Tobacco Factory Cafe 10th Anniversary

Showreel 2011

Grading Red Lights On

Before Grading I was looking at TV shows like the OC and Mad Men and seeing what type of colours they have in those shows. The OC is fully of oranges which is no doubt to make the sun sets look amazing (as well as everyone having a constant tan) Mad Men seems to have again quite a few oranges in it, but they also seem to darken there black to an almost bluey brown.

The first group of images here are ones that I’ve tried to change the time of day to fit in with the story. The first image is one of the opening scene, with Paul walking into chris’s flat. I’ve tried to give the light a blue tint, the kind of colour we might expect from moon light. Even though he’s quite clearly being lit by the fridge I think this colour helps to re-enforce the the time of day.

The second image is supposed to be in the morning although with all the tungsten lighting, and orange colour, it seems more like night time, Taking out the oranges and adding blues in the highlights again give us this sense that it’s daytime rather then night! And the same goes for the third and forth images. Although these ones still have a decent amount of orange in them. Unfortunately this is unavoidable as to take anymore oranges or add any more blues would affect skin tones and that would just look bad! Although teh last two images are not completely convincing on their own when cut with daytime shots I believe that they are pretty seamless, as we just assume there is mixed lighting in that location and that Chiara is in a darker part of the room.

Finally the fifth image was supposed to be at night time so what i’ve tried to do is again imitate moon light unfortunately there is a lot of gain in this image which is a bit rubbish but I think you do get that it’s night time

All of these images I’ve changed to get better skin tones. Because The actor playing Paul is so pale, his skin didn’t always work very well with lighting, especially florescent lighting (image two and three). He seemed to pick up a lot of green tones which just made him look a little bit sick. Because of this I’ve tried to bring more reds into the image to brighten up his face. the first image he’s skin and the background colour and his skin tones are extremely similar so I’ve tried to create a bit desaturate the background which helps use draw more focus onto Paul rather then him being merged into the background colour!

The forth image I have up is Chiara’s close ups when Paul first meets her. I wanted to make this scene a bit ironic with what Paul was saying in the voice over

‘Look for weekness. Shaky hands, Red eyes…’

As well I wanted to make Chiara’s character seem as attractive as possible, as the montage almost suggests that Paul is eying her up and finds her sexually attractive. One of the ways I did this was by adding more green into her eyes making them very striking. This added with the voice over makes Chiara seems to give her a kinda of power and authority at this point, something that I did not expect when doing the grading.

Changing the Colour of the room/ location.

Red Lights On Shoot

I’m going to start with How the Red Lights On Shoot went because that’s probably the longest.

This shoot has definitely been one of the most intense I’ve ever been on. We had a lot to do in a very short amount of time and because of time we didn’t get to capture all the stuff that we wanted. But! I think overall it was quite a successful shoot. I think I learned a lot about how I work but also on stuff I need to improve on. Especially when it comes to working with people and preparing before a set.

The first day was pretty intense and I overstepped my bounds a bit, making decisions without consulting the director first. This was the first day in the TV studio and we started late with setting up time taking longer then expected. The set proved to be a bit difficult with us not having as much space as I had hoped. As for the shoot it went ok. Although definitely not my best day looking back at the footage with us trying to get mids and wides mainly. (both shots I wasn’t completely happy with. The macro stuff that I got was quite good, but in hindsight I’m not sure if it was the best way to film the content with what type of show it was going for.

The second day was again very intense having a lot of the script to get though in not a lot of time. I think the communication between me and the director broke down a bit here as although we did shot lists together and went through everything we obviously had different ideas of how it was going to turn out. This became frustrating especially late on in the day when the long hours and fatigue came in. We had also lost the audio for the first half of the day due to the tascam somehow deleting all the footage which added to the stress. I finished the day quite stressed but I read this article on … which was quite interesting from a well established DOP. He gave his top 15 tips for aspiring DOPs one of them describing how the people who can’t handle the pressure of a shoot normally get weeded out. With this so far being probably the most draining shoot I’ve been on to date this hit a bit of a cord with me as I felt like I had been perhaps a bit snappy and bunt rather then humble at times of the previous days shoot.

