6. and everywhere we looked was only the prospect of despair
i was walking back home after attending the advanced screen module lecture thinking about what i can do about this unit. let me start with limitations:
a crew not being on the same page as you. i don't know if i'm being over ambitious, but i'd prefer not to do another narrative drama. i'm already considering helping shoot one narrative drama, i really could do without another one. i must admit, i'm slightly bored of the form, but i still have a tremendous respect for anyone wanting to do one. visual storytelling is challenging, but i've reached a creative fatigue for such a form.
thus, i looked within and found myself being more drawn to what the ghost was supposed to be about. i might have said in an earlier entry about incorporating this idea for a gradeble project.
i could argue that this can be done with minimal crew, even just one person who has sound knowledge toward the limitations of camera, software and output hardware. you see, in the digital domain, it's not so labour intensive anymore. in the sense that, once you know your software and hardware, its maybe about more than 50% done. i believe i'm somewhere there, about 40%. and therin lies the challenge, and part of the learning curve, to actually learn something new. will i learn something new by doing TWO crew based productions? i can justify working as a crew in one crew-based production, but the other one.. what if i wanted to explore the concepts and workflows of the digital artist, of the moving images artist, the visual installation, surveillence, flippant documenting, you need the sort of freedom that exists from having tools at your disposal without involving other people. hence.. the ghost comes to play.
and what can the ghost be about?
when i thought of the haunting, i thought of the things i couldn't let go off. and then i thought of other people, and maybe what they couldn't let go off. i thought of beautiful images, flashes of light, bits of nature we turn a blind eye to. of candid moments and moments of passion. i don't think i could see it all, but the muse was guiding me toward this prospect. i want to see a final canvas, of everything i've pushed myself to the limit of with regards to production, from visualisation, execution and distribution.. the very verge of it all.. and maybe i might be allowed to breakthrough with something. maybe in essence it sounds like i went to be pushed throat first toward the knife's edge, and have either someone pull me back at that instance or let it stab me and find out what lies beyond the white light. perhaps i leave that final moment for the powers that be, because spiritually, i know it's haunting me, of telling me to let everything go to a God of miracles.
a crew not being on the same page as you. i don't know if i'm being over ambitious, but i'd prefer not to do another narrative drama. i'm already considering helping shoot one narrative drama, i really could do without another one. i must admit, i'm slightly bored of the form, but i still have a tremendous respect for anyone wanting to do one. visual storytelling is challenging, but i've reached a creative fatigue for such a form.
thus, i looked within and found myself being more drawn to what the ghost was supposed to be about. i might have said in an earlier entry about incorporating this idea for a gradeble project.
i could argue that this can be done with minimal crew, even just one person who has sound knowledge toward the limitations of camera, software and output hardware. you see, in the digital domain, it's not so labour intensive anymore. in the sense that, once you know your software and hardware, its maybe about more than 50% done. i believe i'm somewhere there, about 40%. and therin lies the challenge, and part of the learning curve, to actually learn something new. will i learn something new by doing TWO crew based productions? i can justify working as a crew in one crew-based production, but the other one.. what if i wanted to explore the concepts and workflows of the digital artist, of the moving images artist, the visual installation, surveillence, flippant documenting, you need the sort of freedom that exists from having tools at your disposal without involving other people. hence.. the ghost comes to play.
and what can the ghost be about?
when i thought of the haunting, i thought of the things i couldn't let go off. and then i thought of other people, and maybe what they couldn't let go off. i thought of beautiful images, flashes of light, bits of nature we turn a blind eye to. of candid moments and moments of passion. i don't think i could see it all, but the muse was guiding me toward this prospect. i want to see a final canvas, of everything i've pushed myself to the limit of with regards to production, from visualisation, execution and distribution.. the very verge of it all.. and maybe i might be allowed to breakthrough with something. maybe in essence it sounds like i went to be pushed throat first toward the knife's edge, and have either someone pull me back at that instance or let it stab me and find out what lies beyond the white light. perhaps i leave that final moment for the powers that be, because spiritually, i know it's haunting me, of telling me to let everything go to a God of miracles.
posted by brian koh at 3:18 PM
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