Vid Choreography - panel notes
Vid Choreography
A vidukon paired panel and vidshow presented by buffyann and obsessive24
Introduction
Intro vid
Password: vidukon
Choreography is the art of designing sequences of movements in which motion, form, or both are specified. The word choreography literally means "dance-writing" (from the Greek).
Choreography can be applied to vidding. It is the art of applying dynamism, movement, flow and pace to music.
("Choreography" could also apply to narrative but that will be out of scope for this panel. Here we're focusing on the how to choreograph visually, rather than choreographing a story.)
***
1. Why do that? Isn't the story enough?
One could say that focusing on choreography is a small issue compared to, say, narrative, but we will try and demonstrate ways in which it can be used as a strong asset to vids.
[Ask the audience: a show of hands]
1. How many of you consider this aspect (movement, flow, pacing etc) important in the process of vid making?
Just like dancing, putting movement into a vid is an invitation of sorts. You take the viewer through a journey, and how the vid moves and flows can be a way to guide the viewer through that journey, to make it an entire experience. The viewer doesn't feel removed from the journey, s/he is part of the experience and feels it.
The very idea of a "music video", to us, is to explore how music and video interact. There is an incredible emotional space that can be tapped into by marrying together certain audio and visuals and creating emotional engagement not only from the lyrical connections, but the tonal ones as well.
Moving away from the emotional engagement aspect, it can also be easier for a viewer to follow the vid if the way it is composed is organic and moves in a way where his/her eyes naturally follow the vid and how it is cut.
It can also be a matter of creating visual interest in a way that's unique to the video art form. A painting is interesting because it has interesting content. In contrast, a video can be interesting because it has interesting content and interesting movement. A crucial part of the interest in a vid is in seeing how the static image changes and evolves from one moment to the next.
***
2. What is choreography in vidding, exactly?
Choreography in vidding isn't limited to flow and movement (even though we mention that a lot). Just like there are many types of dance ranging from the very structured and classical styles to the more fluid and expressive, or hard-hitting, beat-oriented styles, different vids can vary wildly in their choreography.
It can be about being very dynamic, based on cuts or effects, as much as it could be based on movement and flow. But our key point is that, as with dance, vidding choreography has a consistency and a unity with the music choice, a sense of cohesion.
It is important to note that choreography can help the narrative too, even if it doesn't drive the story directly. E.g. a vid that moves fast can make you feel a sense of urgency and action. A vid that has lots of movement can make you feel like you're travelling. A vid that drags a specific shot or slows it down can put emphasis on an important narrative/thematic detail.
Whether slow or fast, flowy or robotic, the way the vid is put together should feel organic to the music and lead the viewer on some sort of journey. The key idea is about keeping it dynamic to watch; about exploring change and maintaining the viewer's interest.
E.g. in ballet, a pirouette is beautiful, but if it lasts more than 50 turns, despite marvelling at the extraordinary skill, at some point you'll want to say "ok, I get it now, moving on..." Likewise in a vid, repeating the same action over and over may lose viewers at some point because there is a perceived lack of dynamics or pacing. This may include, for example, always cutting on the beat in a very uniform way, having all the clip lengths the same, or maybe lots and lots of face shots at similar camera distances without other clips to break it up and provide visual interest.
[Ask the audience: are there other examples you can think of of what vid choregraphy is to you... any initial ideas before coming to the panel? Or maybe an example of a vid you saw that made you feel that unity?]
***
3. How do you create such a thing?
Everyone has their own voice. What works in terms of movement, flow or cutting will be different person to person, just like for choreographers.
When you put music on, people will naturally start to dance in their own way, although you can often still find some general patterns in their varied approaches. (Both of us tend to dance around to our vidsongs and envision how to choreograph the vid from the way we dance!)
So perhaps there is a set of general notions that we can follow. Think of it as a toolbox you can pick from depending on the vid/vidsong, its mood, its context, your own sensitivity to certain elements, etc.
