During the Work In Progress show a lot of people asked me if I was going to film the process of the pots dissolving. I’d never considered it before as video isn’t something I’ve ever fully understood in an art context and often I feel it can be a bit alienating in gallery spaces. However after talking with my tutors I decided it was worth trying, even as a way of building a body of work, rather than just focussing on one final piece.
I borrowed a Canon 5D mk iii and set up a small filming station in the corner of the studio space. I wasn’t happy with the surface I was filming on as I had plans for a more refined display so I spent a long time working on the composition of the frame so that none of the OSB surface was visible in the shot.
Getting the depth of field right was tricky to begin with as I didn’t want to put the pots in until I was filming so I had to use trial and error, in future I’ll try and utilise the help of a second assistant to make sure the focus is sharp and perfect. I settled on f/4 as I wanted to keep the depth of field shallow so the tank wasn’t as prominent.
Once I started filming I carefully placed the pots into the tank, making small adjustments as quickly as I could and then waited.
- The camera couldn’t film for longer than 29 minutes.
- The pots took a lot longer than previous pots did to dissolve.
- Because of the above two issues the battery drained completely before all the pots were fully dissolved.
- The natural lighting outside changed too much and the white balance in my video was all over the place.
- In addition to the natural lighting problem, I forgot that the lights in the studio space were fluorescent which caused a strobe type distortion in the video.
- Borrow a camera better suited to filming for longer periods of time (Canon C100).
- Use a fresh batch of water and start right from the beginning instead of filming on the remnants of old pots.
- Battery issue can be resolved by using a better suited camera.
- & 5. Book out the photography studio for a day and work with lighting.
The above video is all the footage I captured stitched together with the audio removed, sped up by 999% (I couldn’t speed it up into four digit numbers). I’m not sure if speeding the video up is appropriate for the work, but it’s been used here for the sake of video length.
I noticed once I’d uploaded it to YouTube for my blog that around 20-25seconds in my reflection can be seen in the glass at the front of the tank, something I absolutely cannot have for the final piece. Ana has mentioned multiple times that it’s always important to view the work in lots of different ways throughout the editing process, as often seeing the same film over and over again on one screen tends to cause you to miss small issues that aren’t immediately obvious.