There's more stuff I'd like to talk about but it gets into ultra-specifics and that could be mega-confusing if i don't coherently get across the ideas I have about the super-specifics.
Anyway, this is a lot of stuff to post at once. We should have another All-involved meeting soon to discuss stuff we can start doing for the Kansas City Shows.
Also, Jaimie, we should have lunch or something soon to talk about this stuff.
Sorry, I've been keeping strange hours lately. I'll improve that because its ultra-impractical and mega-shitty.
That's all for now.
Wednesday, August 20, 2008
Filming and Such?
I'm pretty into the idea of forcing the task of some level of on the spot editing of the show like we had in Omaha.
We won't have the incredible set-up they had but i think we could put together a sort of control room like we had at the Bemis. i think that if we have feeds from each of the cameras running to a main control system, we could end up with some interesting on the spot interpretations of what the focus of the show is.
We should also have each camera making a full recording of the event in case we feel that anything important was missed at the time of the on-the-spot-editing. it would be an important backup and it could put at ease whomever is calling the shots for the real-time editing knowing that if something is missed there's such a back-up. Maybe with the safety net of the individual camera recordings as a total back up it would free whomever is in charge of said editing to more freely follow his or her instincts as to what is most deserving of attention.
Again, WHATEVER!
Also, i still would like to set up a system of crappy of camcorders moving in set patterns out of the view of the main filming to get randomly generated footage of the event. These cameras could shoot anything, including behind the scenes stuff. Maybe we could get some good footage to edit into the final video as little in-between performance kind of stuff. it would have a different look and could break the monotony of the major footage and such.
Double again, DOUBLE WHATEVER!!
We won't have the incredible set-up they had but i think we could put together a sort of control room like we had at the Bemis. i think that if we have feeds from each of the cameras running to a main control system, we could end up with some interesting on the spot interpretations of what the focus of the show is.
We should also have each camera making a full recording of the event in case we feel that anything important was missed at the time of the on-the-spot-editing. it would be an important backup and it could put at ease whomever is calling the shots for the real-time editing knowing that if something is missed there's such a back-up. Maybe with the safety net of the individual camera recordings as a total back up it would free whomever is in charge of said editing to more freely follow his or her instincts as to what is most deserving of attention.
Again, WHATEVER!
Also, i still would like to set up a system of crappy of camcorders moving in set patterns out of the view of the main filming to get randomly generated footage of the event. These cameras could shoot anything, including behind the scenes stuff. Maybe we could get some good footage to edit into the final video as little in-between performance kind of stuff. it would have a different look and could break the monotony of the major footage and such.
Double again, DOUBLE WHATEVER!!
Show length and such?
After Omaha, i feel that it might be worth discussing reducing the number of acts for each of the Kansas City WDD's.
There are a number of reasons i think this would be practical and also provide for a more entertaining show.
First, I think that the number of acts we had perform in Omaha could be edited down to multiple episodes taken from the show. Nothing tricky - there would be no claims that the individual episodes were taken from multiple performances at the Bemis Center. The Episodes could be labeled "Whoop Dee Doo Bemis Center 8/9/08 Episode 1 of 3". That's a mega-shitty title, but something that gets across the same point with more flair.
Anyway, for the Kansas City shows, if we had fewer performers per monthly show we could make a much greater effort to become acquainted with the performers' work prior to the show and take the expectations that we have for certain performers to better fin-tune the details as to how we could most effectively present those performers. Maybe with a better prior understanding of the performers we could figure out ways to better encourage the audience to interact with the performers and such.
Also, with fewer acts we could better get across to them what we expect of their participation - or maybe a better way to put it would be that we could get across to the performers what they should expect when performing at WDD.
We could also possibly do small pre-show interviews with the performers as a method of being better prepared for talking to them on the show if they feel comfortable with an interview and what have you. Most likely, it would work best for the interview to be done by Jaimie and myself and possibly others from WDD if there's interest.
Also, with fewer performers, and an efficiently laid-out schedule of acts we could cut down on lag time between acts. i know that the main goal is to produce a video of the event but i feel that if the show keeps as much a steady rhythm going it could possibly go a long way in producing a greater level of genuine excitement and interest on the part of the audience - and i think that would be noticeable in the final video.
not to say that that the goal would be to completely eliminate downtime during the filming because i think that downtime was of interest to the audience in Omaha.
Whatever.
There are a number of reasons i think this would be practical and also provide for a more entertaining show.
First, I think that the number of acts we had perform in Omaha could be edited down to multiple episodes taken from the show. Nothing tricky - there would be no claims that the individual episodes were taken from multiple performances at the Bemis Center. The Episodes could be labeled "Whoop Dee Doo Bemis Center 8/9/08 Episode 1 of 3". That's a mega-shitty title, but something that gets across the same point with more flair.
Anyway, for the Kansas City shows, if we had fewer performers per monthly show we could make a much greater effort to become acquainted with the performers' work prior to the show and take the expectations that we have for certain performers to better fin-tune the details as to how we could most effectively present those performers. Maybe with a better prior understanding of the performers we could figure out ways to better encourage the audience to interact with the performers and such.
Also, with fewer acts we could better get across to them what we expect of their participation - or maybe a better way to put it would be that we could get across to the performers what they should expect when performing at WDD.
We could also possibly do small pre-show interviews with the performers as a method of being better prepared for talking to them on the show if they feel comfortable with an interview and what have you. Most likely, it would work best for the interview to be done by Jaimie and myself and possibly others from WDD if there's interest.
Also, with fewer performers, and an efficiently laid-out schedule of acts we could cut down on lag time between acts. i know that the main goal is to produce a video of the event but i feel that if the show keeps as much a steady rhythm going it could possibly go a long way in producing a greater level of genuine excitement and interest on the part of the audience - and i think that would be noticeable in the final video.
not to say that that the goal would be to completely eliminate downtime during the filming because i think that downtime was of interest to the audience in Omaha.
