VIDEO MAKING¶
VIDEO¶
The video is an important part of my final project, as it will show and explain the entire alignment of my research with my final product. As Ricardo commented, I must be careful not to get too complex to the point that the viewer doesn't understand the project. So, I decided to make a video with a narration in the background, exposing my research in a synthetic way and combining parts of takes from the installation with parts of articles/news about the scandals of water in Brazil.
Talking to Angela and answering Cecilia's question, the message I want to convey is shock and importance to the problem, bringing the idea of anxiety to the issue, almost like a materialization of my own feeling during the research, a scream that got stuck in my own throat.
Cecilia also had suggested making an interactive video, to work with different layers of information for different viewers. I think the idea is sensational, but I decided to work it into the script. It would be really cool to work on this idea with motion graphics but there won't be time, unfortunately.
script¶
So, to oganize the video first I made this table answering some thing that will help to guide the hole process:
| Script Objective | Pupose/Main Message | Audience | Subject |
|---|---|---|---|
| Making something documentary, but also mixing with the “performance” of the installation, combining meanings with it (since alone, without description, it is complex and abstract to the observer). Do something dramatic and that gives a sense of urgency about our waters, but in a clean and visually unpolluted way. Core information is the piece in your performance and content added to the video. The narrative's tone is calm and dramatic. | Raise the urgency of the issue of Brazilian waters. | For viewers, in particular, those who channel their fears about the climate emergency into hope and action, who, driven by a sense of purpose, want to participate in changing the world for the better (WGSN, 2021). Activists, designers and artists involved with the cause but at the same time, sometimes feel alone in front of the rain of information with feelings of impotence and inaction, facing the symptoms of eco-anxiety. The work is for those who feel the urge to materialize what is stuck in their throat. | An artwork that, through a filmed installation, exposes and questions the conflicts over water in Brazil. My research now exposed in a completely audiovisual way. |
Then, I made the script adding how I want the scene to be, trying to be more specific as possible.
One friend of mine, Dennis Siqueira, will make the video (images and edition) for me. Another friend, Lucí A Guerra, will be the narrator. I showed the script to both and asked for their opinions. Luci recorded the audio (from the text that was sent to her to narrate) based on the rhythm of the script at each stage. Dennis used the script as a basis for all the editing and image capture.
WATER BEATS SCRIPT:
| Scenes | Script | Time | Cuts | Audio/Narrator/Subtitle | External Video? |
|---|---|---|---|---|---|
| Start | Título/Author/Logos (Put Dassault systems, fabricademy e ellora - In this order.) | 10 sec | “Yes”, logos and entries. | ||
| 1 | General Scope; Narrator talks about some datas from the Brazilian hydrographic regions; Product seen from afar starts to zoom in. Wide open scene filmed from the front; Shows recorded details (with basin names); Product is still clean; Scene of the details is slow, alternated by fast cuts (views from above of the hydrographic regions of Brazil, scenes of rivers and water | 30 ~ 40 sec | Spaced cuts (from the zoom) alternated by Quick Cuts (with videos of the regions seen from above). | Water noise starts low behind Luci's voice. Subtitles in English. | Yes, Hydrographic Regions/Brazilian waters seen from above. |
| Transition | Social, environmental and economic conflicts; The narration continues; roduct seen from afar starts to get closer in the front zoom (continuity of the close-up cut of the previous scene). | 10 ~ 20 sec | Continuity of the approximation cut of the previous scene. | Luci continues narrating. (Water noise from behind). Subtitles in English. | No! Takes from water conflicts |
| 2 | Product starts to bleed; Very manual part, I control the valves of the hospitalar bags; Luci narrates the names of the various regions [...] Short videos of each appear in quick cuts as she speaks, with a mixture of a slightly slower capture of the product she is painting; Here we also zoom in on some details (recording will disappear while the product paints, this is nice to show); angles from the front, on the side, of the IV bags, etc. Detail angles; Water audio mixes with heart audio (at the end, starting now for the transition); Luci continues narrating. | 30 ~ 45 sec | Image of product bleeding, show detail of ph interactions in colors. This scene merges with alternate scenes of each region/fact that luci cites (The cuts of these scenes will be very fast). | Water audio mixes with heart audio (at the end, starting now for the transition). | Yes, videos affected hydrographic regions. |
| Transition | Heart starts to beat; Product close; Toggles with overhead view of the hydrographic region (fast cut); Detail angles. | 10 sec | Toggles with overhead view of the hydrographic region (fast cut). Cuts of the inflating heart details happen in time with the heartbeat. | Heart audio mixes with lucí's speech. Bolsonaro's audio appears at the end for the transition to the next scene. | Yes, top view of the hydrographic region. It could be the first scene. |
| 3 | Heart beats; Here I must stop to turn on the circuit button; How long will our waters be controlled by devices?; Scene of the colonization map appears showing the map very slowly, but the cut is fast); Shows the back of the inflated product (detail on the easel mirror); Bolsonaro speaks at the UN 2019 speech. Heart beats in the background. | 30 ~ 45 sec | Cut with the map showing in the colonization period, this cut scene is slow but the cut is fast (I don't know if it was confusing!). Cuts of the inflating heart details happen in time with the heartbeat. | It only continues with the audio of the heart. Talk about Bolsonaro. | Yes, videos affected regions. |
| Transition | Zoom out, zoom out of the product; Wide open scene filmed from the front; Shows the wide product in the room; Zoom + time consuming, we're heading towards the end. | 15 sec | Zoom is slow. basically the same as in the beginning only in reverse, now we're moving away from the product instead of getting closer. Front view. This zoom time is as slow as the initial scenes zoom. | Heartbeat continues. | No |
| 4 | Heart stop; Product deflates. Shows the product deflating (Detail on the easel mirror); Ends with product hanging, scene from afar; "Brazilian waters are hanging by a thread”; It ends with a speech about a Brazilian environmental demonstration. | 20 sec | Detail scene of product deflating in mirror, scene of product hanging away. | Heartbeat stops, ends with speech of manifestation. | Video – manifestation. |
| Closing | Thanks It ends with logos (same as in the start scene); Text runs across the screen; There doesn't need to be any speeches. | 10 ~ 15 sec | Yes, credits. |
NOTE: Try to leave the video with a maximum of 3min, otherwise it gets tiring. (we failed in this!)
