Tourist: A film installation that consists of multiple projections
Each projection shows an aspect of our journey. The core footage is a collection of intimate scenes that depict the relationship between mother and child (Chiara and Delphine). These scenes are accompanied by footage of the journey, very often of things and landscapes that are seemingly insignificant. As with all my work the process of art and development are at the core. The entire composition of the film (projections) represent the steady development of my work and the thought process.
Work log:
July 13:
I wanted to capture images/footage that would fit into my initial project idea for the trip
July 14:
I have become more and more adventurous and methodical. I only want to capture essential footage and edit it on the spot.
July 15:
After a day of capturing seemingly insignificant scenes with three different cameras I decided to only use my mobile phone to capture footage. I want to capture intimate scenes that are somehow insignificant, nothing major as I believe that life is a succession of insignificant events.
I started to collect objects that can be used as exhibits together with the film
July 16:
Today I included myself in the filming. Besides this I also used more movement. I only used my mobile phone for filming. I think I want other footage from the other cameras projected separately on different screens. The process of filming is along the lines of the process of work and the development of work and ideas. I don't want to edit the footage.
July 17:
Today I decided to film the intimate relationship of mother and child (Chiara and Delphine) with my mobile phone. I will use the Canon digital camera for long landscape shots (driving, walking, still). I am not sure what I am going to do with the canon digital camcorder, maybe old buildings, architecture etc. Nor sure. What I know is that my prime focus: the development of work and ideas is the main part of the film project. From different cameras I want each camera to have its individual job. A journey is a collection of interconnected events, it is an evolutionary process of events happening. The same applies to the relationship of a mother and her baby/child. This relationship put in the passing of landscapes, history etc. is what I am probably trying to attempt to capture.
Three camera jobs:
- relationship of mother and child
- scenes of landscapes (moving and still)
- footage of buildings, architecture etc.
Today I took footage of landscapes, the sky with digital camcorder. I might merge this footage with the footage taken by the digital photo cameras and from tomorrow only film buildings, structures etc. with camcorder.
July 19
I have made my mind up re the third camera, Cannon Camcorder: I am filming seemingly insignificant details such as for example a bug climbing up a tree or the reflection in water etc.
20 July
I decided to add another camera in order to take still pictures and use the previous camera that I used to take still and moving pictures as a camera for only moving pictures.
Four cameras:
- relationship of mother and child
- scenes of landscapes etc (moving)
- scenes of landscapes etc. (still)
- details
21 July
Today we went to Alloue where I did a residence a few years ago. The footage today is mainly still and moving scenes around the house of Maria Casares.
22 July
Today we left La Maison du comedien. I felt very sad as I am very connected with the place. I took still shots of some of the inside with my cannon digital camera I decided to use for moving scenes. On the way to Bordeaux I decided to focus more on insignificant and trivial things to film as I want the film to consist of such scenes. I find it quite hard sometimes to resist to film a beautiful landscape in its entire glory. The last two scenes I filmed today was at a cruising spot between Bordeaux and the coast.
23 July
On the way towards the coast I took a few more moving footage from the car. I decided to focus more on moving footage on foot in order to slow it down. I find it still very difficult to capture insignificant events. I think, so far I have a mixture of significant and insignificant footage and I hope I will be able to slowly increase the amount of insignificant footage.
24 July
Still find it hard to film insignificant events and things. Besides this I am not sure if I have actually defined what 'insignificant' actually to me personally means. I filmed an ugly but fascinating water tower. Is this an insignificant thing? It is not a holiday sight but I still find it significant. Therefore I should not film it but cannot resist the temptation. I have not filmed any intimate scenes between mother and child. I decided to only film things events that really capture my attention.
25 July
I decided to film 'beautiful' but seemingly insignificant scenes. Before I didn't care about the beauty of scenes. However, as I want people to enjoy the film, why not capturing beautiful and stunning scenes? I now use my Fujicamera for still beautiful scenes and the Canon Camcorder for details. Both cameras capture the same events and scenes. The only difference is that the Canon Camcorder captures the them in detail. Both one shot. As for the intimate scenes of mother and child I still use my mobile phone. At the end of each event I might move the camera away in order to create breaks between each scene. I am not sure what I should do with my Canon digital camera though. I might still use it for moving scenes from the car.
26 July
Still not exactly sure what and how to film with my Canon digicam.. For now I am filming movement, the movement of the traveller. I might film the movement of things such as for example water or leaves in the wind. But I am not sure.