The third day we tried to get some pick ups from the writers room scene quickly before having to deconstruct the set. I got some cut-a-ways such the TV for the advert and people just tapping their pens etc. This type of stuff we should have got much more of I think as the problem with the final edit in my opinion is that there is not enough breathing space between dialog and I don’t believe we got enough shots where people weren’t speaking for the editor to cut some in. This is a fault throughout the film i believe. We started doing the Tv studio scene which went ok but a lot of setting up time meant that we lost a lot a shot of Andy in the gallery. This was fairly annoying as we spent a lot of time trying to make the florescent lighting not give our actor Paul green skin tones. In the end we weren’t able to stop it and just shot it, however This being one of the first times I’d shot a flat image I didn’t realise how much I could change the colours and tones then if I shot it with high contrast and colour saturation. Mistake learned! I feel in this scene we missed some really good chances to have some really nice glides and pans with the jib and track to break up the dialog, as well as tell the story with looks rather then words.

Day Four Was a bit more relaxed as we had a bit more time on our hands. We did the dream sequence first which I had a pretty good idea of how I was going to grade it (with a glow and a bit overexposed) I kind of wanted to do a bit more rapid movements even using a bit of fast shutter animation to give that very quick and snappy image you get with dreams. They are Disjointed and normally skip right to the point, even if the point is just walking down the road or staring into a camera. The Director wanted to keep it more smooth though with glide and some still pov camera shots which chiara looked into.I think the scene is ok but I feel there was a lot more potential here to maybe be a bit more daring with camera styles.

The bedroom scene definitely felt a alien. I didn’t really know how to shoot it as… it didn’t really look like a bedroom. There was also only one place that we could really film from which was slightly annoying. I knew I wanted blue light as… that’s what’s normally portrayed as moon light, but when looking back at the footage I think I needed an over the shoulder or something a bit more intimate.

Finally we did the opening scene with the woman, the ‘homely hooker’ I wanted to do a track into her while she was looking around being a bit intimated by the TV studio and it’s going ons. But the director wanted a track back while she was talking. For me this doesn’t make a whole lot of sense as when she’s talking you are moving away from her and you see people walk in front of the camera. In my mind, because what she was saying was going to be ‘aired’ the camera if anything would track forward while she’s speaking making her more prominent, as well people would not be walking in front of the camera if a take was being shot, in fact chances are there would be silence on set. The shot I feel makes her character seem smaller and less significant rather then a big character in the story

Day Five Was the reception, lift and corridor scene where Chiara and Paul meet for the first time. This whole day was limited on time. The reception scene we had about an hour to do, which went pretty smoothly and I think we go the shots we needed. The lift scene was a long one to set up. The audio was pretty unusable, The lighting was awful (and unfortunately we could not use any other lighting except from the florescent lighting already in there without causing a massive reflection on the metallic surface inside the lift. In the end we tried to soften the florescent light with spun and shot it just like that. Paul’s skin tones always looked pretty horrible in florescent lighting as he came out looking quite green due to his pale completion. However I was confident that I could correct this in grading later.

After all of that was finished we had about an hour and a half to do the corridor scene which wasn’t really enough time to get all the shots I wanted. I was a bit annoyed at the set up time because I felt after the reception scene (which we had an hour to do), the whole day had gone super slow, and unnecessarily. Due to this lack of time the shot that I wanted to get (glides when cut together would create a bit of a circular motion) was pretty much cut.

Day Six Was Roy’s scene, which for the most part went quite smoothly. Again I think there needs to be a lot more movement in the shots, and looking back at it, I really wish I had used a jib. The main problem in this scene was the fact that at about 3/4pm the light started to go, which gave us two massively different types of lighting (daylight and tungsten lighting). One of the mistakes I made was keeping the white balance at daylight when it got to the night. since I was shooting it flat I could quite easily give the image a bit of a blue tint but with an orange tint already there, I was not too sure.

Day Seven the final day of shooting! and all of the scenes in chris’s apartment. This day actually went quite smoothly, I was quite happy with the shots we got and the set up times. This may have been one of the smoothest day on set. Again there was a long set up time in the morning but, after that it went quite quickly.

After Thoughts After doing this project I don’t think I prepared myself enough to film in the kind of style that Camille (the director) was looking for. Despite doing quite a few test Mad Men and therefore never really learned how they did it. That’s not to say my tests were a complete waste as I feel like I learned about how to use the equipment, but I don’t believe I used it to give the ‘filmic look’ I was trying to achieve. I also believe that not making a storyboard and/or not going through blocking with the Director was a BIG mistake. I think we probably wasted half a day on the writers room scene because we didn’t specifically get the shots that we wanted! rather we tried to get loads of coverage from everywhere and it ended up looking, not as good. I think as well me and Camille had a lot of confusion on set with me setting up for shots that I thought we had planned only to be told something else. That’s not to say I blame her for the miscommunication, but we definitely needed better communication as we wasted a lot of time de-cyphering what we were talking about.