better visualization of the script her
references¶
Dennis and I also chatted and left some references to make sure our concept/visual language was aligned.
Lighting reference:
Light reference, but also transition (1min19sec ~ 1min25sec) and video structure:
Lighting reference:
Step/edit/color reference:
Frame reference and external videos in the edition:
Catherine Euale - Shakti-Yuga - Fabtextiles FabLab Barcelona from Fabricademy, Textile Academy on Vimeo.
external videos¶
For the additional videos to my film, I made a list and send to him of all the possibilities of cutting to add in the edition, adding the link, the time of the cutting, and where I wanted the scene.
videos for part 1: about the brazilian hydrography¶
Cutting possibilities: 00:25-00:29 | 00:39-00:43 | 01:51-01:54 | 1:54-1:57 | 1:59 -2:03
Cutting possibilities: 00:36-00:41 | 00:47-00:52 | 01:22-1:39
Cutting possibilities: 00:12-00:13 | 00:54-00:55 | 03:57-03:58 | 04:41-04:43 | 04:44-04:46 | 04:47-04:48 | 04:49-04:52 | 04:53-04:54 | 07:36-07:37 | 09:12-09:13 | 17:47-17:49 | 17:51-17:53 | 24:12-24:14 | 25:00-25:01 | 25:02-25:03 | 26:36-26:37 | 31:54-31:55 | 31:56-31:57 | 31:58-31:59 | 32:00-32:01 | 32:54-32:55 | 32:58-32:59 | 34:45-34:46 | 35:08-35:09 | 42:00-42:01 | 42:53-42:54 | 46:19-46:20 | 46:22-46:24 | 46:45-46:47 | 46:48-46:50 | 46:51-46:52 | 48:47-48:48 | 48:51-48:53 | 48:54-48:55 | 49:08-49:09 | 52:31-52:32
videos for part 2: ambiental scandals¶
Cutting possibilities: 01:53-01:55 | 01:58-02:03 | 02:03-02:06 | 02:07-02:09 | 04:07-04:09 | 04:10-04:12 | 04:20-04:21 | 05:28-05:30
Cutting possibilities: 00:36-00:38 | 00:39-00:49 | 00:42-00:44 | 00:45-00:46 | 00:33-00:36 | 04:39-04:43 | 04:44-04:47 | 05:12-05:19 | 09:59-10:03
Cutting possibilities: 00:51-1:00 | 01:48-1:51 | 02:00-02:28 | 03:46-03:50 | 03:53-03:54 | 04:47-04:50 | 04:57-05:00 | 05:15-05:21 | About brazilian waters: 06:40-06:43 | 06:44-06:49 | 06:50-06:51
Cutting possibilities: 00:02-00:27 | 01:01-01:08 | 01:09-01:15 | 01:47-01:52 | 02:03-02:06 | 02:03-02:20 | 10:50-10:52 | 10:59-11:03
Cutting possibilities: 00:18- | 00:24 | 00:32
Cutting possibilites: 00:01-00:02 | 00:07-00:10 | 00:16-00:19
Cutting possibilities: 04:00-04:04 | 04:04-04:12 | 04:42-04:57
Cutting possibilities: 52:39-53:00 | 01:05:27-01:05:29 | 01:23:49-01:23:52 | 01:23:53-01:23:57
Cutting possibilities: 03:05-03:10 | 08:44-08:49 | 08:52-08:58
Cutting possibilites: 04:20-04:22 | 04:38-04:46 |
Cutting possibilities: 02:18-02-19 | 02-59-03:00 | 03:12-03:17 | 03:40-03:42
Cutting possilbities: 00:47-00:51
Cutting possibilites: 00:02-00:03
Cutting possibilites: 14:44-15:02
Cutting possibilities: 03:01-03-09 | 04:38-04:45
Not possible to embbed, but about the epolution of the tiete River: https://globoplay.globo.com/v/6166867/
Cutting possibilities: 00:15-00:17 | 00:22-00:23 | 00:44-00:46 | 00:46-00:49 | 01:45-01:17
videos for part 3: colonization, political and economic interests¶
*fotos dos mapas
Not possible to embbed, but about fake news, embrapa and Bolsonaro's goverment: https://g1.globo.com/globonews/globonews-em-pauta/video/trigueiro-informacoes-divulgadas-pela-embrapa-prejudicaram-leis-ambientais-10240836.ghtml
Cutting possibilities: 00:38 - 00:55 | 04:55 - 05:05
Cutting possibilities: 06:58 - 07:15 Starts in “agora vamos falar de amazônia" (now lets talk about amazon) | 07:22-07:35 | 8:17-8:31
video for closing¶
Cutting possibilities: 01:09:28 01:09:50 (starts in “o crime ta acontecendo agora” - crime is happening now), finalize in ribeirinhas” (riverside communities) | 1:59:16 - 1:59:22
audio¶
In addition to the beating heart, water, Bolsonaro speache and manifestation audio, I wrote a text to be read by Lucí:
Brazil concentrates approximately 13% of the world's fresh water, distributed over 12 hydrographic regions.
.
Amazon
East Atlantic