27 July
I mainly filmed still scenes with my Fujifilm camera and close-up details with my Canon camcorder. I also filmed a few moving scenes with my Canon digicam but I am getting more and more frustrated with the footage of it as I am not sure where I am going with it. I feel that the moving scenes have no integrity and are out-of-place and almost random. So far I have one camera for the relationship of mother and child, one for still scenes and one for close-up of the still scenes. I am very happy with all of these. The only problem remains the canon digicam.
29 July
Today I only used my Canon digital camera to film a few scenes from the car. At Phil's the dramatic night sky with its almost full moon was a tempting scenes. I have not filmed any night scenes so far. I am not sure if I should only film day scenes or not.
Today we left La Maison du comedien. I felt very sad as I am very connected with the place. I took still shots of some of the inside with my cannon digital camera I decided to use for moving scenes. On the way to Bordeaux I decided to focus more on insignificant and trivial things to film as I want the film to consist of such scenes. I find it quite hard sometimes to resist to film a beautiful landscape in its entire glory. The last two scenes I filmed today was at a cruising spot between Bordeaux and the coast.
23 July
On the way towards the coast I took a few more moving footage from the car. I decided to focus more on moving footage on foot in order to slow it down. I find it still very difficult to capture insignificant events. I think, so far I have a mixture of significant and insignificant footage and I hope I will be able to slowly increase the amount of insignificant footage.
24 July
Still find it hard to film insignificant events and things. Besides this I am not sure if I have actually defined what 'insignificant' actually to me personally means. I filmed an ugly but fascinating water tower. Is this an insignificant thing? It is not a holiday sight but I still find it significant. Therefore I should not film it but cannot resist the temptation. I have not filmed any intimate scenes between mother and child. I decided to only film things events that really capture my attention.
25 July
I decided to film 'beautiful' but seemingly insignificant scenes. Before I didn't care about the beauty of scenes. However, as I want people to enjoy the film, why not capturing beautiful and stunning scenes? I now use my Fujicamera for still beautiful scenes and the Canon Camcorder for details. Both cameras capture the same events and scenes. The only difference is that the Canon Camcorder captures the them in detail. Both one shot. As for the intimate scenes of mother and child I still use my mobile phone. At the end of each event I might move the camera away in order to create breaks between each scene. I am not sure what I should do with my Canon digital camera though. I might still use it for moving scenes from the car.
26 July
Still not exactly sure what and how to film with my Canon digicam.. For now I am filming movement, the movement of the traveller. I might film the movement of things such as for example water or leaves in the wind. But I am not sure.
27 July
I mainly filmed still scenes with my Fujifilm camera and close-up details with my Canon camcorder. I also filmed a few moving scenes with my Canon digicam but I am getting more and more frustrated with the footage of it as I am not sure where I am going with it. I feel that the moving scenes have no integrity and are out-of-place and almost random. So far I have one camera for the relationship of mother and child, one for still scenes and one for close-up of the still scenes. I am very happy with all of these. The only problem remains the canon digicam.
29 July
Today I only used my Canon digital camera to film a few scenes from the car. At Phil's the dramatic night sky with its almost full moon was a tempting scenes. I have not filmed any night scenes so far. I am not sure if I should only film day scenes or not.
31 July
Today I filmed a few still scenes and moving scenes in the forest and around Phil's property. I want to keep the scenes at 3 min minimum. I haven't filmed Chiara and Delphine for a few days. The changes of scenery and the speed of movement might make the final installation a bit more interesting and exciting. The viewer is being transported from a calm scene at a river to a car park and walking through a thick forest while a mother is gently feeding her child. All these element at the same time, parallel, simultaneously happening, multiple experiences.
06 August
Today I filmed mainly movement. I could not resist filming the wonderful landscape through which we were driving after having stayed with Phil's and Natalie's for over a week. I also filmed a few still scenes and details of it and two scenes with Chiara and Delphine. From now on I want to include a few seconds of Delphine and Chiara in the still and detail shots, not always but from time to time in order to create a more obvious link between the individual pieces of footage.
Yesterday I showed footage of the four cameras on four laptops in our very first (trial) exhibition at St. Angel. I think it works very well, especially with the sound off.
