chloeartstudio22

[chloeartstudio22]

Final Video Work

[chloeartstudio22]

Final Install

Performance by Tessa Seymour

Filmed & edited by Chloe Mason

Audio recording by Johanna von Hunerbein

Audio editing assistance by Killian Baker

[chloeartstudio22]

Edit notes

figure out how to loop it

make sure your screen doesn't go to sleep!

hide the play button

paint the wall white where someone has filled in holes

take plan sound out of the 'hands in water medium' shot.

shot before big wave = exposure changes a few times.

standing on rock at the end = still a little wobbly.

could make the panning slightly smoother still.

take out waves at the start w. crazy audio. Have the beginning just as black to give you enough time to press play.

first shot of hands in water = make water dripping sounds more obvious.

taking off the boots shot = a little cheesy

second wave shot = take out some wind?

feet walking across rocks, audio needs a better transition so there's no gap.

match frame on rock before it cuts to hands in air/

is there a way to make the audio better overall? could test on KRKS at home.

ending needs to fade out audio and then cut to black.

[chloeartstudio22]

Installing

INSTALL PLAN 

get projection straight. Check the legs. Use the remote. Use a level. 

masking tape out the square. 

get floor paint from Tim.

use roller brush and then the paint brush to get the edges. 

x2 layers

[chloeartstudio22]

Video Shoot #2 & #3

New footage from video shoots #2 & #3 incorporated.

Things to take: Hot water bottle, x2 towels, fluffy dressing gown, breakfast, coffee + keep cups, rug to lay stuff on so it doesn't get sandy, and extra thermals.

Gear Used: Canon 5D MIV, Sigma Art Lens 85mm f/1.8, Sony Sound Recorder (with a dead cat) and Fluid Head Video Benro Tripod.

Things that went well: Having a friend to help lug gear around and take care of the sound recording was a game-changer. I much preferred the Sigma 85mm lens as it had a much more cinematic feel (lower fstop) and allowed me to get more close-up shots.

Things that didn't go as well: Nearly a week later, the swell was still pretty big :( Also when I went to upload the footage, 3 out of the 15 shots we took were somehow corrupted? The files play for about 30 seconds and then they freeze for the rest of the file's duration.

Lessons: Always bring along someone to help out when filming!

[chloeartstudio22]

Week 12 Tutorial

Try cutting to black/white instead of trying to force transitions.

Centred on the wall. Horizon line.

Stretching to the edges of the wall (expansive).

Work with the footage you've got and let that lead the decision making rather than pushing things that aren't working.

[chloeartstudio22]

Transition Shots Part 2

Numbered in pairs. So I need to get a transition shot (close-up) that links shots 1 & 2, and then a transition shot that links 3 & 4 etc.

[chloeartstudio22]

Transition Shots Part 1

Numbered in pairs. So I need to get a transition shot (close-up) that links shots 1 & 2, and then a transition shot that links 3 & 4 etc.

[chloeartstudio22]

Video Shoot #1

Things to take: Hot water bottle, x2 towels, fluffy dressing gown, breakfast, coffee + keep cups, participant's payment, and extra thermals.

Gear Used: Canon 5D MIV, Canon L USM 24-70mm lens, Sony Sound Recorder (with a hot shoe adaptor and dead cat) and Fluid Head Video Benro Tripod.

Things that went well: The participant was really confident and resilient. Despite the waves and the cold, she was very willing to respond to the prompts.

Things that didn't go as well: The swell was unexpectedly huge, we still managed to shoot most of the footage at Red Rocks, but had to move further down the South Coast half-way through, to Princess Bay, as the swell became too dangerous. I couldn't get very close to the participant as I didn't want to risk getting the camera wet, and the participant also couldn't submerge themselves in the water as much as they wanted to, as the waves were too strong. Because of this, there was a lot of stopping and starting during takes, to dodge particularly big waves and keep the participant as safe as possible. So there are lots of takes that require transition shots, as I've had to cut them in weird places. Though it was recommended to me, I didn't enjoy the 24-70mm lens, it didn't make it easy to get the close-up shots I really wanted.

