Since I have started producing video blogs, my work has evolved from long-form, single-shot episodes to concise, mashed-up segments that are non-linearly “quilted” together with multiple shots. I have started to embrace using first person narration driven by succinct Twitter-like statements. That’s right! I have discovered I am expressing myself in Tweets.
“Lost in Dublin” and “Touring Europe” demonstrate how I attempt to organically link improvisational statements using raw footage without relying on post-production devices such as scripted voiceovers. I sought out scenes that independently contribute to an overall subtle structure. These episodes focus on vacation footage I took during a recent trip to Europe. The various settings, cultures and diverse scenes allowed me to experiment with editing, maximize the features of the medium and trust the audience so I could create unique and engaging pieces strangers and acquaintances would enjoy.
I strive to inspire through works that are entertaining and insightful as well as persuasive without preaching. Visibly demonstrating my emotional reactions to scenes and engaging with settings helps me “show” the audience rather than “tell” them.
Visually framing iconic landmarks and landscapes in the background – while narrating in the foreground or interacting with the scene – eliminates the need for explicit exposition. This approach helps create opportunities for dual-coding when multiple implied meanings and messages overlap and can be deciphered all within a single scene – while collectively contributing to an overall theme or concept.
Removing images of the narrator’s performance (emotional reactions and/or oral observations) or vice versa and only focusing on the narrator in a non-descript setting – impacts the effectiveness of the scene, changes the message or results in incomplete statements that are in jeopardy of being misinterpreted. That approach helped me filter through the content as I navigated through footage -- seeking out relevant clips that could shape the overall presentation or reinforce the emerging structure.
Friday, December 10, 2010
Thursday, December 9, 2010
Critique Demonstration - Missing Element Experiment
This demonstration illustrates how oral narration and visual elements must co-exist and support each other within a single scene in order to be dynamically effective and appealing to the audience.
The medium is not being effectively leveraged when a scene is presented without codependent narration and visuals that must interact together in order to completely communicate a message. If the sound is muted, and the audience can comprehend the action based on the visuals alone, the scene is not going to be very impactful or dynamic. I often use this approach when analyzing a scene and determining is effectiveness.
This clip presents three scenes that have each been broken down so only the narration is presented in audio form only without any images. Then the narration is transcribed into text before revealing the actual scene in its entirety.
The medium is not being effectively leveraged when a scene is presented without codependent narration and visuals that must interact together in order to completely communicate a message. If the sound is muted, and the audience can comprehend the action based on the visuals alone, the scene is not going to be very impactful or dynamic. I often use this approach when analyzing a scene and determining is effectiveness.
This clip presents three scenes that have each been broken down so only the narration is presented in audio form only without any images. Then the narration is transcribed into text before revealing the actual scene in its entirety.
Talk n tweets
When I’m performing as the narrator within a scene, pieces that contain a complete, concise statement, reaction or description establishes the clip’s independence. Here I illustrate how statements from my improvisational narration can work independently when transcribed into text, yet lack emotional cadence.
When the narration from these scenes is transcribed into Tweets, the statements broadcasted out to the world may be interpreted differently than how they were originally conceived and pretty much “lost in transcription.”
Overall, this illustration recreates “Twittering” in action in order to demonstrate this social media concept to skeptical audiences who don’t understand the appeal of Twitter. Here viewers get to see a variety of different statements “hatched” then “Tweeted” in order to be shared with the world.
When the narration from these scenes is transcribed into Tweets, the statements broadcasted out to the world may be interpreted differently than how they were originally conceived and pretty much “lost in transcription.”
Overall, this illustration recreates “Twittering” in action in order to demonstrate this social media concept to skeptical audiences who don’t understand the appeal of Twitter. Here viewers get to see a variety of different statements “hatched” then “Tweeted” in order to be shared with the world.
Long form narration, instructional
When I first began producing video blogs for an online persona I was trying to establish, my narrations were basically single shot in long-form. These pieces were “how-to” instructional segments.
It was a challenging approach for a beginning video blogger without much broadcast reporting experience who had little editing skills. Using this approach doesn’t create much opportunity for improvisation either. It pretty much requires some type of mental scripting with some on-the-spot rehearsing. If there were any mistakes, it would be necessary to start from the beginning all over again.
With all that in mind, as I gained more experience and built up my collection of installments, I was able to experiment more with editing and explore new types of editing software.
It was a challenging approach for a beginning video blogger without much broadcast reporting experience who had little editing skills. Using this approach doesn’t create much opportunity for improvisation either. It pretty much requires some type of mental scripting with some on-the-spot rehearsing. If there were any mistakes, it would be necessary to start from the beginning all over again.
With all that in mind, as I gained more experience and built up my collection of installments, I was able to experiment more with editing and explore new types of editing software.
Digital Storytelling: Long-form improvisational narration
As a story teller, I am comfortable drafting out and revising pieces; however, seamlessly improvising captivating and engaging stories can be a huge rush. Integrating emotions and dramatic devices into my performance can make my stories so much more impactful and entertaining.
This unplanned piece is one hundred percent organic. It is a moment when I narrate an emotional reaction to a situation -- as well as a reflection of some internal insight I articulate to the audience.
This unplanned piece is one hundred percent organic. It is a moment when I narrate an emotional reaction to a situation -- as well as a reflection of some internal insight I articulate to the audience.
Monday, December 6, 2010
Touring Europe - Using iconic landmarks/signage to establish setting
Incorporating iconic landmarks and signage in the background – while the narrator is included in the foreground – helps establish setting without significant exposition from the narrator. There is more need for the narrator to orally establish the setting of the scene in situations when iconic landmarks are not available. This feature includes a variety of scenes where recognizable icons from London in the background as well as moments when narration is required to let the viewer know where the action is taking place. Pay close attention to the narrator’s need to identify a section of the Berlin Wall. Without that oral label, the Berlin Wall – a global icon in of itself – the viewer would not be able to infer the significance of the setting without further exposition. Depending upon additional oral details – in order to express the significance of the setting – would ineffectively impact the overall tone, pacing and quality of the piece.
Lost in Dublin - Establishing authenticity without icons, landmarks
Establishing the authenticity of settings can be challenging without integrating iconic landmarks into the scene. Street signs in Dublin proved to be an effective way to ensure the narrator was actually in Dublin since then names were in both English and Celtic – a language unique to Ireland. By interacting with the street signs and incorporating them into the plot, universally recognizable landmarks which are hard to find in locations such as Dublin – aren’t needed to ensure authenticity.
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