Unlike other projects I found this one especially draining but not just physically and mentally, but also emotionally. Unlike other shoots that I had been on where stress was high, there was always a really good atmosphere around the set and people generally enjoyed them selves and had a laugh. While I feel like I got along with everyone in the group I don’t feel like there was that same kind of bond between us as a group as previous projects and that definitely made things harder. I wish I had been more humble on set, even though I don’t believe I was ever rude, a ‘Thank you’ goes a long way. I also read an article about some advice for young aspiring DPs  and one of the things he said was …

Filmmaking can be stressful, and those who can’t handle the stress usually get weeded out. - Art Adams http://provideocoalition.com/index.php/aadams/story/career_advice_for_the_young_dp/

In may ways this quote hit me quite hard because I was finding hard to shoot red lights as well as I wanted to, and in consequence was getting very stressed about it. However in hindsight after doing other projects I don’t think I handled that project very well. Perhaps it was in the middle of two big deadlines, perhaps I just didn’t bond as well as I did with other crews. But I hope that I’ve learned from this experience and tried not to get too stressed but just let what happens, happens.

Here’s some mapping tests I did back in February. I mainly wanted to see how I could map 2d and 3d objects. Eventually I found using photoshop with a zoom of 124% matched up pretty well when playing it back on quicktime.

I outlined the image in photoshop and then used final cut or after effects to do the animation. The effect is pretty cool, but I thought I’d get a bit more inspiration from doing this to do other stuff in my Run For Cover installation but… nothings really come up! The idea of mapping onto white crosses still attracts me but I’m not sure if that iconography it has so much relevance to Bedminster, Bristol or children growing up in the war. And if it doesn’t add anything! take it away!

Still very interested in doing some guerrilla advertising for the project though! so hopefully I might use some mapping techniques to promote our installation!

The video above shows the second day of tests we did at the tobacco factory.

Test 1 (Monday, 6 days before Installation)

Our first test were 6 days before our final installation. We found that the location that we chose ended up a bit of a wind-tunnel blowing our screens like crazy even though we tied them down with bricks at the bottom. This was one problem that we did not expect so for Sunday, we weren’t only looking to see if it would rain (which would mean calling off the installation outside and moving into the green room) but we were also looking to see how much wind was expected.

In the end we oped out of out of doing any visual tests at the Tobacco factory on the first day and took all the screens back to Katie’s to do a test set up there where it was less windy and less of a chance of the fabric getting ripped. The tests went quite well and it was the first time I’d seen the images on three big separate screens rather then a small timeline on final cut. One thing that we were a bit worried about was the images being a bit too erratic and taking away from the actual story. However When we saw it on the big screen standing back, The movement of the images worked quite well with the pacing of the audio I felt.

Test 2 (Tuesday, 5 days before Installation)

The second day of tests we set up the stage and audio equipment to see how they matched with the visuals. It was also a lot less windy so we felt safer putting up our three massive projector screens  to see how they were. But before that we wanted to test out the base speakers to see if they would give a rumble when the bombs in the film fell. We first tried the base speakers from under the stage which was really good for feel for that but it didn’t give much vibration to the rest of the stage, as well 2 of our speakers were just a bit too big to be put under the stage. We then tried from the sides hitting into the stage which worked better and that’s what we went with. This test was also good to find out that we needed a female to female XLR and one of my quarter jack to male XLR output. This test was also good to see where we’d want to set up where the stage should be, where we were going to draw power from and all of these things made a massive difference on the actual day of the AV piece.

When it got darker we started setting up the projectors and screens to find out how they looked. Firstly we noticed that with sandbags attached to the bottom of the screens worked much better then bricks although we did like the look of old bricks because of the Rubble reference with the film. However still screens was much more important to us. We also found that the projectors had to be about a meter off the ground  It would have been cool to build some small pillars for them at uni, but I think that was a luxury request at the time. For the final show we used some bar stools covered in black clothe, which didn’t look too bad but … I’d much rather have pillars.

