lola (
lola) wrote in
vexercises2020-04-04 03:00 pm
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
Entry tags:
Vexercise 2 Check In & Origins
Hello Vexercisers! Somehow, it's the weekend already! How is Vexercise 2 treating you? Are you finding it easier or harder than Vexercise 1? What types of issues are cropping up?
People seemed to like when I shared the origins for Vexercise 1, so I'll try to keep that going. In this case, this Vexercise was in part inspired by this post by Lim in the Videlicet Vidding Zine. I feel like motion and graphic matching are such a wonderful tools in vidding, but maybe ones we don't talk about explicitly all that often, at least as often as we do scene choice, lyrical interpretation, etc.
Does approaching this Vexercise looking for opportunities for graphic and motion matching make you see the source in a different way? Does it maybe give new insights about repeating imagery or camera movements in your source? I find that's totally happening to me!
People seemed to like when I shared the origins for Vexercise 1, so I'll try to keep that going. In this case, this Vexercise was in part inspired by this post by Lim in the Videlicet Vidding Zine. I feel like motion and graphic matching are such a wonderful tools in vidding, but maybe ones we don't talk about explicitly all that often, at least as often as we do scene choice, lyrical interpretation, etc.
Does approaching this Vexercise looking for opportunities for graphic and motion matching make you see the source in a different way? Does it maybe give new insights about repeating imagery or camera movements in your source? I find that's totally happening to me!
no subject
I am loving the graphic/motion matching! My main challenge was to break out of a matching loop, because in my source I have a lot of footage of longing looks and once I started stringing them together I could easily have done and entire exercise of just that. So figuring out how to either pick up on something else in the shot or straight up interrupt it and start another sequence of matching was something I worked on quite a bit. And I think I've figured out ways of dealing with it in this vid that I'm happy with, but I can see how it could become a recurring challenge using this type of tool.
Another challenge is that I'm trying to do multiple types of matching at once - not just the motion, but also the lyrics and the beat and the story arc of the vid overall. So that both helps in that it limits what clips I can use, and also - well. Hinders, because it limits what clips I can use!
no subject
And yes, once you throw in all those other limits... it's limits galore, which can be really generative and help a timeline actually get filled!
no subject
no subject
This is one of the biggest challenges, juggling everything and trying to make judgment calls down to the microsecond sometimes. Which is why I like the focused structure of these exercises. Like trying to learn an entire piano concerto, but movement by movement, so that by the end all the pieces come together into a beautiful whole.
no subject
It is so useful! As a complete beginner learning these fundamental skills by (technically) concentrating on one at a time is so very helpful! And then yeah, like you said - I can incorporate more and more of them into a whole.
no subject
no subject
It was still challenging because I had a concept I wanted to use, but couldn't do with the limit on source, so I just threw up my hands and decided to break that rule, which was hard for me on a personal level because working within limits is easier on me than not. It was also challenging because I'd just finished a fanvid that relied on this type of matching, and I am not good at it (or other vidders just make it look easy?), so returning to trying to do this was a bit like tapping a dry well. At least, I'm very familiar with my source and I don't have to build a mental catalog of visuals for it like I do for unfamiliar sources. Even so, I tore out the last half of the vid a few times in trying to match for motion, because I wanted more flow, but couldn't find it. I did finally find a good flow, but I had to work for it.
It was interesting to me to find, in rewatching some of my older vids, that I'd been graphic matching more often that I thought I did. Motion matching is fun for faster music, but graphic matching seems a better companion for slower music, and even though I used both for my vid, that was a fascinating realization.
no subject
no subject
no subject