Online Video through the Looking-Screen of VidCon – Week 3

Banet-Weiser (2012, p. 8) says, “building a brand is about building an affective, authentic relationship with a consumer”, a profound exchange of meaning and intention. This strive for genuineness is a standard aspect of human nature, in an accelerated culture of screen, plastic, and CGI. Is an innate drive to repel the fake and embrace the real, a survival instinct? It’s perhaps one of the main reasons I continuously cringed during our screening of Eighth Grade (2018), also why I loved the film. The distinct words and phrases Kayla would say would sometimes seem so rehearsed, so manufactured by the workings of her own teenage mind and the trends fed to her generation, it was overwhelming.

Because that was me about ten years ago. A vessel for popular catchphrases, fashion styles, and products of the moment I’d interact with on the internet, television, or print media. This was the construct of my own persona, and, should personas come across fixed and ‘fictional’, will fail to achieve meaningful producer-audience relationships. An ‘authentic’, seemingly unrestrained brand is not impossible. In fact, we see many YouTubers today praised for their authentic promotion of sense of self. In our audio exercise, everyone we interviewed felt they were being themselves. Each person’s identity was only supplemented by the clothes they wore, the brands they showed off, and not dictated by such things. These are valid ideas when it comes to our experience at VidCon, because every creator is somehow present in the creation and perception of their own online persona and online brand, whether intentional or not.

Eighth Grade 2018, film, A24, United States, directed by Bo Burnham.

Banet-Weiser, S 2012, ‘Introduction: Branding the Authentic’ and ‘Conclusion: The Politics of Ambivalence’ in AuthenticTM: The Politics of Ambivalence in a Brand Culture (NYU Press)

Online Video through the Looking-Screen of VidCon – Week 2

It’s with practice that the filming exercises and setup routines we know become ingrained in memory, ideally for when we visit VidCon. VidCon is advertised as an online video conference, but only YouTube and its own creators are heavily promoted. Every year, we’re introduced to more online video applications and websites — Twitch, Vimeo, Netflix, TikTok, etc. Their rise in popularity should suggest the immense value audiences place on online video entertainment. Because these creators are establishing their place and content in the evolution of screen media, they offer us a unique perspective, and should also be featured at VidCon Australia.

For this assignment, I hoped to turn my mundane daily walk with my dog (and family) into something beautiful, to focus on the little things, such as flowers I usually only breeze past. My GorillaPod made it easier to stabilise shots. I had some technical issues with my Sony RX100 V, so I resorted to my Canon EOS M3 — which lacks 4K and slow-motion features. However, I manipulated natural lighting, shot variation, and musicality to bring this routine to life.

Online Video through the Looking-Screen of VidCon – Week 1

The Online Video studio has me super engaged, for two reasons. Conceptually, everything that’s been mentioned about online media is already subconsciously known to me. It’s like this huge wake-up call, because the screen ecology we are learning about is the one we are participating in, and building, at this moment. There’s no greater time to learn about the affordances of the online space as right now, what with evolving technology, low barriers to entry, and the ease with which we are able to place ourselves in this moment of what one day will be, screen history.

Cunningham and Craig (2019, p. 13) talk about the internet’s screen environment being a place where “social media communication and entertainment content,” inevitably meet. This fuels a sense of interactivity that rebels against the one-directional flow of message/content, from creator to audience. Now every video on Facebook, YouTube, and Instagram, is at its core a collaboration between producer (making media) and an active audience (indicating what they want to see).

The second reason is the technical element of this studio. For our first assignment, I was overwhelmed because it’s my first time using vlog in place of blog posts. Alas, I’m excited because it allows me extra opportunities to practice scripting, filming, and editing. I have experience with these activities, but I find that in all media-making (especially for the online environment), there’s hardly ever a point in which I feel like I have finished learning.

Cunningham, S & Craig, D 2019, Social Media Entertainment: The New Intersection of Hollywood and Silicon Valley, NYU Press, USA.

Inspired by vlogbrothers’ (John Green) What to Love and How and star struck

Food On Film – Documentary Project

(Via YouTube at 1080p. Alternatively, via Vimeo at 720p).

Haven (2019) by Zhen Wang, Kelly Morales & Haiyin Li

As one of the fastest growing vegan cities in the world, Melbourne is home to some unlikely activists. Former Victoria Police Officer, Jan Saunders, was once in conflict with her career. Today, we meet her at her vegan B&B, where she encourages us to embrace a mindset of compassion.

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Food On Film – Assignment 3 (Blog Post 12)

The aim of our documentary film was to show people that activists are not always who we expect them to be. In thinking this way, you too have the potential to be an activist for animal rights, or a health advocate, or a vocal environmentalist. I respect protests and marches about veganism because this kind of activity is what made me open my eyes and mind to it in the first place. When the vegan protests outside Flinders St Station happened, I was excited. My enthusiasm was not shared by the people who saw this protest and thought that all those involved were deserving of death threats, and other things of that sort. Giving a voice to Jan, someone who partook in this protest, is the same as amplifying the voices of those who people choose to ridicule without further consideration. My approach to everything I hear is now ‘listen first’ and then ‘judge’ based on scientific facts and gut feelings. Do not merely accept what the biased media presents to you. My documentary encourages this thinking. Place yourselves in the opposing side’s shoes and that is empathy. 