The big disaster of the evening was that the projectors wouldn’t project anything! I was convinced that it was the £200 matrox box I had just bought second hand which was really annoying. in the end we had to take down the screens and pack down for the day because I couldn’t get them working there. When back at Katies I tried to play around with it agian and we got it working for a few seconds which led me to believe that it might be the mini display-port to hdmi lead that was going from my computer… the one lead that we didn’t have a double of on the day!

when at uni giving back the projectors for 3 days, we did a quick test and I was right. I made sure I had 3 different mini-display ports adapters on the actual day of the installation after that!

Test 3 (Friday, 2 days before installation)

Unfortunately on this day it was raining! so we could not test outside in Katie’s garden. But we were able to test inside. I had forgot to borrow my friends mini display port to dvi-cable but had a VGA to mini display port adapter from uni. This again had some technical difficulties before it figuring it out! We also found quite a few bits of video that weren’t cropped enough that would spill onto the next screen.

Test 4 (Saturday, 1 Day before installation)

On the Saturday I just did the final bit of changed to the visuals, making sure everything was in, I got everything working with the matrox box running smoothly (the device we used to plug in 3 projectors). Again there were a few discrepancies with the visuals and audio but they weren’t massive and we were easily changed for the next day!

Over all I think we had the perfect amount of prep time. This is the most prepared for a project I’ve felt as well. We had an idea of how we were going to set up and display our piece months before it came into realisation. Months before we had even figured out the technology to do it. I think this might have been one of the reasons why it was so successful, we got a good idea from the start and kept building on it but made sure it was still achievable and… in some ways modest (i.e. leaving out the motion sensors and mapping mainly due to time restraints).

Grading the ‘The Daughter Of Katie Elder’

Before I start talking about the grading of this film, I’ll first talk about what I’ve learned before taking on a Grading project over the last year and a half.

1. Make sure you are Grading, NOT correcting a film. Grading is not only more fun but chances are… it’s a better made film as well. Correcting a film is because the camera or DOP has shot it badly and you are left trying to fix the mistakes.

2. Make sure you get the Director to tell you exactly what they want from the grade, I got told today that a scene that I colour ‘corrected’ a exposure of someones face (who’s not in dark and not in shadow.. just kinda in the middle)’ but was later told when giving the final colour grade that this under exposure was meant on purpose. If the director doesn’t want something get them to tell you! or maybe watch it over with them and tell them what you intend to do with the scene. That would be smart

3. Make sure it’s a final cut! Although most of the time it’s not that had to grade another clip quickly… it’s annoying as most of the time you have other priorities.

4. Re-watch the grade when it’s been exported, too many times it’s looked fine in colour and then bad in final cut.

5. Subtle grading is normally better….

6. And finally my most recent lesson… Don’t grade something if the director hasn’t asked you themselves as they might actually like the original grade!

I saw the original grade of this and was… very unimpressed. The grader used a green tint on nearly everything and although the desaturation looked quite good for some the scenes Green tints are rarely good with skin tones as they make everyone look rather ill and sickly!!! Seeing this I offered to the sound editor and producer to do an edit and… here it is. I’m not sure if it will be used or not but, it’s not bad for 3 hours work.

Firstly I quickly had a look at some westerns on Youtube such as a ‘fist full of dollars’ and ’ 3:10 to Yuma’ and looked at their colour tones. Most of them have oranges and yellows with quite a bit of contrast to the images. With this in mind I tried to give the cowboy scenes more of an orange glow while leaving the the ‘normal’ scenes with more natural colours. I also left vignettes on the sky to keep the blue colour in it at the beginning to leave a bit of a sense of the location they are in (they are not in the wild west, they are in England)

I also created transitions in bits of the story where in fades into orange tones when they go from normal to cowboy mode! Although it’s quite clear for the audience anyway, this colour transition just emphasises the change of the characters and their reality.

The only time I ephasised this orange look was when they went into the complete fantasy world which was again signified by a colour transition from orange to this light sepia look where the black look a bit purple (something which you see in a lot of old films or some types of analog photos). I think this works here because we are fully into the fantasy and if I had more time I may have done this look for the other scenes and would have been something I would have liked to experiment with as I think it had more of an old western film texture but due to time restraints I just have done it for this part of the story.

And finally a bit of correction! This was supposed to be a night shot however, they used the same type of lighting for day sunlight and light time lights coming through the window blinds so I gave this Night shot an orange tint to hopefully resemble the tungsten street lamps.

