good work here. You got really tricky with the compositing and blending of video layers, and there are some nice results in the first section. The irony of the end is a nice punctuation too. I have a few thoughts about this. I think it might be a little short for what you were trying to accomplish. We do get a sense of a journey from the compositing, and it does feel like a compression of time, kind of like a classic montage sequence, but It doesn't provide a lot of information other than the fact that you were in Austin. I wonder if there are more specific pieces of footage you could add to it, maybe even adding new sections when you looked at specific places. Some of the composites don't necessarily compliment one another as well as others. Ones that I think work really well are the ones with the sun over the road, or where you match different angles of driving over on another. When you overlay driving over walking shots, this doesn't work as well. I think the compression of time still needs a kind of linear progression here, where driving to a destination comes before walking, then you return to the car, continue driving, and walk again. This might give you the opportunity to create a kind of forward motion, whereas right now the first section kind of stays all the same. It just feels a little flat.
Like I mentioned, the conclusion where you reveal you actually had to stay in Dallas, is pretty funny. I wonder, though, if this needs a little more context? Someone unfamiliar with the Dallas skyline might not get the joke. I think the strength of this piece is in combining visual textures with different forms of movement. In some ways, the story feels a little unsupported. Either this might function better as a collage simply about movement, or it needs a little more visual information, something to establish you and your wife/partner as characters, and give context for key plot-points. You could go either way, and experiment with how you do it, but right now it's in kind of an awkward space.
This is awesome.
ReplyDeleteHey Juan,
ReplyDeletegood work here. You got really tricky with the compositing and blending of video layers, and there are some nice results in the first section. The irony of the end is a nice punctuation too. I have a few thoughts about this. I think it might be a little short for what you were trying to accomplish. We do get a sense of a journey from the compositing, and it does feel like a compression of time, kind of like a classic montage sequence, but It doesn't provide a lot of information other than the fact that you were in Austin. I wonder if there are more specific pieces of footage you could add to it, maybe even adding new sections when you looked at specific places. Some of the composites don't necessarily compliment one another as well as others. Ones that I think work really well are the ones with the sun over the road, or where you match different angles of driving over on another. When you overlay driving over walking shots, this doesn't work as well. I think the compression of time still needs a kind of linear progression here, where driving to a destination comes before walking, then you return to the car, continue driving, and walk again. This might give you the opportunity to create a kind of forward motion, whereas right now the first section kind of stays all the same. It just feels a little flat.
Like I mentioned, the conclusion where you reveal you actually had to stay in Dallas, is pretty funny. I wonder, though, if this needs a little more context? Someone unfamiliar with the Dallas skyline might not get the joke. I think the strength of this piece is in combining visual textures with different forms of movement. In some ways, the story feels a little unsupported. Either this might function better as a collage simply about movement, or it needs a little more visual information, something to establish you and your wife/partner as characters, and give context for key plot-points. You could go either way, and experiment with how you do it, but right now it's in kind of an awkward space.