To outline the successful elements of my film is a difficult process for me because I still have the mindset of never being proud of what I create. I think we struck gold with interviewing Jan because she is so comfortable speaking on camera. After talking with my peers in class, some of whom were not as lucky, I realise this is an advantage of our film. I think our interview audio is pretty good too!

Next time, I would use more suitable equipment – a lapel mic and a camera we are comfortable using. It’s also been interesting for me to relinquish total control and let Zhen have full access to our edit while I do not. While this meant I didn’t spend hours and hours of my days editing non-stop, and learning to accept things as they were, it also meant that I did not have as much influence over creative decisions as I would have preferred. There’s only so many times I can make suggestions in the edit room before I become a total nagger. That’s the test of team work. However, next time I would much prefer to keep the copy of the edit myself. In hindsight, we should have also considered the huge role that social media plays in activism in this modern age. It’s so obvious now that I think about it, because vegan documentaries usually feature a website link to encourage further independent research.

I’ve always considered veganism a topic that’s far more philosophical than just about food. But diet plays such an important role in this understanding, that I have learnt to consider the practicalities of adopting the lifestyle as well. In my perfect world, everybody is vegan by choice. The animals currently being bred for food, research or entertainment are homed in sanctuaries. The new animal populations roam wild or otherwise in harmony with human existence. It’s incredibly naive, but I have always felt that I am compromising by expecting the people around me to consider veganism. But it really is expecting too much. I met Jan and upon hearing her stories, and her struggles in feeling alienated from people who are not vegan, I realise that in my lifetime I will not be able to limit my meaningful interactions to solely people who share my perspectives — or at the very least, are willing to listen. That’s something I should have learnt a long time ago.

I loved the Food On Film studio so much because I got to make new friends and put my technical competency to the test. I was able to surpass the limits my social anxiety places on my ability to interact with others, and actually interviewed a stranger for longer than forty minutes (which I hadn’t done before). I’m glad I chose this studio, and give my thanks to Kim, my classmates, and Zhen & Helena for making it such a memorable one.

mele host (2019). Vegan Militants Block Melbourne Streets. Seven + Nine News. [online] YouTube. Available at: https://www.youtube.com/watch?v=axMTrm0isOs&t=1s [Accessed 25 May. 2019].

Food On Film – Assignment 3 (Blog Post 11)

As it stands right now, I believe one of our most significant problems is the length of our film. After cutting an hour of dialogue down to ten minutes, it’s still too much for a micro-doc.

Our solution is slow-going. We continue to have conversations about whether there is something we can cut down further. We replace some interview scenes with silent shots. It’s gradually coming down to a more respectable time limit. I am putting weight on this issue because I think it’s about more than just having a time constraint. Having this time limit encourages us to use certain clips sparingly, and thus, more meaningfully.

I thought about mentioning our lack of B-roll, but that’s not accurate at all. We have plenty of it, but we are missing relevant B-roll. When Jan talks about her experiences as an activist, it would have been perfect to have access to footage of her activity, or even for us to film at a vegan march in Melbourne. Right now, this is virtually impossible. We acknowledge this and compromise with a second-tier clip of the endangered animals the vegan activists fight for. In a perfect world, we wouldn’t have to make compromises. We would be able to wait for the next vegan march or protest, and film this within the time constraints placed on our work.

Food On Film – Assignment 3 (Blog Post 10)

A still of our RBG footage.

We went into this shoot with an open mind. The difference in documentary compared to feature films or fictional web series, is that I can’t go into the interview with a script. While I was content with almost everything we collected, I was disappointed with our footage quality, as a lot of our shots are either overexposed or too shaky to be used as b-roll.

My vision was very much a documentary that could be labelled beautiful. Aesthetic shots of scenery, unmoving symmetrical shots, playing with light and shadows, asymmetric framing to emphasise a subject, POV shots of animals, close-ups of food, movements in slow motion, etc. were all things I would have been excited to see. They are commonly seen throughout Chef’s Table (2015). In hindsight, I should have taken on the role of cinematography to capture shots varying in depth, distance and height. I should have taken advantage of the amount of space we were offered in a 20 acre farm. I believe Jan’s words are beautiful, but just that extra step to making our film aesthetically pleasing is what I hoped for.

In the face of needing more b-roll material, we then filmed at Royal Botanic Gardens in Melbourne. In this space, we were offered the opportunity to roam at our own pace, film in a leisurely manner, and discuss what we could use. Thus, perhaps in a situation where we wouldn’t be constrained by a strict time limit, we would have achieved greater and more unique aesthetic quality at our first shoot.

