As I continued to edit the frames together on Adobe Premiere Elements 13, I was under the assumption that this procedure was only going to take a day or two because of the little amount of time I have had to work on previous editing projects that were completed in the past. Yet due to the large quantity of frames that I had to import into the program, the editing process was extended to being a few days longer than expected. But in the end, the final video was a combination between the bold aesthetic of Jenny Holzer’s work and the rhythmic editing as Young-Hae Chang Heavy Industries.
Further Conceptual and Composition Developments
Earlier on in the week, Josh and I also had a quick online discussion to exchange ideas on the content we had created so far. Josh suggested that my current script should be slightly shorter than what I had originally written earlier, so I decided to cut out sections of dialogue in Adobe Premiere Elements 13 that I felt were unnecessary tangents from the narrative and were too extensive in general.
Josh was also interested in including statistics on domestic violence against men in our project, such as the diagrams shown on the OneInThree website, as he felt that men’s voices are often left unheard when this subject is being discussed. He was also considering collecting personal stories from male survivors of domestic violence on an online support group that he found on social media, yet he didn’t want to use this information for public exhibition without permission of the authors who wrote these accounts.
He also wrote his own section of dialogue that represented the voices of people who wish to assist the victim to recovery. This creates a contrast in tone of voice against the dialogue I had written based on the aggressor’s demands of the victim and provides examined evidence to support the storytelling aspects of my contribution too. This overall setup allows the viewer to experience the work within the role of the victim caught between two varying perspectives on an unsettling and dangerous situation, with the aggressor’s voice being the dominating voice the victim hears and the helpers being the unknown voice that exist outside of the isolating circumstances the victim is in.
One major issue I encountered was that the editing of the text was not properly synced against the wall corner it was being projected against. This problem could easily be resolved by mapping the individual frames apart so that there was a slight gap within the center, and Josh offered to transfer video projection mapping software to the laptop I had been working on so I could accomplish this. Yet, as I inspected this issue further, I noticed that the positioning of my work had stood way too close behind the advertising project my previous group members were working on and this posed the risk for the unintentional interaction in meanings. So in the end, I settled for the simplistic composition of projecting the video against the flat surface of the wall to allow more focus on the written expression the work holds.
– Chang, YH & Voge, M 2000, Young-Hae Chang Heavy Industries, weblog, viewed 22 May 2017, < http://www.yhchang.com/ >.
– Family Violence – Australia Says No! 2009-2017, OneInThree, viewed 16 June 2017, < http://www.oneinthree.com.au/ >.
– Holzer, J 2009, Projections, weblog, viewed 10 April 2017, < http://projects.jennyholzer.com/ >.