Film: Savorr XII: Ensemble
by Beauchamp Art
Alongside the photography, I produced a short video document of the Savorr XII: Ensemble Exhibition opening event.
The shots were positioned shots fairly structurally, filling sections of the frame to make use of the abstract, geometric qualities of the arrangement of the objects before the camera. The clips formed a non-chronological narrative that moved from the entrance to the far end of the exhibition, concluding with Henry & Rebecca’s installation in its own dark room (did also play around with positioning certain people within the order of clips to give a sense of people moving around the exhibition, to make the even feel less static, reflecting the motion of the film works on display, which may ask be infers by the movement of the camera itself. Although as all of the filming was done by hand, I made use of steady shots to demonstrate sections of the exhibited videos, combined with the turning panoramic (some of the longer panned shots were split over sections of the video, so one half of a turn occurs at near the beginning, then is resolved after other clips towards the end – notably the shot standing in the centre of the exhibit, rotating nearly 360 degrees). Thus, in post-production, digital stabilisation played a useful role in aiding with the appearance of professionalism (which is the primary aesthetic driving the film).
There were various minor colour adjustments, but as the light sources were so varied, there could not be a sustained neutral palette, so I made use of the rich dynamic, contrasting tonal qualities of the technicolor environment and deep shadows (which had to be somewhat darker to reduce the granular effect caused by the low light conditions, a higher quality camera would be required to override this issue before it affected the filming process, though it was not a major issue for post-production). The audio was fairly straightforward, as it used sound from videos, though it does not all exactly match up as I wanted the sound to be continuous, not fragmented by the changing shots, so multiple layers of audio were used, fading in and out at the beginning and end.
At just under three and a half minutes, it could have been made shorter, but as there was a fair variety of works on display I wanted to give enough time for each without being rushed or dismissing the interesting spacial relationships between the works and the space, with the figures moving amongst the TV and projection structures. Possibly around two minutes would have been ideal, but the video was not overtly extensive. Though as it remained unused by Savorr, this was primarily for my own benefit, and served as effective video editing practice.