What we're talking about is often spoken of as "musicality", the art of creating movement to music, and the art to make it feel like an organic whole, like the visuals and the music are made for each other. The word obsessive24 likes to use is synaesthesia, how one sensory perception can be interpreted as being perceived by another sense. "The way this movement looks is the way that the music sounds."
Examples of synaesthesia
Password: vidukon
We’re not saying that the whole vid should be operating at that level of musicality - it would be exhausting, not to mention near impossible - but it gives you a flavour of what we mean by trying to get the visuals and audio to sync up organically.
One key thing is trying to stay aware of the musicality all the way through a vid. Sometimes you might see a vid that demonstrates great musicality in certain segments, but other parts of it would feel less connected to the music. As a total experience, that vid might feel a bit disjointed to the viewer, just as if the dancers in Swan Lake suddenly broke their perfectly controlled formations and movements and started dragging their feet for a while before getting back into their perfect routine. Like a piece of choreographed dance, a vid should feel connected to the music at all times, with a sense of continuity and cohesion.
(To clarify: "Connection to the music" could entail, among other things, perhaps purposefully contravening conventional musicality in order to force a point. E.g. if the dancers all suddenly drag their feet for a reason. The important thing is that the vidder had consciously thought about the connection to the music and made a decision, as opposed to not having thought it through.)
We think one of the hardest things in vidding is to maintain a dynamic level of choreography the whole way through. Speaking from our own experiences, we would usually plan and edit dramatic "conclusive" sections with great care because they mean the most to us, that big emotional payoff as the music builds to a climax. But it’s equally important to pay attention to how the other sections of the vid build up to that final moment, in order to lead up to it smoothly and make the moment feel truly earned. The viewer should be brought along on this journey with you.
***
4. What are some of the tools/techniques?
A. Creating flow
Examples of "creating flow"
Password: vidukon
(1) Cutting to the beat
Note that this is not necessarily the same thing as "cutting on the beat". It’s more about trying to hit internal motion on the beat, while keeping the actual cuts invisible, or as organic as possible.
(Although of course cutting on the beat is fine too if that's what you naturally gravitate to, but perhaps consider that with reference to repetition / maintaining dynamism as mentioned above.)
Example, "Causality" in video excerpt above.
(2) Using different layers of music and varying their use
E.g. A smooth movement works well on a long note (typically if singer drags a note out, or where there are strings in the background). Example, "This World" in video excerpt above.
Also refer to the Daft Punk pro vid played in the intro - how each dancer is "assigned" to one layer of music, building an interesting and complete ensemble. Even though it is repetitive, it is an illustration of how addressing multiple layers can add audio/visual depth to the vid.
(3) Speed changes with reference to the msuic
E.g. move the clip at double speed, then a sudden slow-down. "In between" notes / breathing pauses in the vocals are often a good place to do this.
(4) Continued motion transitioning
Whether in source or added, the motion of/within a clip carries over into the next clip. Example, "Orchard of Mines" in video excerpt above.. See also the next section on Using Motion.
*
B. Using Motion
Firstly, let’s define "internal motion" and "external motion".
Internal motion is motion of the characters and other onscreen things. E.g. in a fixed camera shot, a character sits down on a chair. The camera itself does not move.
versus
External motion is movement of the camera. E.g. The character sits in the chair, unmoving. However, the camera slowly zooms in on the character, or pans away, or anything that is to do with the camerawork rather than the onscreen action.
A lot of clips have a mixture of both internal and external motion.
So where can we find and use motion?
(1) In source
Some sources have very obvious, beautiful camerawork that we can leverage off. (Doctor Who, BSG, Friday Night Lights...) Swooping dolly shots, in-source "shaky hand-held cam", cool in-source effects... But where to find movement in source other than the obvious? Especially when you're editing a static-looking show, e.g. an older show, some sitcoms, shows that are more "talky" than "movement-y"?
