planning process, worrying about the quality of our ideas. This over complicated the project resulting in it taking up more time and being less experimental. This is strongly relevant because the basis of this studio is exploration and experimentation. Therefore in my opinion we should have been less concerned by quality and more eager to experiment as much as possible which can be reflected on later in relation to the concept statement and studio prompt.
Relating
I have noticed issues similar to this in the way that I approach a lot of assessment tasks. In an effort to achieve good results, I find myself slowly working through the planning process to an extent of detail which is unnecessary, or at least too time consuming and unfocused. The conditions among university assessment is often the same, however I have developed knowledge throughout my studies which improve my ability to handle this issue. Naturally I still find myself stuck in the planning process to a certain extent, although it’s consistency and impact is reducing.
Reasoning
Factors underlying this issues mainly point towards my hesitation to spontaneously create and experiment. Using Eric Booth’s innovative sketching as a point for reflection, it is now clear that relieving pressure from the planning process and instead encouraging experimentation and constant redevelopment of ideas is what produces the best results.
Reconstructing
This demonstrates that in future, when in the brainstorming phase of any particular issues, it is important to identify a simple starting point and explore the many possibilities that arise from the process of experimentation. Evidence of this issue recurring again is visible in our planning for project 3 but I am now more equip to deal with the issue. To indicate my improvement, many of our sketches for project 3 are simple ideas that do not strongly relate to the concept statement as it stands and instead are used as an exploration to see where it takes us. In regards to project 3, it would be useful to create a large variety of sketches / notions and then rework particular ideas in order to develop a potentially stronger idea at the end of the innovative sketching exercise.
Unfortunately due to family commitments back in Canberra I was absent from Friday’s studio. I was disappointed to miss out on the remaining presentations as I was interested to see how certain groups had progressed and upon catching up with Errol, it sounds like it was an interesting studio. However thankfully, aside from the presentations, little work was conducted in the way of preparing for project 3 meaning it was easy for me to catch back up.
Replacing the blog post discussing Friday’s studio, I decided to address the innovative sketching theories discussed by Eric Booth. The video posted displaying Eric Booth and his notions of innovative sketching identifies the rushed nature of problem solving in education and society in general. Refereed to as satisfying, often students are encouraged to accept the first solution to a problem, rather than to nurture brainstorming. This attitude restricts creative practice as a student is limited to the success of one idea. Instead, innovative sketching entails the student build upon each idea, brainstorming and creating excitement towards experimentation to generate multiple possible solutions to the problem. This has been proven to result in higher quality final work, let alone more enjoyment. Relating this to project 3, I am now more encouraged to have fun making sketches. Given the fact that only a small amount of the sketches will actually be presented, along with our topic’s their tight correlation with a hobby of mine (bmx riding) and the process suggested by Eric Booth, I am excited to go crazy making as many sketches as possible and just see what happens. This realisation really helped me to contextualise this studio in regards to reflectivity and see clearly, the focus of the projects as truely grounded by exploration and experimentation.
“Everyone loves to know the history behind a brand and how it got to where it is today. Using live-stream video, fans will really get an authentic feel of a brand and understand the context behind situations which can be more tricky with photos.”
This quote, along with the explosive popularity of a new live streaming social video app called Meerkat, demonstrates contemporary society’s obsession with narrative and story telling. The idea that the ‘story’ about the success of a global brand label or a video that provides insight into the ins and outs of a brand label, would spark so much interest is intriguing. Furthermore, this quote also identifies a key affordance of online video in contrast to photography, as it’s ability to create a more “authentic feel of a brand”. Clearly anchored to the addition of motion and sound, it is none the less interesting to consider online video practice in reference to authenticity. Does a quest for authenticity, disregard a sense of creative force? Moreover, as online video practices grow and develop throughout the coming years, will authenticity and realism become a focal point, demolarising artistic elements of online video practice?
Today’s studio entailed the presentation of project 2. Although not everyone was able to present during the time slot, I was pleased that we were able to do our presentation today as I had been nervous about the presentation and eager to get it out of the way. Upon presenting our work, any nerves were very quickly cleared as I realised that I had in fact prepared a large amount of information and as a result our presentation ran over time and felt rushed. This highlighted the importance of condensing the presentation and communicating our ideas more simpler for project 3. Overall I was satisfied with the presentation and I think it helped me contextualise the case study and the project a lot more specifically toward the studio prompt which will assist in the development of project 3.