Whatever.
stage layout and such?
So, about the set of the show. i feel that my perspective on the layout of the space had been affected by the filming experience in Omaha.
First, i think that having us, Jaimie and myself, based off to the side Stage right/House left (like in Omaha) is a good setup. i also feel that the second, smaller stage on which Jaimie and i stand should have multiple levels at uneven heights like the stage on which we stood in Omaha. i feel that it makes for a visually interesting effect for us to be able to change our vertical position relative to one another but without have to move horizontally much and screw with the shot of our stage. (There's probably a better way of describing that but who knows - not me.)
Having a level of the hosts' stage even with the main stage that's clearly visible and easy to walk across seems like a good idea as well so as to make the transition for a performer to come over to our section as hassle-free as possible.
This all, is up for discussion, of course. I'm not putting my foot down on any of these ideas.
I think that a stage for performers was good as well. Something elevated only a matter of a few feet so that performers more comfortable with a well-defined performance space have one. But the stage can also be used for audience members to stand behind any performers comfortable with such a set-up.
Whereas i previously had thought that it could be cool to have the performers on the same level as the audience to give a more intimate experience, i now feel that there's a greater intimacy to the experience if audience members can choose to get on a stage that would be traditionally reserved for performers only. i also think that it would be especially exciting for kids to feel they are on the stage of the show. ALSO, also, i think that a stage takes away some of the logistical headaches that would almost definitely be a part of filming certain performers on the same level as the audience.
First, i think that having us, Jaimie and myself, based off to the side Stage right/House left (like in Omaha) is a good setup. i also feel that the second, smaller stage on which Jaimie and i stand should have multiple levels at uneven heights like the stage on which we stood in Omaha. i feel that it makes for a visually interesting effect for us to be able to change our vertical position relative to one another but without have to move horizontally much and screw with the shot of our stage. (There's probably a better way of describing that but who knows - not me.)
Having a level of the hosts' stage even with the main stage that's clearly visible and easy to walk across seems like a good idea as well so as to make the transition for a performer to come over to our section as hassle-free as possible.
This all, is up for discussion, of course. I'm not putting my foot down on any of these ideas.
I think that a stage for performers was good as well. Something elevated only a matter of a few feet so that performers more comfortable with a well-defined performance space have one. But the stage can also be used for audience members to stand behind any performers comfortable with such a set-up.
Whereas i previously had thought that it could be cool to have the performers on the same level as the audience to give a more intimate experience, i now feel that there's a greater intimacy to the experience if audience members can choose to get on a stage that would be traditionally reserved for performers only. i also think that it would be especially exciting for kids to feel they are on the stage of the show. ALSO, also, i think that a stage takes away some of the logistical headaches that would almost definitely be a part of filming certain performers on the same level as the audience.
Omaha was Awesome.
So, i haven't posted to our blog in some time. I've been on an odd schedule since Omaha and i think I've been a little reclusive and such as well. BUT, I've been thinking about Whoop Dee Doo a lot.
This is a re-introductory post for me I guess and It'll be followed by some entries about individual aspects of the show.
I'm pretty inspired by the experience in Omaha and I feel more than ever that I want to make my contribution to Whoop Dee Doo the most intelligent and thought-through of which I'm capable. I think something about the fact that people are willing to take what we're doing seriously has made me take the whole project more seriously than i previously had. Not to say that i wasn't committed before but now I want what we do with WDD to be something awesome - a unique experience that is completely memorable to the audience and reflects how much we all enjoy working together.
As a sidenote, when i say that I want to think everything through as much as possible that's not to say that i want to make an effort to remove any of the spontaneity of the show. I just think if everything's thoroughly planned we could allow a bunch of room for the spontaneous, weird moments but in a way that we control to more effectively shape the show.
Also, as another aside, I think that going to Omaha was one of the raddest experiences of my life and I feel like i saw a really wonderful side of so many people involved - everyone involved. Again, to clarify, I never felt, prior to Omaha, that anyone involved in the show was less than awesome, but it's just that now i feel like i know so many people involved way better and everything I observed about everyone was nothing but awesome and inspirational.
Not to be too mushy and shit but whatever.
Ok, onto the other posts.
This is a re-introductory post for me I guess and It'll be followed by some entries about individual aspects of the show.
I'm pretty inspired by the experience in Omaha and I feel more than ever that I want to make my contribution to Whoop Dee Doo the most intelligent and thought-through of which I'm capable. I think something about the fact that people are willing to take what we're doing seriously has made me take the whole project more seriously than i previously had. Not to say that i wasn't committed before but now I want what we do with WDD to be something awesome - a unique experience that is completely memorable to the audience and reflects how much we all enjoy working together.
As a sidenote, when i say that I want to think everything through as much as possible that's not to say that i want to make an effort to remove any of the spontaneity of the show. I just think if everything's thoroughly planned we could allow a bunch of room for the spontaneous, weird moments but in a way that we control to more effectively shape the show.
Also, as another aside, I think that going to Omaha was one of the raddest experiences of my life and I feel like i saw a really wonderful side of so many people involved - everyone involved. Again, to clarify, I never felt, prior to Omaha, that anyone involved in the show was less than awesome, but it's just that now i feel like i know so many people involved way better and everything I observed about everyone was nothing but awesome and inspirational.
Not to be too mushy and shit but whatever.
Ok, onto the other posts.
Thursday, August 14, 2008
Thursday, July 24, 2008
Video Inspiration!
This is the show "The Electric Company" and these clips make me want the entire show to be in green screen!!!
CHIC-A-GO-GO!!!!!!!
CHIC-A-GO-GO!!!!!!!
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