07 August
Just like yesterday I filmed far too much. I find it hard not to film. How relevant is this work? Probably not very much. What about the conceptual content, the idea? I doubt it is anything interesting. I like the footage a lot, especially all together. I see it more like an ambient film than a narrative film. I don't expect anyone to watch the entire film, film installation. It is not really a film but simply four projection that document our journey.
08 August
As the battery of my Canon digicam was empty I filmed the movement from the car with my mobile phone. I am still in doubt re the film installation.
10 August
Today I mainly filmed the journey from Lyon towards Grenoble.
13 August
I filmed a lot of driving scenes in the last few days. In Deux Alpes I filmed a little excursion in the mountains which I enjoyed very much as it reminded me of my childhood. Apart from the driving and walking scenes I filmed a few still and detail scenes of the amazing landscapes in the French Alps. I still doubt the conceptual relevance of the work but I do like filming a lot and I think it might be appealing to viewers as there is constantly something to discover. The main aspect, however, which is the process of making art is probably very hard to understand as the film is a slow evolutionary process.
14 August
I filmed a lot of walking scenes in Turin today and also three beautiful still scenes. In the last few days I was concerned about transitions from one to other towns, from nature to city etc. I am not sure how important such transition are. I like the idea of sudden change, being transported from a busy city centrer into a tranquil forest.
I thought I would not edit the film when I am done filming but I feel it will be necessary, not too much but I might want to tidy up certain scenes. I am not sure though.
Today I filmed a few still scenes and moving scenes in the forest and around Phil's property. I want to keep the scenes at 3 min minimum. I haven't filmed Chiara and Delphine for a few days. The changes of scenery and the speed of movement might make the final installation a bit more interesting and exciting. The viewer is being transported from a calm scene at a river to a car park and walking through a thick forest while a mother is gently feeding her child. All these element at the same time, parallel, simultaneously happening, multiple experiences.
06 August
Today I filmed mainly movement. I could not resist filming the wonderful landscape through which we were driving after having stayed with Phil's and Natalie's for over a week. I also filmed a few still scenes and details of it and two scenes with Chiara and Delphine. From now on I want to include a few seconds of Delphine and Chiara in the still and detail shots, not always but from time to time in order to create a more obvious link between the individual pieces of footage.
Yesterday I showed footage of the four cameras on four laptops in our very first (trial) exhibition at St. Angel. I think it works very well, especially with the sound off.
07 August
Just like yesterday I filmed far too much. I find it hard not to film. How relevant is this work? Probably not very much. What about the conceptual content, the idea? I doubt it is anything interesting. I like the footage a lot, especially all together. I see it more like an ambient film than a narrative film. I don't expect anyone to watch the entire film, film installation. It is not really a film but simply four projection that document our journey.
08 August
As the battery of my Canon digicam was empty I filmed the movement from the car with my mobile phone. I am still in doubt re the film installation.
10 August
Today I mainly filmed the journey from Lyon towards Grenoble.
13 August
I filmed a lot of driving scenes in the last few days. In Deux Alpes I filmed a little excursion in the mountains which I enjoyed very much as it reminded me of my childhood. Apart from the driving and walking scenes I filmed a few still and detail scenes of the amazing landscapes in the French Alps. I still doubt the conceptual relevance of the work but I do like filming a lot and I think it might be appealing to viewers as there is constantly something to discover. The main aspect, however, which is the process of making art is probably very hard to understand as the film is a slow evolutionary process.
14 August
I filmed a lot of walking scenes in Turin today and also three beautiful still scenes. In the last few days I was concerned about transitions from one to other towns, from nature to city etc. I am not sure how important such transition are. I like the idea of sudden change, being transported from a busy city centrer into a tranquil forest.
I thought I would not edit the film when I am done filming but I feel it will be necessary, not too much but I might want to tidy up certain scenes. I am not sure though.
20 August
I filmed quite a lot on the journey from France to Lake Garda in Italy. Arrived in Lake Garda I started going through all the footage which is about 10 hours.
Once arrived in Lake Garda I started to edit and analyze my film material. At first I am using only one camera, my Canon camcorder which I use to film the departure, namely the van and the journey from London to Dover. Arrived in Calais I use it to film Chiara and eventually I decided to start filming Chiara and the baby, mother and daughter together. The initial scenes were quite long.They basically introduced the observing character of the camera, i.e. the person behind the camera and the person watching the scenes. This gave me the idea of of having another camera whose main concern is long still shots, my Fuji photo camera.