For project 3 it seems, quite differently to the transition between project 1 and project 2, we should take one particular element that has emerged in project 2 and conduct an intense exploration surrounding that. This prompts Errol and I to discuss whether we would like to take one of the elements we have discovered thus far and move away from skate video, or continue down the same trajectory. I think although moving away from skate videos could be interesting to see what we find, however it is important to take advantage of your strengths. Therefore, given Errol and my own experience in skate and bmx video, we chose to continue with this example of online video practice. Furthermore, given the exploration of hybrid form between skate video and the informative documentary within the case study has prompted so much discussion and interrogation thus far, it seemed a waste to disregard this progress for a fresh concept. Quickly hypothesising what we might take from project 2 into project 3, I am flooded with ideas surrounding the transition between images as a point of exploration.
During the progression toward finalising project 2, a variety of hurdles were encountered in regards to the sketches. Firstly, one of the sketches called ‘Camera Acknowledgement‘ was designed to demonstrate a clear contrast between the camera being acknowledged and therefore having a presence in the real world situation, as opposed to being completely observational similar to the idea of a ‘fly on the wall’. For this to be an effective exploration in relation to our concept statement, the presence of camera would have to contribute to the narrative / non-narrative. When filming, out of poor preparation I captured Errol performing the same skateboarding trick twice over, being sure to look at the camera and gather attention, however not communicating a clear exploration of narrative. In hindsight, the subject in the sketch should converse with the camera man and say things which clearly indicate the camera’s involvement in the situation. For example, I think the subject should yell out “are you recording, are you read?” [perform the trick] “did you get it?” in order to highlight an exploration of staged events and what effect that might have on the narrative / non-narrative form. Immediately I begin to think about notions of realism and how elements of documentary style might be explored (which correlates with the case study as it functions as a hybrid of skate video and informative documentary). Noticing this hurdle, I decided to re-film the sketch with myself as the subject in order to increase the amount of presence the camera had on the captured event and therefore more closely address the concept statement and studio prompt.
Also, without delving into it too much, another problem arose in relation to the ‘Perspective of Narration’ sketch which was designed to contrast first person narration with third person narration. I originally filmed the two contrasting perspectives from two separate camera angles but didn’t change the content. Moreover, the subject completed the same actions identically in both perspectives. However I became more interested in highlighting the affordances of each perspective by showing how bias and exaggeration can become involved. This was only demonstrate-able through contrasting different content that resembled these notions. For this reason, I also re-shot this sketch in order to create a clear contrast between the two perspectives and how that completely redefines the narrative / non-narrative. See ‘Sketch 4‘ for more information.
During todays tutorial, Seth used our group’s concept statement as an example to show how we have progressed in the project. His feedback was positive as it highlighted the fact that we had payed little attention to the hybrid narrative / non-narrative form of the case study itself. Errol and I had another study session after the studio to design new sketches that explored the hybrid form, as well as adjusting other various sketches to closer address these notions. This shifted the focus of our presentation away from plainly addressing notions of content, which was originally identified as an issue in previous discussion. To address these notions, the idea of mixing skate video within other contexts became a focal point. I designed a sketch that created a hybrid narrative and non-narrative between skate video and a community event / festival.I also reworked previous sketches so that a comparison between first person narration and third person narration could be explored. In addition, camera acknowledgement and therefore the presence of camera was added as a final sketch. I have learnt from feedback that sketches similar to these new ones are important in order to address the studio prompt because they explore narrative / non-narrative form as a hybrid, specific to elements found in the case study. Therefore addressing the form itself, rather than becoming caught up on stylistic techniques that may not contribute toward a narrative / non-narrative.
Our group has chosen to analyse Art in The Streets as an example of online video practice. Art in The Streets was written, directed, filmed and edited by Julian Melanson, a young aspiring videographer based in Los Angeles, California. Julian is the artist behind the popular YouTube channel DRNTube and has progressed in the field of video production from originally making skateboarding videos with friends, to a professional level videographer. He primarily creates artistic videos and promotional videos, having produced material for DJ DIK, Harlequin, American Gentlemen Magazine, IVI Vision and many more. The footage for this particular case study was captured partly throughout the streets of Los Angeles, as well at the Museum of Contemporary Art in Los Angeles. Art In The Streets was produced in June of 2011, commissioned by theberrics.com and Levi’s for display at the Museum of Contemporary Art itself in the Streets exhibition. For this reason, it was not specifically designed for online video but uses the network for distribution and accessibility.
