Workshop: Day 8
Day 1, Day
2, Day 3, Day
4, Day
5, Day 6, Day
7, Day 8, Day
9, Day 10, Day
11, Day 12, Day
13,
Day 14, Day
15, Day 16, Day
17, Day 18, Day
19, Day 20, Main
| Wednesday, N is very tired from working on the project non-stop. P is in his office working with Peak (sound editing) on the audio/video of protesters from K. A shows up early, goes elsewhere to work. Fire media: N’s gif is imported as a flash file. N and P talk about the fire words building to a pyramid (second version) P writes “build words from bottom up in X-mas tree to peak, then 01’s from top down." P explains that it is ok if there are two separate clips (one projected from the front onto the back scrim and one onto the floor), because the light angles will not interfere with each other and will be hitting different parts of the body (flat planes are not additive) but adds, “no, breasts are different because they stick out.” |
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P has all the political/ violence footage he needs Earth media: A is going to export Google Earth animation for tomorrow.
(The diagram seems to indicate that in the projection on the floor
we go slowly from one location to another (California, Dakota, Washington
State, Utah), while on the side screen we are zooming in on earth
from space to each location on each speakers "compass point."
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| Sound: Mk will pickup/drop off files today. Mk is available Thursday after (sometime in the) pm, and Friday 11am to record voiceovers. (Does M need any sound for Air? Is Fire done? We still have to do Water.) | |
Water media: According to P (and K) N needs to edit down water video (on screens) to be no more than five minutes. P edits sound down exports as mpeg so N can edit video. N gives Mk the early/long version of the video and will give him a new version with voices off and with/out sound. (Mk is not sure which file type--avi or quicktime-- his sound program will link up files to.) N suggests Mk uses key notes of text as sound entry points using dummy sound file she made. N Xeroxes a copy of the poem for each person to read one or two+ selections for variety. B backs out of reading sound for Water when he hears that Mk is not doing it—supposedly after hearing his voice in the fire opening. (The two of them seem more comfortable at the back of the theatre with their computers, both very quiet, artists but not performers.) Mk is giving B shorter sound clips (for fire tap tiles).
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Organization: N was thinking that she obviously needs to be a stage manager (yet wants to be a collaborative peer and guiding artistic director). N needs to communicate better, but feel she has no central means of doing so. She is using all available forms of communication I email, phone, blog, handouts, person to person communication, but all of it is constantly shifting around the sketchy responses and schedules of DPG people and now add to this the needs of dancers, and solidifying media. N’s mistake; N needs to make a new calendar. B/N have a scheduling
confrontation because B wants time away from the project to do his
art show, but his technology is central to the rehearsal process
of all the artists involved. |
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N will call Peter to see if he can be videoographer.
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K & E rehearse Water. (P forgot to keep
voice track in.) It is difficult to rehearse in the studio space,
with the water fill video behind dancer and scene video on side
wall- K and N describe action to E as she dances. K talks to E as she dances, think: “bound fluid, languid, undulation…no vertical, shooting from profiles, back diagonals.” (P is giving movement input as well while shooting video of her body).
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N talks with P in his office. They purchase and download $30 quicktime pro to Dell. P shows N that Fullscreen equals Ctrl + F. We diagram windows for presentation and discuss making sure videos are burnt as DVD playable not data file (LCD). P talks to N about the day's difficulties and N's pressure to provide a new calendar, commiserating that: it's “hard to know what to provide- what were doing each time is still so variable.” Scheduling has become a real issue, and N notes that it feels not just like scheduling but negotiating. (N is trying to figure out her role as a "coordinator," and how/when to be assertive, perhaps something a director would not have to do---if they have stage managers help with discipline/deadlines. More flexible then firm, a couple of times N decides to be assertive—most of the time plays it cool and breathes through things "whatever." N decides to tell B that attending the last week is not negotiable.) N talks to Paul about asking M if N can help her refine the quality (and number) of her images—many are to pixilated to show on the sides screens. N is questioning self/project, Paul sticks by her, and says we’ll do it “by luck or by gosh.” He says keep doing the show; we’ll make it happen. |
