|
THE VITAL VIDEO: PREPARING WORK SAMPLES [excerpted from the Artist Trust Journal, Summer 2002] A video work sample is a necessity for most artists working in dance, theatre, and performance art. Professional video documentation is often THE crucial element of an application for a grant, residency, government arts agency, foundation, or touring or presenting opportunity made to a presenter. Performers that present a well-crafted video share a moving image that captures the fundamental nature of their live performance. A performance’s movement, atmosphere, environment, rhythm, and audience can all be presented in a matter of minutes to a funding agency or presenter. Although not recommended for work samples, the video format can also serve as a press or promotional tool by presenting materials such as personal interviews, artist statements and video-based press clips. Application guidelines usually provide detailed instructions about how tapes should be submitted and how they will be reviewed, often specifying the number of tapes (often 1-5 tapes), format (often VHS) and length of the tape to be submitted (often up to 20 minutes), as well as the length of time and who will evaluate it (often up to 10 minutes - by a fellow artist). Remember, the panel may be seeing your work for the first time. It is best to assume the panelists have no prior knowledge of the work so include all pertinent information about the work to be reviewed on any work sample description sheet that is requested in the application. Panelists or presenters often look at numerous submissions during one review session. Based upon the first moments of viewing a video work sample, they will immediately know if they want to look any further. The beginning of a video is like the beginning of a good performance, it should capture the audience’s attention in the first few seconds. Cue your tape - panelists need to see the best, not necessarily the beginning, of a performance. The initial impression your work sample gives is far more important than presenting the work in what you consider to be its proper context. The two critical variables that determine the quality of a performing artist’s video beyond the work of art are your video team and the tools you use to create your video. The skill level of the video’s producer, director, camera operator and editor along with the quality of the camera, tape, lighting and recording equipment will determine the strength of the final product. Video Team Artists must take the same kind of steps employers take when interviewing potential employees. Ask for a résumé, review previous work samples, check references and conduct a personal interview. The job of producer, director, camera operator and editor may be comprised of several people or just one person. In either case, make sure they have experience in the job(s) for which they are applying. Hire someone you believe can clearly communicate your ideas and vision in video. Capturing your performance can be an intimate undertaking. Before shooting begins, meet with the producer, director, camera operator and editor as many times as necessary to ensure mutual understanding. Once the camera starts rolling, so does the budget. Video Tools Video is the preferred work sample format of arts funders and presenters of the performing arts. It is less expensive than film and easy to ship and present to selection panels. In video, quality may vary, due to the different video format options. These formats include:
Dubbing onto VHS is the standard for the end-user – whether a grant panel or community presenter. For this reason, most artists will need their originals dubbed onto VHS. A video produced by D-2 or Beta SP, which is dubbed onto VHS, will be far superior to footage originated in VHS. Be sure to dub you’re your VHS copies at Standard or SP speed for highest quality. Pre-Production After you’ve lined up your video team and tools, you’ll move into “pre-production.” Good organization with this step will ensure smooth and economical use of labor, equipment and time. During pre-production, plan the concept and design of the finished product with your video team. Ask the following:
Be sure to discuss the artistry of the video including: visual concept, length, location, direction, wardrobe, makeup and design and editing. Include a thorough discussion of budgets for each of these elements. Production Put your pre-production plan into action. To create a professional video work sample, you may have to alter the performance. For example, it is important to use lighting for the camera rather than for the performance; or makeup may need to be altered to gain the best effect on camera. It may not be possible to complete sufficient footage for the video during one performance. Depending upon budget, the director may want to do several takes of the same segment of a performance. Videotape is cheap – better to shoot more than you need than not enough. Post Production At this time, you and the director/editor can choose the most effective moments in the performance and possibly enhance them. It is important to keep the original goal of the video in mind when the footage is edited. If the goal is to create a strong work sample for grant applications – don’t overshadow the artwork on the tape with video editing tricks. Editing is as critical as shooting. Communication between you and the editor is a key factor in the success of the video. Your editor will view and log scene by scene the footage shot during the production on the appropriate equipment in an editing room. The best scenes are noted, and a rough-cut is begun. Footage that is transferred onto a new tape is called offline editing. Scenes videotaped at different times, or from different camera angles are arranged into a new composition. A variety of compositions may be explored. When the final editing decisions are made, the resulting videotape is called a rough-cut. Turning the rough cut into a completed video work sample requires the addition of a variety of elements including graphics, special effects, titles, music and sound effects. A good editor can insert several elements such as dissolves (one image that fades away as another fades in), wipes (a bar crossing one image replacing it with another), and other effects quite economically. Editing effects and sounds augment the visual image recorded during the shoot to help create a mood or provide information. This process is called on-line editing. The result is a finished master tape from which duplicates will be made. Duplication The tape on which the image is recorded in the camera is known as the original. The original represents the best quality that can be obtained in any given format. The master tape is the edited version of the finished product. When using video, the original footage is edited directly to a master. Copies known as dubs are made directly from the master for distribution. Each time an image is dubbed from one tape to another, one generation of image quality is lost. The format of the original tape dictates the image quality of the dubs. Tapes are often lost or damaged, for this reason, never distribute your master – always distribute dubs. The edited master for the video will usually be completed on equipment compatible with Beta SP or ¾-inch. The master must be duplicated in a format compatible with most videocassette players. In the U.S., this format is usually VHS. The process of dubbing tapes is relatively inexpensive, and most video duplication businesses can process many tapes at a time. Thanks to the Idaho Commission on the Arts for use of their publication Video Production for the Performing Arts, which provided resource material for this article. Video Work Samle Dos:
Video Work Sample Don’ts:
|