In static sources, we find that a lot of movement is found in characters entering or exiting scenes. Or, if they turn to face another person, that is often a natural dynamic motion that would lend visual interest to an otherwise static shot.
Example: Love Turns 40 in the vidshow (link at the end of this post)
Also an interesting dynamic to watch out for: where you have two characters in one shot, and the camera shifts focus from one to the other. That's motion on camera, even though neither character physically moves.
It can also be useful to try and utilise smaller, more subtle movements such as small hand movements, blinking, etc, by consciously making them land on the beat, or use them against the music some other way. It won't look dramatic, but it would demonstrate a sense of continued connection to the music, especially in places where not a lot of stuff is happening visually.
(2) Added motion
Where there is just not enough motion in the source, consider adding your own motion by way of zooms and pans.
It can also be useful to utilise overlays, to allow for a sense of motion even when using a static shot. The overlay doesn’t even have to look clearly like anything. In fact maybe it's better if it doesn't; you might not want two sets of images that are visually "fighting each other". Perhaps consider a mostly transparent overlay which blurred out a lot, so that you don't really get a sense of what it is, but merely that it's moving and creating visual dynamics.
Example: &Nothing in the vidshow (link at the end of this post)
*
C. Using Pace/Creating Dynamism
Examples of "pace/dynamism"
Password: vidukon
(1) Jump Cuts
This is where you cut up one continuous clip so that it appears to slightly "jump forward" in time, creating an impression of momentum if the clip itself doesn't have enough to begin with.
The technique can be divisive; some people like them for the reasons mentioned, but we also know some people who dislike them as they represent a short-cut. Just putting that out there for awareness.
Example: New Frontier in the vidshow (link at the end of this post)
(2) Intercutting
This is where you cut quickly between two different clips. Some different ways of intercutting can include:
* Intercut 2 separate clips with similar/mirrored motion
Example: "Ladies' Night" excerpt in video above.
* Intercut 2 separate clips with unrelated movement. For example, one motion clip + one static clip = overall sense of movement.
Example: "God is a DJ" excerpt in video above.
* Intercut 2 different clips to acknowledge different layers of music. For example, an explosion on a beat, while simultaneously a character is crying on the strings.
When used effectively this can build emotional depth, because what you're trying to do is to intercut a sense of movement while still maintaining focus on a narrative-based clip. We've found that this particularly works well when you get into "object metaphor" territory: even though the clip containing the movement may not mean much on its own (say it's a clip of a car driving, a house on fire, a spaceship flying, etc), but when intertwined with character shots, it can often bring forth some emotional connection, whether intended or unintended.
(Also, something to keep in mind while intercutting is that viewers would often naturally want to draw some sort of narrative/thematic connection between the two clips that you use.)
(3) Building an emotional response over time
Pacing for us is very much being attuned to how the song builds up over time. A lot of songs have a quiet-verse, loud-chorus type structure. Or maybe they start out quiet and slow and then build to a crescendo around the 3/4 mark. You can hear the build-up of urgency, but sometimes it feels like the editing doesn't necessarily reflect that. Slowly accelerating by adding more cuts and more motion is often a good way to help with a pacing issue like this.
This is where narrative importance dovetails with the importance of choreography - you want to be able to hit the textual and emotional high points at the same time.
E.g. as a broad rule of thumb, clips that you want to linger on may work better toward the beginning of the vid, where longer clips often feel more natural. If you want to use the clip later at a more musically intense place, then perhaps consider some of the techniques described above such as intercutting or jump-cutting, so that the visual dynamics of the clip can keep pace with the building musical dynamics.
Refer, for example, Love Turns 40 in the vidshow, but pretty much all the vids in the vidshow do this.
***
5. Conclusion
For us, there are vids with great ideas, and then there are vids with great execution. Our favourite ones are those where idea melds perfectly with execution to present a fully cohesive piece, and you really feel like the whole vid is beautifully choreographed.
