For my edited sequence, I chose the theme Impact. I approached Impact in both the sense of the moment of impact, as well as the editing style, which featured sharp, distinct visuals and quick tempo audio.
I am extremely attracted to the idea of non-linear editing as outlined by William Burroughs in 1964. Burroughs would cut up or fold together pieces from entirely different narratives, put them together, and create a completely new and interesting narrative from the mix (Packer & Jordan, 2001:277). I attempted to emulate this style in my work, in that there is no immediate discernible continuity, and yet the narrative is formed via human inference and closure between non-sequitur elements juxtaposed against one another. I find it fascinating that the human brain can create a narrative by finding a relation between two different visuals, or two different audio, or a mix of both.
For that reason, I chose to rarely use the accompany audio in the video clips that I found from the Internet, instead mixing it with the sounds that I recorded for the audio assessment. For example, juxtaposing gunfire with dog barking and car honking invokes the narrative of a disruptive neighbourhood, or other such negative imagery, even though the context within which all three elements originally existed were all controlled and peaceful.
Then, the non-linear introduction and re-introduction of the thief from the single-shot assignment bookends the example above, and coupled with a scream that’s entirely removed from the visual, would then move the viewer to a different narrative.
My editing does not intend to create one meaning only, rather creating a context wherein many different means are meant to be inferred, and countless segments of narratives formed and reformed depending on the viewer themselves. However, I do purposely introduce and reintroduce similar elements – the barking; the bookended sirens; the before-and-after of crashes – to place these different narratives within certain confines.
I also chose to edit together short, sharp segments, as the feeling of Impact can also be created from the quick introduction of new elements, such as a new visual, or new sounds. As a result, the video was rather short, as I did not want to overload the viewer with too many elements.
As this was my first time editing with moving images, and my first foray into a non-linear narrative form, I feel that the piece lacked technical sophistication. While I experimented with transitions between materials and clips, and attempted to mix the audio in a more subtle and sophisticated way, I still could not achieve the sort of effects that I wanted, such as panning sirens, or smash cut transitions.
Working with different formats was also a challenge: I only learned the basics of encoding files to be the same format on the same medium, and could not fix the difference in aspect ratio, resulting in the black bars around the frame.
Packer, K. and Jordan, K., (eds.) Multimedia: From Wagner to virtual reality. New York: Norton, 2001. Pg 275 – 278
Drone POV Crash in Highlands Bowl by Vital Films, under a Creative Commons Attribution license http://vimeo.com/96320135
Extreme Snowboarding Crash in Switzerland TRT 1:50 by Fusion TV, Inc., under a Creative Commons Attribution license http://vimeo.com/95322091
Request to Blow Up a Company Logo for Marketing by Ryan Morris, under a Creative Commons Attribution license http://vimeo.com/93104412
Test Firing an Heckler & Koch MP7 PDW at Lock and Load in Miami by Dan V, under a Creative Commons Attribution license http://vimeo.com/78314176