In regards to form, Art In The Streets presents elements that correlate with the genre of skate video, however how brainstorming demonstrates that Art in The Streets is also not a typical skate video. Instead, contextualising this work indicates that Art In The Streets fits a hybrid form of skate video and informative documentary.
The piece intends to contrast two artistic practices: graffiti painting and skateboarding. This contrast highlights the similarities between the art forms in terms of the suppression the two practices receive, as they are both stereotypically associated with unlawful behavior. This contrast, along with other stylistic techniques also celebrates the compelling nature of both practices. Therefore the narrative form presents a celebration of graffiti painting and skateboarding for their artistic value, in spite of the stereotypical negativity the two art forms receive. Simultaneously, many aesthetic techniques are employed in the case study to create a non-narrative form particular to the unique hybrid form of skate video practice and informative documentary.
We have designed our 10 sketches to analyse how the case study functions as a hybrid form of skate video and informative documentary. Furthermore, each of these sketches will focus on different aspects of the work as a way to understand how it has been made and how relations have been formed between shots to create both a narrative and non-narrative structure.
It is important to note that BMX video form and culture relate almost identically to skate video form and so BMX riding has been used in many of the sketches as a substitute for skateboarding.
Presentation Notes:
Sketch 1 – Film Burn Transition
What makes a particular film burn more effective in regards to constructing a non-narrative?
Super 8 camera
Sporting + music videos
Blend two images for seamless appealing transition
Stereotypical in skate video – expectation
In case study – film burn is not narrative but aesthetic – form visual relationship
Non-narrative
Smooth flow
I’m interested in what makes a good film burn
So did sketch – can tell more active and variable
Disguise cut + create visual flow
More stagnant – no good – sped up active film burn
Sketch 2 – Transition Rhythm
How does the speed and rhythm of the shutter transition effect the form?
Middle of video – museum
Shutters + audio make rhythmic pattern – non-narrative
Shutter is too fast – no narrative connections
Aesthetic appeal through appreciation for rhythmic relationships
Interested in how its premised on non-narrative
What would happen if increase the length?
Explain sketch
Try to form narrative – sporadic unrelated – no narrative is formed
Relations are formed in skate video for non-narrative direct relation to rhythm – screen times
Sketch 3 – Acknowledgement of camera
Does acknowledgement of camera effect the form of the case study?
Standard skate video – camera observational
Creates realism – would of happened – designed for no camera influence
Case study being hybrid – interviewee – participatory
Clear contrast simplifies relationship camera ackn has with narrative form
When camera acknowledged narrative realism is lost in the sense that it appears staged
Camera will always have some influence
But observational form is designed to appear as if no camera
Skate video is observational
Doco is participatory
Case study is hybrid
Parts that acknowledge camera structures the narrative through the lens of the camera man
Parts without camera acknowledgement structures the narrative around observation
Case study balances both to create unique form
Sketch 4 – Perspective of narration
Does the perspective of narration alter the form?
1st person can be biased and misleading
3rd person generally more accurate
Way the case study functions as a hybrid form of both perspectives
Adds documentary value to skate video
Through first person reliability is lost
Changes narrative structure
Sketch 5 – Hybrid Form
Does combining two different types of video together in one video (making a hybrid video) make the form more effective?
Case study combines skate video with graffiti art
Although stereotypically associated with each other this forms different areas of video practice and the combination creates a unique hybrid form.
Excitement of bmx riding with vibrancy of street event creates a powerful representation of celebration
And creates a new hybrid form that alters the appeal of the skate video form
Developing an alternative aesthetic form unique to hybrid video practice
Conclusion:
We have learnt that the case study employs many particular aspects of video production such as the film burn transition and the shutter transition to create an appealing aesthetic and rhythmic relationship between shots that is grounded in non-narrative form of skate video. However, simultaneously the case study can now be understood to present a unique hybrid form through the way camera acknowledgement is experimented with, the perspective of narration is varied throughout the piece, as well as the way a combination of skate video and informative documentary form have been utilised to structure the narrative form, whilst creating a unique hybrid form of video practice. Our group is particularly interested in the way the case study has redefined the structure of skate video as a particular example of online video practice, as well as how a hybrid formation of video form can be such as powerful practice of online video. For project three we will most likely explore hybrid forms of online video more specifically, however not necessarily in regards to skate video as we are more interested in where we can go from here if we extrapolate our discoveries from project two into other areas of online video practice.