Lessons: Get an assistant to help lug gear around and to help with the sound recording, keep an eye on the swell (not just the weather forecast!) before filming next, make sure to record what shots you need for when you film next - so that you can transition one shot to the next. Try out a different lens!

[chloeartstudio22]

Install Plan

Install Plan 

Goal: To invite the audience to consider their own body in relationship to the images, in a tactile way.

Building my own screen

Paint the screen grey/black. Work with the test space. The directional test spaces. Encourage focus and immersion.

Break between the loop of the footage of like 15 seconds or something.

Where's the sound coming from?

Install onto the wall you are immediately directed to in the space.

[chloeartstudio22]

Janine Antoni

Touch is a video in which Antoni set-up a temporary tightrope on the beach in front of her childhood home. Through the camera, the line of the tight rope appears parallel to the ocean’s horizon as Antoni walks back and forth. Under her weight, the wire dips to touch the horizon allowing Antoni to balance there for just a moment. Antoni says: “I wanted to walk in this impossible place, to walk on the line of my vision, or along the edge of my imagination.”

2038 is a self-portrait in which Antoni sits in a bathtub that is used as a trough for cows to drink. In the image, it looks as if the cow is nursing from her right breast. The artist writes, "I was ecstatic when our relationship had come full circle. I was weaned off my mother and onto the cow. Making the photograph allowed me to experience this intimate relationship: the cow becomes a wet nurse, a surrogate mother of sorts.”

The tag in the cow’s ear both names it 2038 and reveals its identity as a biological machine. As a title, 2038 stands in contrast to the tenderness of the image. 

[chloeartstudio22]

Exploring Pariwhero

Exploring the site, and finding potential locations to film footage.

[chloeartstudio22]

Holly Walker Part 2

Cave (2019). Still camera. Draped in a white sheet/cloak. Pulling up her sleeves. The sheet getting covered in charcoal. Feeling the walls of the cave. Getting around on her knees. Accentuating the feeling of being at odds with the land? Not moving easefully or gracefully. Building a fire. Walking away, leaving it un-lit. The white gown came to resemble a safe, feminine space and incubator for the artist's body.

Dog (2019). The dog rips the sheet off the performer.

Dyeing (2019)

Mending (2019)

In each video, the gown became a medium for collecting; firstly the staining ash of the cave (Cave); it was then a filthy object, torn apart by myself and the wild nature of the animal (Dog); it was a healing object, where my good friend Eliza Baker taught me to mend (Mending). Finally, the gown underwent a return, or a transition, to black (Dyeing).

Ice to Water - Body to Body (2018). Nursing a block of ice using her body and the sheets from her bed.

“This is heartbreak art. This work is for the end of a romantic love. Sorry to be so clichéd. In this work, I used the sheets from my and my ex-partners bed to nurse and melt a block of ice with my body. The ice in this work resembled what once was solid and felt to be fixed, being melted down through the energy and heat of my body and the emotional labour of nursing it away. It was important that the water from the ice, joined a larger body of water, the river, that would take the water out to the sea. The transition of shifting from my body to the body of the ocean. The work is intended as a ritualistic act of personal closure.”

[chloeartstudio22]

Week 11 Lecture

Ex-director of Artspace Aotearoa.

Launched in 1987.

Governed by a voluntary board that ensure the Director and space is operating as it should. 6-9 ppl. Not a very diverse group, needed more worldviews.

'Slow Boil'. Cooked meals to give out to the community. Practical, rather than just theoretical art. Stretching what they could do as an organisation. Had an opening dinner. Fine Art Food!

He modified the accessibility of the space, diversified the board, and invited in communities.

Funding from CNZ, but they have to reapply every 3 years. 1 mill budget per year. Also have funding from Auckland city council, other AKL funding organisations and international funding.

They got 6 years of funding from CNZ in one go. Created a different rhythm. Gives some relaxation. How can you think longer term? Looking to the future.

Board members should get paid. Otherwise you only get people who are well-off sitting on the board, who have the time, and can afford to not get paid for their work.

