Begun in 2013 and completed in late 2014, "Liquid Puppetry" is a kind of shadow puppet show done in reverse - an immersion into a world of bright backgrounds, pastel colors, and watery visual & aural forms, as created with 1980s analog video gear (including a Newvicon tube video camera) and assembled without digital effects.
Gear includes a Sylvania VCC-120BK01 video camera, Showtime Video Ventures Camera VV-770PP Color Processor, Showtime Video Ventures VV-274B Image Enhancer, and Panasonic WJ-MX12 video mixer assembled and layered within Adobe Premiere.
Featured in two parts in Camera Test #102: GBC CTC-5X (vimeo.com/85678225), Flesh Tones was filmed using a 1976 GBC Vidicon tube video camera. The unit has a worn tube that does not produce strong colours, with red being almost non-existent unless the colours are boosted and corrected.
Even after that process, the colour saturation is fairly wan unless the knobs are maxed out using a 1986 Showtime Video Ventures Video Color Processor (model #7070). During filming, the heavily saturated signal was recorded to miniDV and further processed in Adobe Premiere CS5.
The sound mix in this version is straight stereo, and was derived from entirely organic sources which were further processed in Sony Sound Forge.
Entries had to be no more than 1 minute, silent, and show some facet of urban life in Toronto, which in this case was travelling by subway from home to the Royal Ontario Museum (aka the ROM).
For info on how the film was made, and some of my creative decisions in terms of editing, colours, and the use of fast frames, check out the making-of blog at Big Head Amusements (bigheadamusements.com/wordpress/?p=854).
Extract from a work-in-progress ("Blue Marble Ultrasound") filmed using a 1977 JVC GC-3300AU video camera, with some footage recorded straight to VHS and MiniDV, and later processed in Adobe Premiere.
The camera has two vidicon tubes - one for colour (red-green-blue), the second for luminance - and both of which are in poor shape, resulting in a soft image with whacked-out colours. The three separately controlled red, blue, and brightness levels can create surreal, 'Martian' colour saturations which, within Premiere, can be transformed into bizarre organic material that pulses, ripples, and breathes.
Accompanying the video is an original sound design, downgraded to 2.0 surround sound from a discrete 5.1 mix.
Test footage for 2014 Toronto Urban Film Festival entry. Three variants - red & green, red & green mosaic, and blue & violet - derived from the same 1 minute of footage shot using a Canon SX-220HS and processed in Adobe Premiere.
No making-of blog - saving editorial blather after completing my TUFF entry by June 15, 2014.