What we have talked about here is mainly the technical "execution" side. If narrative/emotional/thematic resonance is your intended end result, then these tools of vid choreography are intended as a means to that end, to maximise the resonance of the underlying idea. Not only does the idea fit the music and lyrics, so too does the editing - in a way that is in tune with the tone and sound of the music. Hopefully, these tricks and tools will become invisible in the end as the viewer simply loses themselves in the overall experience.
[Questions and comments?]
***
Credits and links to illustration vids
Download the full pack of example excerpts here, zipped WMVs
1. Introduction
Cygnets - Swan Lake (0:30 - 0:43)
Tore My Heart - So You Think You Can Dance performance (0:40 - 1:03)
Around the World by Daft Punk - pro music vid (1:27 - 1:45)
2. Synaesthesia
Smack My Bitch Up by hollywoodgrrl (0:00 - 0:15)
45 by bananainpyjamas (2:33 - 2:54)
Tear You Apart by bradcpu (0:00 - 0:20)
3. Creating flow
Causality by txlsplash (0:19 - 0:45)
Orchard of Mines by bananainpyjamas (1:11 - 1:27)
This World by buffyann (2:30 - 2:56)
4. Pace & Dynamism
Ladies' Night by counteragent (1:49 - 1:53)
God is a DJ by dualbunny (0:53 - 1:02)
Maybe Tomorrow by obsessive24 (1:05 - 1:45)
***
Paired mini vidshow playlist:
1. New Frontier by heresluck, Firefly/Serenity
2. Boom Boom Pow by hollywoodgrrl, Fringe
3. Love Turns 40 by jarrow, Closer (film)
4. & Nothing by SmokeyFizz, Supernatural
5. Die Another Day by VicBond007, Noir (anime)
6. Vertigo by bradcpu, House M.D.
7. Khwaab (The Dream) by bananainpyjamas, Slumdog Millionaire (film)
***
Thank you for your time, and we hope you found the panel notes useful.
- obsessive24 and buffyann
A vidukon paired panel and vidshow presented by buffyann and obsessive24
Introduction
Intro vid
Password: vidukon
Choreography is the art of designing sequences of movements in which motion, form, or both are specified. The word choreography literally means "dance-writing" (from the Greek).
Choreography can be applied to vidding. It is the art of applying dynamism, movement, flow and pace to music.
("Choreography" could also apply to narrative but that will be out of scope for this panel. Here we're focusing on the how to choreograph visually, rather than choreographing a story.)
***
1. Why do that? Isn't the story enough?
One could say that focusing on choreography is a small issue compared to, say, narrative, but we will try and demonstrate ways in which it can be used as a strong asset to vids.
[Ask the audience: a show of hands]
1. How many of you consider this aspect (movement, flow, pacing etc) important in the process of vid making?
Just like dancing, putting movement into a vid is an invitation of sorts. You take the viewer through a journey, and how the vid moves and flows can be a way to guide the viewer through that journey, to make it an entire experience. The viewer doesn't feel removed from the journey, s/he is part of the experience and feels it.
The very idea of a "music video", to us, is to explore how music and video interact. There is an incredible emotional space that can be tapped into by marrying together certain audio and visuals and creating emotional engagement not only from the lyrical connections, but the tonal ones as well.
Moving away from the emotional engagement aspect, it can also be easier for a viewer to follow the vid if the way it is composed is organic and moves in a way where his/her eyes naturally follow the vid and how it is cut.
It can also be a matter of creating visual interest in a way that's unique to the video art form. A painting is interesting because it has interesting content. In contrast, a video can be interesting because it has interesting content and interesting movement. A crucial part of the interest in a vid is in seeing how the static image changes and evolves from one moment to the next.
***
2. What is choreography in vidding, exactly?
Choreography in vidding isn't limited to flow and movement (even though we mention that a lot). Just like there are many types of dance ranging from the very structured and classical styles to the more fluid and expressive, or hard-hitting, beat-oriented styles, different vids can vary wildly in their choreography.