[chloeartstudio22]

Video Shoot Prep + Prompts

120 shutter speed

Shoot at 60 fps so that you can make things slower in post if you need to

Set your white balance 

Shallow depth of field (ish). F/2.8 is the go-to aperture for cinema.

Make sure to clap before you start shooting each clip so then you can match them up later in post.

Go for as long as you feel comfortable, then holding your shape, let me know when you’d like a new prompt, so that I can move to a new angle.

I might ask you to pause and hold a certain shape, while I move to a different angle, I’ll try to choose one that’s not too difficult to hold! 

I might ask you to repeat certain movements if I see something that I think could be interesting to draw out. 

Same as last time, don’t feel the need to make your movements pretty or stylised, they should be intuitive, and anyway you choose to move will be beautiful, I assure you. 

Feel free to close your eyes during, if you feel safe and stable to do so. 

Mark where your shots are going to be exactly with big rocks. 

PROMPTS

 Prompt #1: Non-verbally, introduce yourself to the body of water. The rocks. The seaweed. The sand. The land. 

Camera: Start off with a close-up angle. Hands in the sand etc. Angle that meets the performer on the ground, sympathetic to them. Camera should be still, but subtly following the body. 

Transition: Hold the shape you’re in, I’m going to move to a different angle/distance and then you can continue. OR: play with the body moving out of the frame, and then switching angles to transition to the next shot. 

Prompt #2: Continue exploring the site by touching its surfaces. Digging, rolling, and feeling its materials through the skin receptors. Pick up the sand and hold it close. Drape seaweed over your body. Explore how the surfaces, muscles and bones of the body respond to the surfaces of the site as they move over them. How does the site’s texture reverberate through the body? Does it attract, repel, and repeat through the body, do you feel comfort, discomfort, or synergy? 

Camera: Get half of the body/full body in the shot. Angle that meets the performer on the ground, sympathetic to them. Also, eye-level angles. Camera should be still, but subtly following the body. 

Transition: Hold the shape you’re in, I’m going to move to a different angle/position and then you can continue. OR: play with the body moving out of the frame, and then switching angles to transition to the next shot. 

Prompt #3: Horizon line. From a spot where you can see the horizon line. Beginning with the centre of the body explore the notion and feel of the horizon line as it plays along and is emulated through our own ‘horizon’ line situated at the base of the rib cage. 

Camera: Get the full body in the shot. Potentially get closer to the torso half way through. Angles that meet the performer at eye-level. Camera should be still, but subtly following the body. 

Transition: Hold the shape you’re in, I’m going to move to a different angle/position and then you can continue. OR: play with the body moving out of the frame, and then switching angles to transition to the next shot. 

Prompt #4: Rhythm. From a spot where you can see the ocean. Begin to pay attention to the rhythms of the site. Explore the rhythm of the waves experienced as an inner resonance within the body, and notice how the internal/external rhythms combine. Feel the wind against the body, and explore the rhythmic interaction as it pushes, shifts and turns the body in space. Explore the tempos of the birds and other creatures on the site, and observe the dynamics of their movement as they pass through the site. Extend your awareness to the total rhythmic content of the site. 

Camera: Get a wider, full body shot. Angle that meets the performer at eye-level. Camera should be still, but subtly following the body. 

Transition: Hold the shape you’re in, I’m going to move to a different angle/position and then you can continue. OR: play with the body moving out of the frame, and then switching angles to transition to the next shot. 

Prompt #5: Tune into the presence of your chosen witness, keeping your eyes closed, and opening your eyes for bigger movements or at any point that you feel you need to, allow movement to flow up and through them, knowing that this is an act of beingness, not doingness. How does the water inside of you want you to move if you let it guide you? How does this larger body of water affect your body of water?

Camera: Get a wider, full body shot. Angle that meets the performer at eye-level. Camera should be still, but subtly following the body. 

Transition: Hold the shape you’re in, I’m going to move to a different angle/position and then you can continue. OR: play with the body moving out of the frame, and then switching angles to transition to the next shot. 