The film develops from one camera to four cameras, each having a specific function, i.e. is responsible for a specific aspect of the journey. At first the use of the cameras is rather random. The functions of the individual cameras are developed during the first few weeks and become more and more clear and specific. It is important to understand that the film needs to seen as a whole, i.e. every function is only complete as part of all four functions. I am talking about the gesamtwerk, not necessarily as the sum of all works but the sum of the stages of development within the process of work and the four distinctive camera functions.
It also investigates the relationship between movement and static images as well as the creation of pattern and rhythm within a moving image and the subtle narrative within a seemingly abstract way of telling a story.
The collaboration of the cameras is an interesting part of the entire film. The Canon camcorder and the Fuji photo camera work together for example. There are times when this collaboration breaks down (for example the static filming of rain on van windows).
It is a home video style film that tells a narrative. Its 'unprofessionalism' gives the film an intimate feel. The narrative is very simple: a journey in a van documented by the father of a child who observes his family. He plays the main role, the observer, he is seen only briefly in the video but usually only observes and preserves the material. His existence is acknowledged by Chiara's and Delphine's occasional reaction to him and the filming process. The narrative evolves around the scenes between mother and child and the changes in scenery and different stills include detail shots of the stills that document the geographical/physical movement, i.e. the change in settings.
I filmed quite a lot on the journey from France to Lake Garda in Italy. Arrived in Lake Garda I started going through all the footage which is about 10 hours.
Once arrived in Lake Garda I started to edit and analyze my film material. At first I am using only one camera, my Canon camcorder which I use to film the departure, namely the van and the journey from London to Dover. Arrived in Calais I use it to film Chiara and eventually I decided to start filming Chiara and the baby, mother and daughter together. The initial scenes were quite long.They basically introduced the observing character of the camera, i.e. the person behind the camera and the person watching the scenes. This gave me the idea of of having another camera whose main concern is long still shots, my Fuji photo camera.
The film develops from one camera to four cameras, each having a specific function, i.e. is responsible for a specific aspect of the journey. At first the use of the cameras is rather random. The functions of the individual cameras are developed during the first few weeks and become more and more clear and specific. It is important to understand that the film needs to seen as a whole, i.e. every function is only complete as part of all four functions. I am talking about the gesamtwerk, not necessarily as the sum of all works but the sum of the stages of development within the process of work and the four distinctive camera functions.
It also investigates the relationship between movement and static images as well as the creation of pattern and rhythm within a moving image and the subtle narrative within a seemingly abstract way of telling a story.
The collaboration of the cameras is an interesting part of the entire film. The Canon camcorder and the Fuji photo camera work together for example. There are times when this collaboration breaks down (for example the static filming of rain on van windows).
It is a home video style film that tells a narrative. Its 'unprofessionalism' gives the film an intimate feel. The narrative is very simple: a journey in a van documented by the father of a child who observes his family. He plays the main role, the observer, he is seen only briefly in the video but usually only observes and preserves the material. His existence is acknowledged by Chiara's and Delphine's occasional reaction to him and the filming process. The narrative evolves around the scenes between mother and child and the changes in scenery and different stills include detail shots of the stills that document the geographical/physical movement, i.e. the change in settings.
27 August
Once again I am full of doubt re the filming process, the outcome of the work. Well, basically I am not sure if the whole concept works. It is rubbish. Joan Jonas' installation titled 'They come to us without a word' at the American pavilion at the 56th Bienale in Venice however pulled me out of my dark hole of self-pity and inspired me to add a sort of narrative to the project, a story to the film, not an obvious story, but maybe rather fragments of different narratives and stories between stories, untold stories and left-out footage, footage that only makes sense or becomes obvious when looking at the work as a gesamtwerk (German for the entire work/piece). I decided to add a second function to one of the existing cameras, in this case to the mobile phone camera.
I will probably ad more function to the other cameras as well in the near future. All the different pieces of footage happens simultaneously. This way of working allows me to add different stories and interweave them with each other, i.e. having the same elements in the different camera 'collections'. Some of the functions might only be temporary. I see the end product as one large installation piece including the footage of all cameras presented in various monitors & screens plus the collection of found items. I might also add other elements in future. Thanks to Joan Jonas' work I feel a lot more liberated with this particular work.