Food On Film – Assignment 3 (Blog Post 9)

Fox makes a valuable suggestion about documentaries which feature a lot of dialogue, text, or words in general. After a few minutes, our minds will register these words as a monotonous array of nothing valuable. Viewing audiences do not process spoken word or text as well as we might expect them to, or ultimately want them to.

Our interview was quite heavy in speech. Though we were making a 6 minute micro-doc, we thought it safest to record at least an hour of footage of just interview answers, since there was a slight chance we wouldn’t be able to return for another shoot. This was a helpful strategy that ensured we collected a rounded perspective of Jan’s opinions. However, it also meant there was much to cut. “As a general approach, select the information you think is vital and then eliminate half of it”, (p. 234).

So during the editing process, we cut everything that didn’t evoke any feeling in the three of us. Then, we played with what was left. However, we needed a fresh pair of eyes. People to process every aspect of mise en scene for the very first time. I showed smaller clips of these edits to my friends, who essentially became my test screen audience. I asked them questions, to discern what was necessary and unnecessary in painting Jan’s story. It can be overwhelming, from a viewer’s perspective, to try to make sense of everything when there is somebody new speaking, in a new location, with unfamiliar music playing. In the midst of this chaos, it is natural to lose some effect of the interviewer’s dialogue. However, we can minimise this by ensuring all unnecessary ‘filler’ dialogue is cut to maximise audience comprehension. When a viewer does not register the light-hearted manner Jan suddenly takes on when she talks proudly about her successful business, then how can we expect them to feel happy with her?

Fox also reminds us to “show, don’t tell”, (p. 234). We trust that our audience can interpret meaning from an unnarrated clip. While voice and text are useful, a manipulation of pace, rhythm, and tone is far more influential on a new set of eyes and ears. We utilised spaces and gaps, to further emphasise a point just made through the use of silence. I guess I would also make my own suggestion, that a dialogue-heavy documentary can be useful too. It is in this kind of environment, that silence becomes much more powerful and appreciated.

Fox, B 2017, ‘Shaping Reality: The Postproduction Process’ in, Documentary Media: History, Theory, Practice, 2nd edn, Routledge, Milton, pp. 213-250.

Food On Film – Assignment 3 (Blog Post 8)

Robert Kenner’s Food, Inc. (2008) is a big-picture look at America’s corporate farming industry, and the way humans, environments, and animals have been affected in the rise of its unsustainability.

The sounds in this particular clip are not uncommon, as are those heard in the rest of the documentary. We are offered a clean marriage of voice, music, and non-diegetic sounds. The interview audio is so crisp and unpolluted, that I imagine I’d be super excited to edit this film, due to the range of possibilities when it comes to combining different sounds together. I personally maintain, like Martin (2011) does, that clear sound is essential when you want people to listen to your message. As great as it can be to be immersed in a wild combination of ambient sound effects, I appreciate clarity of voice far more. The sounds in this clip have different intentions. The strong machine sounds emphasise the unnatural quality of this particular source of food production. The cow’s moos remind us that these are living beings. I cannot imagine the same effects had these clips been totally silent. I was conflicted by the use of the music track, however. A rock-type song in this kind of context? But now I understand that it has been used for its build-up of intensity, to emphasise the grandness of large-scale corporate agriculture, and its influence on our life choices.

The sound in my own documentary is a bit different. A lot more of the sound is natural ambience that we recorded on-site. As explored in the reading (Martin, 2011), these sounds are a replication of the experience of standing in the centre of Jan’s farm. They “[create] a sense of reality for the viewer, the sense of ‘being there’” (p. 1) themselves. Our interview has recorded both voice and the sounds of birds. At the shoot, I considered this noise to be a negative thing. But then I rethought the connotations of hearing content bird sounds — that is, life, vivacity, harmony in nature, etc. These were the themes we wanted to capture in our documentary anyway. We considered before shooting our interview that our sound should not be affected by the rain or wind we were standing in and were lucky enough to ensure this at the time. The sounds of other animals were added into the mix in post. They are present throughout the film, however, not enough to overpower the voice. The sound we are using in our final montage is by far, my favourite. It is a simple music score both light and airy. The first time I listened to it, it reminded me of taking a deep breath of fresh air at Jan’s farm. The second time I listened to it, it was edited to accompany quick images of nature. It conveyed an appreciation for these images, for the environment, and for animal life, that a rock song would not be able to achieve.

Food, Inc. (2008). [Documentary Film] Los Angeles, CA: Robert Kenner; Richard Pearce; Eric Schlosser; Melissa Robledo; William Pohlad.

Martin, J 2011, ‘Being there: the creative use of location and post-production sound in documentaries’ in de Jong, W, Knudsen, E, & Rothwell, J, Creative Documentary: Theory and Practice, 1st edn, Routledge, London, pp. 287-304.