Films: Projections – 1: Other
by Beauchamp Art
Projecting Disinterred onto Lego bricks
For this video, I positioned the three Lego blocks in a staggered formation against a black background, lowing the depth of field so that only the bricks were in focus, for both the projector and camera. The pixilation of the film was intended to be in line with the bricks, but unfortunately, they were slightly off. Another problem was that the projection on the bricks is frequently too bright, and the subtly of the various colours within the video get lost in the brightness, and appear too dull in the darker sections of the frame.
I also used a version of the earlier video, from which this stems; Disassociated as a layer in the composition. For this, I enlarged and rotated it 90 degrees, then set the opacity very low and so as to only be visible in the darkened areas of the projection video, this being the shadowed area that dominants the far right of the screen. This was to make the whole of the video plain animated and involved with the aesthetic of the film. It also discretely connected to the modified soundtrack; which uses the audio from earlier incarnations of this project, so has a slightly more musical quality at times.
Though the drone of Disinterred is repeated, to give the video a continuum, but I also used a modulated version to make the soundscape throb, and affecting illusion of scale (given the shift in the perception of time at altered scales) much as one might slow down the movements of a figure to give the impression of them being larger (such as the motion of the Giant in Terry Gilliam’s Time Bandits).
For this, I projected a photograph from the Long Shadow series onto my hand, playing forwards and backwards simultaneously, with a palindrome soundtrack. This was more a quick experiment to see how the projected image would respond to the non-flat moving texture of the hand, as well as to relate the digital image back to a physical, organic body. Nevertheless, the video produce is only a short exercise, though could be seen to resemble something that may be found at a psychedelic music night at a dance club, and is not a particularly stimulating piece.
For the soundtrack I used a series of vocal synths to play the same note shifting pitch at various rates, repeating to form a gradually altering drone, using a sort of graphical score for the composition, rather than traditional harmonic structures. The tonal range of each ‘voice’ was 1 semitone either side of the central note; so each tone modulates by 3 semitones. The pattern was also designed to be perpetual, and the central section of the overall sound sequence was used for the projection video. However, the full sequence was used for the Long Shadow Moiré film, to a better effect than its original purpose.