Prompt #6: Dancing in the shallows of the water. Playing with the line where water meets land. Begin to explore subtle weight shifts in the body, bend, sit, and shift the weight in this location. Crouching/extending. Allow this movement to travel through the body and follow its amplification into the limbs, torso, head and neck.

Camera: Get a half body shot, closing in a little more on the body. Angle that meets the performer at eye-level. Potentially get closer to the body half way through. Camera should be still, but subtly following the body. 

Transition: Hold the shape you’re in, I’m going to move to a different angle/position and then you can continue. OR: play with the body moving out of the frame, and then switching angles to transition to the next shot. 

Prompt #7: Continue this movement to now observe the ebb and flow of the waves. Notice their patterning and rhythms, how regularly they break onto the shore, what is the tempo and timing of their movement pattern. Bring this patterning ‘in’ to the body. Feel the ebb and flow of the waves as a rhythm within your body. Begin to rock forwards and backwards in response to this pattern of ebb and flow, advance and retreat. Allow this rhythmic patterning to develop through the body into the limbs and torso, up and down the spine, through and across the ribs, and into the head and neck. Move with the waves and their movement patterning, explore and flow. 

Camera: Get a half body shot, closing in a little more on the body. Potentially get closer to the body half way through. Angle that meets the performer at eye-level. Camera should be still, but subtly following the body. 

Transition: Hold the shape you’re in, I’m going to move to a different angle/position and then you can continue.OR: play with the body moving out of the frame, and then switching angles to transition to the next shot. 

Prompt #8: Lie down where the water meets the sea. 

Camera: Close-up of the body meeting the water. Angle that meets the performer on the ground, sympathetic to them. Use the zoom. Camera should be still, but subtly following the body. 

Transition: Hold the shape you’re in, I’m going to move to a different angle/position and then you can continue. OR: play with the body moving out of the frame, and then switching angles to transition to the next shot.

[chloeartstudio22]

Camera Settings

Disable 24fps, so you can select 23.98 and then have access to the 59.94fps for slow-mo footage.

If I shoot at 59.94 fps then I definitely will want to double my shutter speed to compensate.

Still need to slow down ur 59.94 footage in post.

NEED TO DECIDE ON WHAT FPS TO SHOOT AT. WHETHER I WILL WANT TO SLOW IT DOWN OR NOT....

ALL-I = less compression

24FPS = realtime

60FPS = slow human movements

120FPS = for non-human elements that move much quicker than us (eg. the ocean)

[chloeartstudio22]

Week 10 Panel

Heather Galbraith, curator of Judy Darragh's exhibition 'Competitive Plastics'.

Plastics competing for our attention. Their plasticity, fluidity, rigidity,

Transferring the artwork into two different shows in two spaces. Responding to the different qualities/histories of a space.

Judy was Heather's high school art teacher. Knowledge exchange.

Craft-based making. Often involves extremely repetitive tasks.

Visual Art + Craft Making = hierarchy.

They intended for the exhibition to come across as 'too much work'.

The 'fold' wall. Created mystery and wonder and magic. Also disrupted the space a little.

Curtains of plastic sock hooks.

Mark Harvey,

we don't have a union in our sector

we need royalties for all art disciplines

subsidised studios

participating grant systems. Artists, communities, and iwi decide on funding allocations.

emerging artists paying collaborators.

Arts Makers Aotearoa FB page + website.

Apply for Wellington City Council Creative Communities Grant Funding to pay collaborators.

So many practitioners moving out of NZ to get the money. Eurocentric. Arts advocacy in NZ is important though.

Competitiveness for funding. Hard to compete as an emerging artist with established artists. Banding together is a good solution to this. Collectivising with folk who are more experienced. Start with smaller funds. E.g. Creative Communities. CNZ tend to not fund people who haven't demonstrated a career trajectory. The arts advisors at CNZ are really helpful and supportive.

Most of NZs most established artists have secondary income.

You can reapply for CNZ funding if you were nearly successful. They don't let you know though, so you need to call up and inquire.