Southeast Atlantic
Eastern Northeast Atlantic
Tocantins Araguaia
Parnaíba
São Francisco
South Atlantic
Paraguay
Paraná
Uruguay
.
Water also permeates many of the country's political and economic issues.
So all these regions are marked by environmental, social, and economic conflicts.
.
Illegal mining
Dam bursting
Droughts and erosion
Pollution by industrial waste
Llooding of natural landscapes for power generation
Privatization attempts and conquests
Lack of basic sanitation
Threats made by large foreign companies
.
We lost seven falls
Contaminated the Rio doce
We dry up the Xingu River, the Paraná River and many others
We threaten indigenous peoples and riverine communities
What have we done with the San Francisco River?
We killed the Tietê River
.
An account that does not close
.
Water is not a commodity,
.
At the service of industry
Agribusiness
For power generation
For minerals and gold
The interest of big politicians and corporations
From deforestation to the meat and soy industry
.
Brazilian waters could end
I repeat
Brazilian waters can end .
Creek
Dam
Lagoon
River
.
I try to insist on the idea that if I hate what happens today, it is because I love what could be.
.
Drop
drizzle
Rain
Waterfall
.
We are 70% water
Without it
What is left?
.
Falls
Floods
.
The problem of Brazil's waters begins with extractive colonization and persists now disguised by economic interests.
.
How far will denialism and capital interest take us?
.
it flows,Time is short, floods, drips, leaks, submerges
.
I cry
.
Brazilian waters breathe through apparatus
.
And their resistance is hanging by a thread.
.
cenario¶
At first, my recording was scheduled for March 23, but due to problems with the assembly of the product I had to reschedule. This was a problem, as for the recording scenario I got in touch with some galleries, and on the date that was rescheduled it was difficult to get a seat due to a theater festival that was happening in the city.
However, the laboratory I usually use is public (Fab Lab Liceu de Ofícios Cajuru, from Curitiba), so they got in touch with the city's cultural sector and put me in direct contact with the director. So, I was able to choose a free place with the specific features I wanted (gray floor, white walls, and plenty of lighting).
I chose the Escola de Patrimônio e Liceu das Artes, a historic building in the city that functions as a school which had exactly the characteristics I wanted.
With the scenario defined, I made a sketch of how I visualized the assembly of my installation.
For this, I had to borrow white blocks from the school itself and I rented a support for IV bags, to put my paints.
For the production of the scenario, I also decided to put a mirror on an art easel: a mirror representing the project as a scream and my own feelings during the whole process, as well the guilt that the observer feels seeing all the problems and conflicts of the water, even being something macro and complex. It is something that reflects the artist and the viewer's anxieties, while the entire act of the installation is also reflected in the mirror. The easel brings art as a path and reflection for my own professional journey.
ASSEMBLYING MY INSTALATION¶
With everything ready, I assembled the installation with Dennis' help, some things had to be put in place (like the central wire on the piece that was hung).
However, we need two days of recording, that's because on the first day I assembled the hospital bags wrong and the inks didn't come out because they had a lot of air bubbles. Another problem was the insulation of the soft robotic, which had to be made whole again because the product was not inflating at the time (when we hung the torso, the 90 degree angle made it difficult for air to pass and unsealed the product).
But in the end, it all worked out!