These past few days I’ve been out on-site (The Tokyo Underground) filming mainly around the Shinjuku area on underground and overground trains. Also, I’ve been using archive footage I took earlier this year, hence passengers in coats, hats and scarves attire.
Although I’m not over-excited with preliminary results, it was essential that I get the ball rolling. Hopefully, these initial experiments will activate new ideas, generate alternative angles and I can gain more impetus over the next few months.
On a different topic though project-related. I’ve noticed how I’ve tended to become more impatient with projects recently. It’s like I DEMAND immediate success for my labour. This has been cluttering my mind for some time now. Is that because of all the overflowing imagery I now see on the Internet every single day? Or is it that everyone and anyone, creative or not has readily available software tools at their disposal? Again, I’m just needlessly ranting to myself as usual.
The Still & The Moving: Video Experiment 1
Footage sequence: 55 seconds. The first video is a combination of conventional footage; train passenger pans and commuters ascending and descending escalators and platform steps. The passenger pans are edited at a conventional 24 frames per second whereas the station commuters are edited at 48 frames per second. I played around with the footage, adding sepia for the passenger pans and threshold film effect for more graphic imagery. The combination didn’t work so I reverted back to the original. At this early stage, I’m observing the chemistry between stationary and animated footage with the intention to capture intensity and calm simultaneously. Overall, visually, the moving vs the still dynamic is too over-whelming and the narrative is too clearly visual (if that makes any sense!). The passenger pans appear to clash against the pacey speeded footage. However, after playing with the graphical imagery, there are some visually interesting components which can be explored.