Overall I enjoyed grading this as the grading was actually kind of important to the storyline. However I have learned not to assume that what in my eyes is a bad grade isn’t what the director was looking for. I’m still unsure who’s grade was used for this but I has straightened me out a bit about, even though I was trying to help, it may have not been wanted by the person in-charge!

Grading the Lying Fallows

I talked to Alex and Calum about what type of colours that they wanted in the Lying Fallows, My plan was to do quite earth colours. I Was influenced a little by the colours in some static started and but wanted to add a colder feel to it. In the end I blued the black and reded/organged the whites and mids which gives quite an autumn feel to the piece something which I think suits it quite well.

This shot reminded me of a saying that I was told when I was younger ‘A red sky in the morning is a shepherds warning. A red sky at night is a shepherds delight’. I thought making the sky red would give a bit of warning for what was to come later in story and hopefully create some subconscious expectations in our audience.

The two images above hopefully give more of an autumn feel. I like the earthy colours as it suits the locations they are in and it also brings a bit of emphasis on the farmer’s  shirt bringing the audiences attention to him

As usual! I had a bit of correcting to do as well!! the first image then shot when the sun had set and in you looked at the cut shots in between the sky was blue not gray. So I added a blue tint to the top part of the sky to match it up. Unfortunately I could not match up the sunlight hitting the actor as well.

The second image shows an extremely under exposed. I’ve tried to grade it balancing loss of quality with being able to see this emotional seen enough to be gripped by it. Although unavoidably noisey and grainy. I feel like I’ve pushed the image as much as I could have before the black of image quality would distract the viewer. One good thing about the way it was shot was the fact that it was done on a Panasonic HVX200 camera which shoots RAW footage and also seems to have some type of noise reduction on it. This has allowed me to push the colours a lot more then lets say on a Canon DSLR. However! the Canon DSLRs do handle low light conditions much better then he Panasonic so perhaps I wouldn’t be dealing with such a grainy image if it was shot on a DSLR.

Bring out the Earth Colours also gave the lens flares that they had got make extra stunning. The scenes that they had got lens flares are normally quite happy moments for either Malcolm or him and The Farmer.

Overall I’m really pleased with the Farmer Grade, It’s also helped me enjoy grading again as I’ve done more grading in this the correcting in this project. I feel the colour tones I used work really well with the subject matter as well, keeping the skin tones quite nice while bring the darks down a bit with navy blues.

Using HDR

After seeing on the NoFilmSchool website a post about doing HDR in after effects with two video different pieces of video footage I have kept it in my mind for when I’m going out to shoot. the video bellow is a little tutorial on how to do HDR which is great if you have a blown out sky but shaded foreground.

When going out to film some footage for my Run for Cover installation I came up with this problem… really for the first time, since thanks to English weather it was pretty gray and cloudy so getting an exposed sky wasn’t a great priority since it isn’t that ascetically pleasing anyway as well as I was using still tripod shots for this which I haven’t done a huge amount this year either.

I’ve color graded the test footage to show how you can push the image even further although I think I may have done a bit too much here!

I’m not sure if HDR this time has led to much advancement in me telling the Run For Cover story, but I think that definitely helps improve the ascetics, and helps draw the attention of the viewer to the whole image, not just the correctly exposed bits. I can see in the future though that having HDR will help tell the story by giving clues and hints of the story in the fore or background of the mise-en-scene.

One of my favourite short film directors - Ben Briand

http://www.lightsfilmschool.com/blog/ben-briand-interview-short-film-finds-audience-of-more-than-400000/1229/

http://www.lightsfilmschool.com/blog/ben_briand_filmmaker_interview/1271/

Above are two really good articles from the director of ‘Apricot’ (probably my favourite short film) of how he made the short and how he made another one of his films ‘Some Static Started’.\

In the first article he talks about how he filmed his short ‘Apricot’. One of the interesting points he raised was how he wanted to light it…

I always like my lighting to feel natural yet heightened, almost an exaggeration of what is already there. So if it’s moody and romantic, then it’s REALLY moody and romantic. I can’t handle when things are overlit! Life isn’t overlit. Life is murky and partially lit (at least mine is!) so I like to work with great DOP’s who are lighting snobs. I come from a natural light background so I prefer to actually use as few lights as possible

When talking to rob about how he wanted to Everything Is All Right to look and feel. He didn’t want any artificial light, or if it was a must to have it… very little artificial light and hated light that was obviously artificial. I think lighting helps tell a story, it says how our actors are feeling at that moment in time. Working with nearly no lights for the first two days of indoor shoots was interesting though. it made me think a lot more about were i needed the actor to stand for example (i.e. when opening the door don’t stand in the shade, come out more so that the light will hit your face hopefully giving the impression that you are welcoming rather then a murder)

With the Red Lights On shoot I felt like I tried to over light everything. Part of the reason was to deal with the massive depth of field (i.e. more light = higher aperture = less depth of field). And I think I achieved shots that didn’t have much depth of field but I think I might have sacrificed lighting being more of a significant storyteller.

