I’ve made a k-film that is very linear. Well, not linear, you can listen and view the clips in any order you like, but it is not so much a k-film as using Korsakow to collect some screen casts together where I go over some things to think about in relation to making your k-film projects. This was made using Korsakow 5.0.4, and I’ve included a playhead in the interface which shows you where in the clip you are. The advantage of this is that it immediately tells you how long a clip is, since if the playhead progresses very slowly then you know it is a long clip (and vice versa).
So, the k-film. It is commentary on some of the things to think about in your final projects. I made it as a k-film because it was just much faster to talk about this stuff and record it than trying to write it all out. YMMV. Click the pic go there.
Students are currently using Vine or Instagram (predominantly) as their medium of choice for filming in our smuggled in Korsakow based subject. We get them to make a lot of quick, sketch video work, largely so that they can produce a viable media library, to provoke them to question their implicit model of media monumentality as their default position for making anything on video, and to get them to think quickly and critically about what makes a good shot a good shot by doing a lot of them.
A common problem, which is the same as the ten fonts in the brochure and the twenty two edit effects in the iMovie clip problem, is that even where the video clip is only going to be six seconds long (Vine) they clutter it up. This happens in two ways.
The first way is that they get worried or are unsure about what their clip is about. This is unnecessary as they are given a quite specific brief (e.g. ‘light’) that while open, also grounds it. So they will film a light (for example), but then move their camera in, out, around. As if six seconds of watching the light shimmer as the CCD and compression plays with it is not enough. So we talk about one clip equals one idea. If it is about light, and the movement doesn’t contribute to how it is about light, then it just gets in the way, it reveals an insecurity in the material and the practice.
The second way is what might be called the ‘representational fallacy’. This is where they feel obliged to have to explain everything. Even for six seconds. If they start close, and it is not immediately evident what we are looking at, then the camera will pull back, or there will be the Vine equivalent of a wide shot, so that we now know what it is. Or the reverse. Start wide, then go close. If there are several shots, a list, then there will be a closing shot that reveals what this is a list of. It is like there is an obligation to explain, account for, that ambiguity or even just abstraction, the simple pleasure of what the brief glimpse is for itself is not sufficient. The collapse of a possible poetry of the image into the rationalisation of explanation. This is the dark side of Bataille’s restricted economy where there is the logic of the bookkeeper’s double ledger so that what is spent on one side must be recovered on the other. It is a variety of epistemphilia.
Just needed to share that in Keynote I added a Vine clip as a background, scaled up to 800 x 800, plays automatically and loops. Text on top with dissolves in and out. Then over 30 seconds I zoom in 10x closer onto the video, then over 30 seconds back out again. Plays fine. Then I stuck it on my iPad and it still works.
F$*k me. When I started working in video 120 x 120 was the viable window size for online work. Maybe 12 fps. To have a little sliver of a screen in my hand that could do this. If you’d told me that back then. I really would not have believed you. Seriously.
Every morning, well, nearly every morning, around about 7am, I film the ridge over the way using Vine on my phone. A small daily gesture, inscribing a particular sort of observational media trail. The intent is to do this for a year. The First Quarter is a web based observational video work that uses the first three months of clips. The First Quarter, (http://vogmae.net.au/works/2013/firstquarter).
In the archive views each is a 120 x 120 video, mouse over and it will play (it’s Vine, they’re only six seconds long). Click and you get the 480 x 480 version. Mousing in and you get clickable ‘metadata’.
Recording media, all recording media, as sampling machines. A camera takes a single sample, of a more or less contracted instant. A film camera takes 24 visual samples per second. An analog sound recorder makes a continuous sample of a microphone’s diaphragm, a digital sound recorder samples 44,100 times per second (that just does my head in), while with digital video we measure sampling usually, like the film camera, in terms of frame rate.
In all cases the technology of recording is indifferent to what it records. A camera, microphone, film stock, SD card, or lens doesn’t get more interested because something exciting is happening. The operator might, or indeed does and that is why the recording machine is turned on to sample in the first case. But the technology itself, the machine, just samples, usually strictly and regularly.
I am using this as a basis for a new small speculative project. Each morning, somewhere around 7am, I stand at the same point in my front yard and film the ridge over the way. I am using vine because while it records H.264 compliant video at 30 frames per second (so a specified sampling rate) it imposes a second order sampling constraint where each clip is limited to six seconds. I am, in this project, turning myself + Vine into a sampling machine where the sample happens at a specific time – 7am daily, and is geo constrained (if I’m not at home a sample will not be made).
The project, tentatively and imaginatively called “sometime around 7am”, is a digital video materialist poetics where I am become a sampling relay and instantiate the same sampling role as a media recording machine. The time frame is enlarged (six seconds every 24 hours or so), but that just shifts it from the mechanical, to the digital, to the human.