It can be about being very dynamic, based on cuts or effects, as much as it could be based on movement and flow. But our key point is that, as with dance, vidding choreography has a consistency and a unity with the music choice, a sense of cohesion.
It is important to note that choreography can help the narrative too, even if it doesn't drive the story directly. E.g. a vid that moves fast can make you feel a sense of urgency and action. A vid that has lots of movement can make you feel like you're travelling. A vid that drags a specific shot or slows it down can put emphasis on an important narrative/thematic detail.
Whether slow or fast, flowy or robotic, the way the vid is put together should feel organic to the music and lead the viewer on some sort of journey. The key idea is about keeping it dynamic to watch; about exploring change and maintaining the viewer's interest.
E.g. in ballet, a pirouette is beautiful, but if it lasts more than 50 turns, despite marvelling at the extraordinary skill, at some point you'll want to say "ok, I get it now, moving on..." Likewise in a vid, repeating the same action over and over may lose viewers at some point because there is a perceived lack of dynamics or pacing. This may include, for example, always cutting on the beat in a very uniform way, having all the clip lengths the same, or maybe lots and lots of face shots at similar camera distances without other clips to break it up and provide visual interest.
[Ask the audience: are there other examples you can think of of what vid choregraphy is to you... any initial ideas before coming to the panel? Or maybe an example of a vid you saw that made you feel that unity?]
***
3. How do you create such a thing?
Everyone has their own voice. What works in terms of movement, flow or cutting will be different person to person, just like for choreographers.
When you put music on, people will naturally start to dance in their own way, although you can often still find some general patterns in their varied approaches. (Both of us tend to dance around to our vidsongs and envision how to choreograph the vid from the way we dance!)
So perhaps there is a set of general notions that we can follow. Think of it as a toolbox you can pick from depending on the vid/vidsong, its mood, its context, your own sensitivity to certain elements, etc.
What we're talking about is often spoken of as "musicality", the art of creating movement to music, and the art to make it feel like an organic whole, like the visuals and the music are made for each other. The word obsessive24 likes to use is synaesthesia, how one sensory perception can be interpreted as being perceived by another sense. "The way this movement looks is the way that the music sounds."
Examples of synaesthesia
Password: vidukon
We’re not saying that the whole vid should be operating at that level of musicality - it would be exhausting, not to mention near impossible - but it gives you a flavour of what we mean by trying to get the visuals and audio to sync up organically.
One key thing is trying to stay aware of the musicality all the way through a vid. Sometimes you might see a vid that demonstrates great musicality in certain segments, but other parts of it would feel less connected to the music. As a total experience, that vid might feel a bit disjointed to the viewer, just as if the dancers in Swan Lake suddenly broke their perfectly controlled formations and movements and started dragging their feet for a while before getting back into their perfect routine. Like a piece of choreographed dance, a vid should feel connected to the music at all times, with a sense of continuity and cohesion.
(To clarify: "Connection to the music" could entail, among other things, perhaps purposefully contravening conventional musicality in order to force a point. E.g. if the dancers all suddenly drag their feet for a reason. The important thing is that the vidder had consciously thought about the connection to the music and made a decision, as opposed to not having thought it through.)
We think one of the hardest things in vidding is to maintain a dynamic level of choreography the whole way through. Speaking from our own experiences, we would usually plan and edit dramatic "conclusive" sections with great care because they mean the most to us, that big emotional payoff as the music builds to a climax. But it’s equally important to pay attention to how the other sections of the vid build up to that final moment, in order to lead up to it smoothly and make the moment feel truly earned. The viewer should be brought along on this journey with you.
***
4. What are some of the tools/techniques?
A. Creating flow
Examples of "creating flow"
Password: vidukon
(1) Cutting to the beat
Note that this is not necessarily the same thing as "cutting on the beat". It’s more about trying to hit internal motion on the beat, while keeping the actual cuts invisible, or as organic as possible.