28 August
Today I visited the American pavilion again. And I want to add another function: performative actions by me. So far this would be the only 'artificial' element of the work. The footage of all other cameras is real, not played or rehearsed. I think the inclusion of myself in the film as the artificial element has a strong symbolic value: the invented story-teller tells us a story about truth. The teller of the truth is fake. These are just ideas now. I think however that my performative actions can give the work a poetic layer. Also sound, I want to add sound, sound and no-sound which creates tension and atmosphere.
The main purpose is the process of working.
Once again I am full of doubt re the filming process, the outcome of the work. Well, basically I am not sure if the whole concept works. It is rubbish. Joan Jonas' installation titled 'They come to us without a word' at the American pavilion at the 56th Bienale in Venice however pulled me out of my dark hole of self-pity and inspired me to add a sort of narrative to the project, a story to the film, not an obvious story, but maybe rather fragments of different narratives and stories between stories, untold stories and left-out footage, footage that only makes sense or becomes obvious when looking at the work as a gesamtwerk (German for the entire work/piece). I decided to add a second function to one of the existing cameras, in this case to the mobile phone camera.
I will probably ad more function to the other cameras as well in the near future. All the different pieces of footage happens simultaneously. This way of working allows me to add different stories and interweave them with each other, i.e. having the same elements in the different camera 'collections'. Some of the functions might only be temporary. I see the end product as one large installation piece including the footage of all cameras presented in various monitors & screens plus the collection of found items. I might also add other elements in future. Thanks to Joan Jonas' work I feel a lot more liberated with this particular work.
28 August
Today I visited the American pavilion again. And I want to add another function: performative actions by me. So far this would be the only 'artificial' element of the work. The footage of all other cameras is real, not played or rehearsed. I think the inclusion of myself in the film as the artificial element has a strong symbolic value: the invented story-teller tells us a story about truth. The teller of the truth is fake. These are just ideas now. I think however that my performative actions can give the work a poetic layer. Also sound, I want to add sound, sound and no-sound which creates tension and atmosphere.
The main purpose is the process of working.
29 August
I am thinking of adding the function of filming my performative actions (narrative elements) to every camera as a shared function. I like the idea of appearing as a connecting element in all of the cameras (eyes). I also would like to film more elements such as tunnels, traveling through tunnels that can be slowed down in the editing phase. This function is to be added to the Canon camcorder.
Cameras:
Samsung mobile phone:
samsung: Chiara and Delphine
samsung_02:fragments of stories with people
Canon camcorder:
canon camcorder: details of still shots (Fujifilm)
canon camcorder 02: random shots, fragments of stories, lost stories etc.
canon camcorder 03: tunnels
Canon digicam:
traveling
Fujifilm:
still shots
performance: shared function
30 August
As we were walking through Brixen in Sued Tirol I was filming quite a lot of the journey through the old town. I did not want to make a holiday video and now a lot of the scenes are very touristy. However, I actually quite like it as traveling, migrating & moving about is one of the corner stones of civilizations. It is about discovering the world, oneself. I think I might call the work 'Tourist'.
31 August
We stayed by a river outside of St. Jakob, a small village in Sued Tuerol. In the morning I filmed the river and the sun and me washing item number 10 I found. I also filmed myself trying to catch the sun with my hand and one scene in which I try to hide the sun behind a white cloth. It is the same white cloth we use to keep Delphine cool in the car and sometime Chiara wears it. I use it as linking object between the footage.
I am thinking a lot about the presentation of the work and how much I should edit it once the filming process is done. I like the idea of having for every camera one monitor or screen. Anyway, I am not sure now. I might change my mind and edit the footage together. I might also edit every day and have the footage chronologically (by days) shown.
01 September
Today I started filming very early in the van while Chiara and Delphine were still asleep. I filmed myself wearing a Delphine's cloth. As in St. Jakob I filmed against the light, i.e. holding the camera towards the light. I like this effect. Very strange and probably rather idiotic. Anyway, I then continued doing a 'performance' on an old bench on the parking spot were we stopped. Again not very interesting. I am not a performer and I find it hard to include myself as a subject in the filming project.
Today I am thinking of presenting the entire work not chronologically but rather as parallel events.
02 September
Today we visited Herisau in Appenzell, Switzerland. While I was filming a close-ups I had Delphine strapped to me. As she was constantly kicking her legs, the footage ended up quite shaky. In a way this is bad in terms of the quality of the footage but on the other hand it can be seen as an interaction between me and her.
