BoW.A4 Formative Feedback

This is a summary of the formative feedback received on A4 during a an audio/video tutorial on 1 October. The assignment submission is documented here.

Very pleasing feedback, with my tutor commenting on impressive progress and enjoying having seen the evolution of the work. Main points to consider in refining further for A5 are noted below, along with how I addressed them:

  • Work further on edit to aim for a series of images that are all as strong as possible. Even go back to contact sheets to look for images that may now better fit within the overall series. This I have done a number of images being removed (including the old bridge, allotment, doll and discarded safe) and a few added in (including the pub and an old blue mini parked by the canal).
  • work on the pacing so that both the slide transitions and narrative sync with the slowness of the canal. I thought of the canal as the beat to a piece of music and experimented with the timing of transitions to arrive at a new pace; slower and with more time to absorb the images. I listen back now to A4 and it seems to be racing along in comparison to the updated version for A5.
  • re-sequence the images so there is a more consistent fit with the narrative. I commented that any alignment is currently coincidental. This I have done by using a storyboard approach to sequencing the images to the narrative.
  • Think about how / whether to create a sense of drift/flow in the viewing experience. As well as the change of pace in the slide transitions, I’ve worked extensively on the sound track to achieve this (documented here). In summary this involved working with the stereo movement of sound (through both panning and volume) and sourcing additional ambient sounds to fill out the soundscape. The soundtrack is transformed in A5.
  • Think about the lead image. My tutor enjoyed the iconic images of the rooftops/chimney. I thought carefully about this and decided I wanted to leave an atmosphere of wandering in the film – of gradually discovery, rather than directly meeting the most powerful images. Therefore, I have made some adjustments to the sequencing of the opening images (as part of the overall resquencing), but left the most iconic images to later in the film.

My tutor commented that as long as the finished work comes in under 15 minutes there would be the opportunity to present it to open calls for short film festivals etc.