(Although of course cutting on the beat is fine too if that's what you naturally gravitate to, but perhaps consider that with reference to repetition / maintaining dynamism as mentioned above.)
Example, "Causality" in video excerpt above.
(2) Using different layers of music and varying their use
E.g. A smooth movement works well on a long note (typically if singer drags a note out, or where there are strings in the background). Example, "This World" in video excerpt above.
Also refer to the Daft Punk pro vid played in the intro - how each dancer is "assigned" to one layer of music, building an interesting and complete ensemble. Even though it is repetitive, it is an illustration of how addressing multiple layers can add audio/visual depth to the vid.
(3) Speed changes with reference to the msuic
E.g. move the clip at double speed, then a sudden slow-down. "In between" notes / breathing pauses in the vocals are often a good place to do this.
(4) Continued motion transitioning
Whether in source or added, the motion of/within a clip carries over into the next clip. Example, "Orchard of Mines" in video excerpt above.. See also the next section on Using Motion.
*
B. Using Motion
Firstly, let’s define "internal motion" and "external motion".
Internal motion is motion of the characters and other onscreen things. E.g. in a fixed camera shot, a character sits down on a chair. The camera itself does not move.
versus
External motion is movement of the camera. E.g. The character sits in the chair, unmoving. However, the camera slowly zooms in on the character, or pans away, or anything that is to do with the camerawork rather than the onscreen action.
A lot of clips have a mixture of both internal and external motion.
So where can we find and use motion?
(1) In source
Some sources have very obvious, beautiful camerawork that we can leverage off. (Doctor Who, BSG, Friday Night Lights...) Swooping dolly shots, in-source "shaky hand-held cam", cool in-source effects... But where to find movement in source other than the obvious? Especially when you're editing a static-looking show, e.g. an older show, some sitcoms, shows that are more "talky" than "movement-y"?
In static sources, we find that a lot of movement is found in characters entering or exiting scenes. Or, if they turn to face another person, that is often a natural dynamic motion that would lend visual interest to an otherwise static shot.
Example: Love Turns 40 in the vidshow (link at the end of this post)
Also an interesting dynamic to watch out for: where you have two characters in one shot, and the camera shifts focus from one to the other. That's motion on camera, even though neither character physically moves.
It can also be useful to try and utilise smaller, more subtle movements such as small hand movements, blinking, etc, by consciously making them land on the beat, or use them against the music some other way. It won't look dramatic, but it would demonstrate a sense of continued connection to the music, especially in places where not a lot of stuff is happening visually.
(2) Added motion
Where there is just not enough motion in the source, consider adding your own motion by way of zooms and pans.
It can also be useful to utilise overlays, to allow for a sense of motion even when using a static shot. The overlay doesn’t even have to look clearly like anything. In fact maybe it's better if it doesn't; you might not want two sets of images that are visually "fighting each other". Perhaps consider a mostly transparent overlay which blurred out a lot, so that you don't really get a sense of what it is, but merely that it's moving and creating visual dynamics.
Example: &Nothing in the vidshow (link at the end of this post)
*
C. Using Pace/Creating Dynamism
Examples of "pace/dynamism"
Password: vidukon
(1) Jump Cuts
This is where you cut up one continuous clip so that it appears to slightly "jump forward" in time, creating an impression of momentum if the clip itself doesn't have enough to begin with.
The technique can be divisive; some people like them for the reasons mentioned, but we also know some people who dislike them as they represent a short-cut. Just putting that out there for awareness.
Example: New Frontier in the vidshow (link at the end of this post)
(2) Intercutting
This is where you cut quickly between two different clips. Some different ways of intercutting can include:
* Intercut 2 separate clips with similar/mirrored motion
Example: "Ladies' Night" excerpt in video above.
* Intercut 2 separate clips with unrelated movement. For example, one motion clip + one static clip = overall sense of movement.
