CH - Technical Analysis

By completing a technical analysis, we are able to discern techniques other artists have used and how we might benefit thus; this might be the discovery of a particular shot, a narrative idea, a performance technique or the overall aesthetics of the video.

After discussing the possible ideas we may follow through for our video, we drew up a list of problems we are facing. One of these problems is the use of light in our performance shots; we are inexperienced with lighting equipment and techniques, but are looking into different ideas we could experiment with. This in mind, I conducted my techinical analysis of 'Watercolour' by Pendulum. Even though it is quite unlike the style we are looking into for our own video, I was struck by the fantastic lighting techniques installed, making a performance-based video, which could easily become dull and drawn out, into a piece of artwork and keeps the audience enthralled to the very last.

Pendulum's "Watercolour": http://www.youtube.com/watch?v=tEPB7uzKuh4&ob=av3e

Below is an extract from a list of the shots used in this video and a few audience readings of how these shots could be viewed;

• ECU of a bloodshot eye half in darkness, incredible quality of image showing the indepth colouring in the iris, shading, changing colour of skin etc
• CU panning of profile of singers face in half light; a beam of light illuminating only a banner across the screen, making us focus on the singers face
• CU handycam of singers face as the light increases, moving into pull-back focus and returning, distorting their face then returning it to clarity as we see it in full light
• ECU handycam of profile of singers mouth as he sings in changing light; the beam illuminates a growing portion of the screen, making us follow the words as he sings them (but NOT first person mode of address)
• M/LS of singer stood in twin beams of light; one on his face, making us watch his performance (includes the audience) the other moving across his body, voyeuristic notion of looking
• LS of a crowd sillhouetted by intense light behind them. Shot lasts >1 second. Gives the audience feel that they are there
• ECU handycam of singers face in half shadow again; uses pullback focus to increase the notion of movement
• MS panning shot of singers profile, beam of light increases to include his whole face- audience feel more connected
• LS singer standing face-on in full lights (first shot breaking the 4th wall)
• CU focusing in and out on the hand of the singer in changing light gripping the mic
• MS of singer panning in intense bright light
• MS/CU of drummer panning left-to-right, action shot of the cymbols being hit in semi-slow motion
• MS/CU of drummer handycam motion moving as the light around him changes illuminating aspects of performance and face
• CU of drummers face in half-light like that of the singer, slight movement at all times
• MS of drummers torso and cymbols in half shadow casting reflections off the cymbols as they are played
• CU panning around drum kit in beams of light, sillhouetting actions in great detail making the audience 'feel' the music as we see the drums being hit and reverberating

The above 16 shots compose almost 40 seconds of video, giving each shot just above 2 seconds run time. This is an incredibly fast cutting rate; the audience are left feeling exhilerated and almost scared by the dark connotations of the video (almost shot entirely in black and white, emphasizing the stark lighting).
I love the lighting techniques used in this video. The shot left is the second shot used in the video; close up handycam shot of the singers face in half lighting. Admittedly, this sort of lighting has probably been achieved in a studio by proffessional stage artists. However, by studying the shots and the overall aesthetics of the video, I believe we could aim to achieve something not unlike these shots with our own amateur equipment; by blacking out our own performatince studio, we could possibly create the shadows and darkness in this video. The beams of light may prove to be more of a challenge, as the look of torches or staging lighting may look amateur and tacky, but I think the HD quality of our new cameras would be substantially able to capture images as clear as Pendulum's, unlike the DV cameras which would have made even considering shooting in half-light impossible.

Besides from lighting, the one thing that struck me most about this video (and many other perforomance based videos I have seen) is the complete lack of still shots. Even if the shot is an ECU or in-detail CU, there is always a slight movement to the camera; even if the shots are not pedding, panning or handycam they always maintain a level of movement, whether this be a slight shake or a barely discernable rocking. This constant movement makes the video fit the music perfectly; it never stops, never slows down, keeps the audience 'feeling' the music as its' tempo changes. I think that movement is something we should consider highly throughout our video, as the lack of it could leave it looking shabby or too film-like.