Film Development
This film is a ‘digital collage’ constructed using a personal lens as an immigrant and combines sound sampling with a slow abstract image that explores the current land rights issues in South Africa. Excerpts from my mother’s memoir describe her childhood farm ‘Coolgardie’ in Natal, and are translated and narrated in Zulu, which was her first language. This abstract sound is layered with the Rainbird’s intermittent call which is said to anticipate rainfall and sound like falling water. Though seemingly romantic, it is a predator of fledglings in other bird’s nests which is an important consideration as it is part of a paradise that is also violent. Familiar sounds combine with watery reflections culminating in a slow reveal of a formal reflective pool in a British landscaped garden. The purpose of this film is to give the audience a chance to become involved with their thoughts; a contemplative piece to give breathing space in the exhibition.
Reflective pool, Carolyn and Mike Tims’ garden, Farnham, Surrey
I filmed Carolyn and Mike Tims’ black inked reflective pool at midday on Saturday 29 June on a hot summer’s day in their garden in Farnham, Surrey. Zulu narration is by Vivienne, Nozuko Mbethe, and was recorded on Skype. It was shot on an NX30 Video Camera on a tripod. The Lunar Effects exaggerate contrast, like harsh sunlight and deepening shadow. It was edited on Premiere-Pro with the help of Ursula Pelczar.
Editing with Premiere -Pro
This screen shot illustrates the unconventional painterly layering approach we took editing with Premiere-Pro. Digital technology layers visual image and multiple sound layers in one file and is a similar technique to my painting practice where collage layers samples from different sources to create a constructed memory of a real place.
No titles
Scrolling titles as text layer
I don’t think either version worked. Getting lost in the images is more important and the constant scrolling translation interferes with this. I have edited the titles down by literally cutting them up, and looking at the film with these fragments still feels interruptive. An opening title sequence situates the memory and a closing sequence is about attachment and loss. This allows the viewer be involved at their own pace.
Jacqui Chapman 