Example: "God is a DJ" excerpt in video above.
* Intercut 2 different clips to acknowledge different layers of music. For example, an explosion on a beat, while simultaneously a character is crying on the strings.
When used effectively this can build emotional depth, because what you're trying to do is to intercut a sense of movement while still maintaining focus on a narrative-based clip. We've found that this particularly works well when you get into "object metaphor" territory: even though the clip containing the movement may not mean much on its own (say it's a clip of a car driving, a house on fire, a spaceship flying, etc), but when intertwined with character shots, it can often bring forth some emotional connection, whether intended or unintended.
(Also, something to keep in mind while intercutting is that viewers would often naturally want to draw some sort of narrative/thematic connection between the two clips that you use.)
(3) Building an emotional response over time
Pacing for us is very much being attuned to how the song builds up over time. A lot of songs have a quiet-verse, loud-chorus type structure. Or maybe they start out quiet and slow and then build to a crescendo around the 3/4 mark. You can hear the build-up of urgency, but sometimes it feels like the editing doesn't necessarily reflect that. Slowly accelerating by adding more cuts and more motion is often a good way to help with a pacing issue like this.
This is where narrative importance dovetails with the importance of choreography - you want to be able to hit the textual and emotional high points at the same time.
E.g. as a broad rule of thumb, clips that you want to linger on may work better toward the beginning of the vid, where longer clips often feel more natural. If you want to use the clip later at a more musically intense place, then perhaps consider some of the techniques described above such as intercutting or jump-cutting, so that the visual dynamics of the clip can keep pace with the building musical dynamics.
Refer, for example, Love Turns 40 in the vidshow, but pretty much all the vids in the vidshow do this.
***
5. Conclusion
For us, there are vids with great ideas, and then there are vids with great execution. Our favourite ones are those where idea melds perfectly with execution to present a fully cohesive piece, and you really feel like the whole vid is beautifully choreographed.
What we have talked about here is mainly the technical "execution" side. If narrative/emotional/thematic resonance is your intended end result, then these tools of vid choreography are intended as a means to that end, to maximise the resonance of the underlying idea. Not only does the idea fit the music and lyrics, so too does the editing - in a way that is in tune with the tone and sound of the music. Hopefully, these tricks and tools will become invisible in the end as the viewer simply loses themselves in the overall experience.
[Questions and comments?]
***
Credits and links to illustration vids
Download the full pack of example excerpts here, zipped WMVs
1. Introduction
Cygnets - Swan Lake (0:30 - 0:43)
Tore My Heart - So You Think You Can Dance performance (0:40 - 1:03)
Around the World by Daft Punk - pro music vid (1:27 - 1:45)
2. Synaesthesia
Smack My Bitch Up by hollywoodgrrl (0:00 - 0:15)
45 by bananainpyjamas (2:33 - 2:54)
Tear You Apart by bradcpu (0:00 - 0:20)
3. Creating flow
Causality by txlsplash (0:19 - 0:45)
Orchard of Mines by bananainpyjamas (1:11 - 1:27)
This World by buffyann (2:30 - 2:56)
4. Pace & Dynamism
Ladies' Night by counteragent (1:49 - 1:53)
God is a DJ by dualbunny (0:53 - 1:02)
Maybe Tomorrow by obsessive24 (1:05 - 1:45)
***
Paired mini vidshow playlist:
1. New Frontier by heresluck, Firefly/Serenity
2. Boom Boom Pow by hollywoodgrrl, Fringe
3. Love Turns 40 by jarrow, Closer (film)
4. & Nothing by SmokeyFizz, Supernatural
5. Die Another Day by VicBond007, Noir (anime)
6. Vertigo by bradcpu, House M.D.
7. Khwaab (The Dream) by bananainpyjamas, Slumdog Millionaire (film)
***
Thank you for your time, and we hope you found the panel notes useful.
- obsessive24 and buffyann