During Spring/Summer 2020, I shot footage in Strathkelvin with my Zoom H2Qn handheld camera and developed this by compiling a rough cut of my footage with video software, Premiere Pro, accessible at: https://youtu.be/SPYvUD22ml0. Rather than having a set shot, I intended Spring/Summer to retain a personal, video-diary feel to immerse the audience in the visual and aural experience of our character behind the lens. This “fly on the wall” approach has been effective in building the visual narrative, adding an appropriate, “lockdown” aesthetic to the piece. I also created visual movement with seasonal transitions and reflected this sonically, which is discussed further below. To juxtapose the progressive tone of Spring/Summer, I shot Winter footage with my camera on a stand, capturing the landscape completely still. I later edited the seasonal sequences together to convey nature’s evolution, with the changing environment mirroring our character’s personal journey. Finally, I applied a LUT (Lookup Table) preset to the Spring/Summer sequences to make the bright colours pop.
Using the visual narrative, I communicated the connection between past and present, and human interactions with environments through time. I achieved this by working collaboratively, with poet J.B. Quinn, to draw parallels between Bedlay bridge’s modern graffiti and ancestral cave paintings. Using J.B.’s books below as a reference, primitive images were painted onto the bridge, shot and J.B. likened them in prose to “graffitied walls echo ancestral calls”.
Comments