Even though Rob did not want lighting I decided to bring one red head (800watt) light just in case. And in the end… we used it. I wanted to bring a 2k blond but after taking it out, It was not practically sound as carrying it with all the other equipment I had was just after too much, especially seeing that we didn’t have a car to transport us everywhere. This led me to give back the Blond and just take what I could easily carry. Camera gear. Tri-pod, Glidetrack and 1 800watt redhead. Again the experience of taking just what you need or more accurately what I can carry was a good experience, and I can see in the future how I’d work if for example I was a one-man-band shooting something. 

Q. Referencing the shot at 2:18 (above) – The shot of the sun setting. How important was it for you to “chase the sun” What would you have done if this was an overcast day? Do you always look for side lighting or back lighting for your exteriors?

A. I was given what I got on the day of the shoot and either way would have worked for the film. All too often I think people strive for some sort of perfection that they have predetermined in their mind of what the film will be. I try and be very prepared but as flexible as possible in the moment. There is no point in trying to force a square peg into a round hole and some shoot days organically shift in directions that you hadn’t expected… If you wanted to shoot a fun, sunny day and you get pouring rain then point the finger at the rain. Make it a focus rather than attempt to minimize it. There is no point in trying to hide the white elephant in the room. So you don’t only acknowledge it, but you make it a feature! Put every one in rain soaked clothes and have them run around kicking puddles at each other. That’s fun too! In fact originally I wanted a moody day for that shot.

I think this is a little how Rob works with Everything is Alright, he’s changed scenes to suit the options he has. He isn’t so attached to the words and details of his story, he seems more interested in the meaning of his stories and whether that’s being portrayed. A film about brotherhood is going to have the same meaning whether it’s set in outer space or in Brixton, London. With budget film-making I think this attitude to making a story the best it can is very admirable and has opened my eyes for a different way I could have filmed The Sunflower.

In a way I could not imagine Apricot without that shot above but… perhaps I would have felt the same way if it was a shot of people in the rain and they said they were planning on shooting a rainbow.

Anti-Moire plug-in →

This Plug-in for final cut has recently come out which helps deal with aliasing something that is a pretty big problem on the DSLRs. I quickly used it today for the first time and it seems to work pretty well, but you do compromise your image quality a bit by using it. However I know that Chiara’s waste-coat  was aliasing quite badly in the Red Light’s On Shoot.

Hopefully this pluggin can help but will need a few tests and see if the editor wants to use it!

Nikon E 50mm f1.8 manual lens vs Canon EF 50mm f1.8 auto

60 second dance

http://dansensdage.dk/side.asp?side=9

Might be pretty good for that short I was thinking of…

Ok firstly sorry for posting the US trailer with that annoying American voice over. I watched Bright Star for the Second time yesterday and really enjoyed their use of shallow depth of field.

I’ve been reassessing shallow depth of field recently as I believe in many ways it’s been over used since Film DSLRs have come out. I think shallow DOF should be used because it helps tell a story or not at all. I think Bright Star got the perfect combination for me. Using shallow DOF for close ups and extreme close ups (the more emotive scenes) isolating the character/s and there emotion/s.

Really loved the cinematography! Reading an interview with the DOP now :)

Some really nice Guerrilla advertising here, something that me and Thom Buttery have been discussing for a while for our Blitz Project

Because our Blitz story revolves around Bedminster. We were thinking of projecting onto arty/significant buildings such as the Tobacco Factory in the week building up to May 8th (VE day and the opening day of our installation). I’m also hoping to attach some type of audio to these visuals but because you can only project them at night… but we will have to be wary of sound pollution at late hours of the night. This type of New Media Advertising should also help give our audience an idea of what to expect if they go to the installation (New media, using Video projections and Sound)

I hope to do some guerrilla projection tests in early February once we’ve got our Blitz story fixed and we have our narrative and visual plans laid out.