I am thinking of adding the function of filming my performative actions (narrative elements) to every camera as a shared function. I like the idea of appearing as a connecting element in all of the cameras (eyes). I also would like to film more elements such as tunnels, traveling through tunnels that can be slowed down in the editing phase. This function is to be added to the Canon camcorder.
Cameras:
Samsung mobile phone:
samsung: Chiara and Delphine
samsung_02:fragments of stories with people
Canon camcorder:
canon camcorder: details of still shots (Fujifilm)
canon camcorder 02: random shots, fragments of stories, lost stories etc.
canon camcorder 03: tunnels
Canon digicam:
traveling
Fujifilm:
still shots
performance: shared function
30 August
As we were walking through Brixen in Sued Tirol I was filming quite a lot of the journey through the old town. I did not want to make a holiday video and now a lot of the scenes are very touristy. However, I actually quite like it as traveling, migrating & moving about is one of the corner stones of civilizations. It is about discovering the world, oneself. I think I might call the work 'Tourist'.
31 August
We stayed by a river outside of St. Jakob, a small village in Sued Tuerol. In the morning I filmed the river and the sun and me washing item number 10 I found. I also filmed myself trying to catch the sun with my hand and one scene in which I try to hide the sun behind a white cloth. It is the same white cloth we use to keep Delphine cool in the car and sometime Chiara wears it. I use it as linking object between the footage.
I am thinking a lot about the presentation of the work and how much I should edit it once the filming process is done. I like the idea of having for every camera one monitor or screen. Anyway, I am not sure now. I might change my mind and edit the footage together. I might also edit every day and have the footage chronologically (by days) shown.
01 September
Today I started filming very early in the van while Chiara and Delphine were still asleep. I filmed myself wearing a Delphine's cloth. As in St. Jakob I filmed against the light, i.e. holding the camera towards the light. I like this effect. Very strange and probably rather idiotic. Anyway, I then continued doing a 'performance' on an old bench on the parking spot were we stopped. Again not very interesting. I am not a performer and I find it hard to include myself as a subject in the filming project.
Today I am thinking of presenting the entire work not chronologically but rather as parallel events.
02 September
Today we visited Herisau in Appenzell, Switzerland. While I was filming a close-ups I had Delphine strapped to me. As she was constantly kicking her legs, the footage ended up quite shaky. In a way this is bad in terms of the quality of the footage but on the other hand it can be seen as an interaction between me and her.
10 September
We have been in Lugnez, Swiss Jura for a while as we are curating a retrospective exhibition for my father who died a few months ago. I have not filmed much, only occasional observations. I wanted to use the time here to film more performative actions which I still find very difficult.
02 October
I have not filmed much since we left Lake Garda and Venice. Arrived in Lugnez, Switzerland, I started recording sound in the 'blue room' of my fahter and filmed random things. I decided to merge some of the footage into a random folder. I also decided to have sound with the installation.
05 October
Today we set off towards Italy, going through Switzerland. Before leaving I filmed the blue room and on the way a bit of the journey. Not much. I am once again a bit lost and have no clue wha the film project is about. I want to film more random bits and also collect more sound from now on. I think I will end the filming as soon as we arrive in South Italy where we are planning to rent an apartment for a few months.
06 October
Today I mainly filmed from the van, travelling through Switzerland. Bad weather. I also took some random footage which I more and more like. And for the very first time I filmed travelling at night.
13 October
I have been filming a lot of random things and scences lately plus a lot of road. I am loosing sight of what I am actually want to do. It will probably be a multi-screen film installation.
14 October
I started shooting longer road scenes and taking a lot of random and playful footage as well as footage observing certain places or parts of places.
02 November
Last Saturday, 31 October was the last day of filming. From today the Red Van will be stationed in Castelammare del Golfo in Sicily for the next few months. Now I need to figure out what I want to do with all the footage. I am still very unsure of the outcome.
17 February 2016
Arrived in Castellammare del Golfo I decided to edit the entire film which involved a lot of precise calculations etc.. After about 80 - 100 hours of work my HD crashed and all the data disappeared FOREVER! I then decided to put the whole film idea aside and wait a few month to continue work on his.
Today I decided to work on it again. But this time I am going to edit it differently. Instead of a narrative multi screen installation I want to keep the raw material as raw as possible and have each monitor or screen show one camera regardless of the other cameras, i.e. not in sync with the overall timescale.
