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!!!!!!!
Thursday, June 12, 2008
Jaimie, I could just send this in an email but I figure since we have the blog I might as well use it.
First, nice pictures in the last post, but I should probably tell you that in the comments section of that post.
Next, I've been researching this lighting stuff and I think it might be something we can handle, possibly reasonably inexpensively. I know I've been on an LED kick lately but i think that's where I'm starting with my research. I read the lighting section from the filmmakers handbook I emailed you about. It's not as thorough as I'd hoped. There's another book I'm gonna get. I'll make some calls around town but most likely I'll have to order it online. Anyway, it seems to be centered on lighting for tv shows with an emphasis on using digital video.
There's a chance I might have an interest in asking Hesse for some measurements in that space so we can plot out how we're gonna set up the stage. It could make a significant difference in what type of lighting we use.
If I can use these leds in the manner I think I can then I think we could have some pretty awesome-looking lighting design for the show in Omaha. As in, we could use leds to light the set properly for the cameras and also use leds for freaky effects as part of the set itself.
Anyway, I'll post more later.
Wednesday, June 4, 2008
whoopdy whoop
cool my first blog post in life. since its about whoop dee doo, we need to put images of our biggest most wonderful inspiration in life, chic-a-go-go!!!!! (www.roctober.com/chicagogo)
Wednesday, May 14, 2008
Camera accessories
Here are the plans for buildinga $14 steadycam. Im gonna try to build one whether we end up having a use for it or not.
Also, I watched this interview a while back and you can see the ladder dolly that this Ty Evans built for filming skate tricks:
I think ty evans is the best thing going in skate videography. In that video he talks about a camera set up he made usinga remote control car so that the camera could go under cars and such.
I think if we went the camcorder route we could experiment with stupid stuff like that bc it wouldnt matter if we fucked up a camera.
ALSO, I'll find some videos when i get home to illustrate this, but I think that using a fisheye lens on low-to-the-ground tracking shots looks super awesome. Im pretty sure there's some of that in the Gnar Gnar video I sent in the last post.
I think low shots are awesome anyway:
But I think that the low, moving shots filmed with a fisheye lebs are super awesome. It's a pretty standard technique in skate videos but you dont really see it anywhere else.
It's awesome that the videography that goes into skate videos is designed just to make the trick look as pretty as possible. the camera angles and such need to have nothing to do with storytelling or any of the issues associated with a normal movie. I think it would be cool to take some cues from skate videos in fliming the show.
I'd like to look for one fish eye lens that could go on the ladder dolly if that becomes a reality.
This is alot of shit Im sending to you I realize and if youre not into any of it thats cool. Also, if Im not making myself clear with any or all of the ideas Im trying to get across let me know.
If you are into any of it I could try to diagram out how I'm envisioning the positioning of the cameras in relation to the performance areas.
More later.
GNAR GNAR
I was gonna try to embed the video but I think Im fucking something up, so here is a trailer for that video I mentioned on the phone. It's called Gnar Gnar. I think it's awesome the way they use the look of the old camcorder recordings to their benefit.
http://208.65.153.251/watch?v=DzBZG_f-e_E
I can't actually look at this video at work right now and I cant really remember if this trailer gets across what it is that I think is so awesome about the whole video. I'll check later and if this isnt up to snuff Ill find some clips that are.
Or, you can skim the whole video here...It's only 24 minutes:
http://video.google.com/videoplay?docid=-6692836945529757238&q=krooked+gnar+gnar&ei=8rAqSODHMIeQ4wL8yNjkCQ&hl=en
So, I think we could probably get ahold of a bunch of old camcorders for next to nothing and if we have a good master recording of the audio then we could digitize the tapes from all of the camcorders and cut them together. We could possibly even set up a control board for the camcorders to produce the show on the spot. That is to say we could definitely do that, but we could possibly do it for cheap.
If youre into this idea at all I'd like to start looking at used camcorders - at thrift shops and ebay and such. I think we could do something pretty awesome with them. If we could turn the look of filming on camcorders into something cool and sort of a signature part of our look, then we'd be in a badass position as we'd be able to afford enough cameras to film every conceivable angle of any given act. Anyway, let me know.
I have some ideas as to how we could film the show, but Ill have to put that in a later post.
ALSO, I watched some clips from the disco dancer movie and its awesome. I think that not only does that movie have the awesome set design we're talking about but it also has a look abotu the film quality that's kind of fucked up but in a way that adds to the clips i saw rather than in a way that takes away from it- which is what Im getting at with the camcorder stuff.
Im rambling and shit, but you know, Im into this camcorder idea.
http://208.65.153.251/watch?v=DzBZG_f-e_E
I can't actually look at this video at work right now and I cant really remember if this trailer gets across what it is that I think is so awesome about the whole video. I'll check later and if this isnt up to snuff Ill find some clips that are.
Or, you can skim the whole video here...It's only 24 minutes:
http://video.google.com/videoplay?docid=-6692836945529757238&q=krooked+gnar+gnar&ei=8rAqSODHMIeQ4wL8yNjkCQ&hl=en
So, I think we could probably get ahold of a bunch of old camcorders for next to nothing and if we have a good master recording of the audio then we could digitize the tapes from all of the camcorders and cut them together. We could possibly even set up a control board for the camcorders to produce the show on the spot. That is to say we could definitely do that, but we could possibly do it for cheap.
If youre into this idea at all I'd like to start looking at used camcorders - at thrift shops and ebay and such. I think we could do something pretty awesome with them. If we could turn the look of filming on camcorders into something cool and sort of a signature part of our look, then we'd be in a badass position as we'd be able to afford enough cameras to film every conceivable angle of any given act. Anyway, let me know.
I have some ideas as to how we could film the show, but Ill have to put that in a later post.
ALSO, I watched some clips from the disco dancer movie and its awesome. I think that not only does that movie have the awesome set design we're talking about but it also has a look abotu the film quality that's kind of fucked up but in a way that adds to the clips i saw rather than in a way that takes away from it- which is what Im getting at with the camcorder stuff.
Im rambling and shit, but you know, Im into this camcorder idea.
Jaimie, This is a waste of time?
So, I started this blog as a means of posting shit for you to check out. I thought it would be easier to send you videos and pictures of interest and commentary on the whoop dee doo ideas through this blog rather than sending assloads of pictures via email. Anyway, here are some more pictures of random stuff:
Subscribe to:
Comments (Atom)