Password: fypfyp

Music: Boy by Instupendo

This is my first experimental draft for the visualisation in Elbphilharmonie. I placed the visuals using footages that I found from my research and might use similar angles and texture. I adopted the method from Robert Grigsby Wilson, a film editor where he paid tribute to Sally Menke, Quentin Tarantino’s Editor and placed footages of Kill Bill and other film inspirations side by side.

It started the frames sliding in for entry.

Different footages of different aspect ratios and angle starts to emerge through the music.

All the footages will appear and air simultaneously and halfway through, the frames will start shifting in size and move.

They shift and changes in shape slowly so that the viewers are able to digest the visualisation better and the frames eventually.

At the back of the video, the screen blacked out and eventually emerged as a full screen for a dynamic look.

After consultation with Ina, we could still play with more experimentation.

Notes and areas of improvements:

• Consider using abstracts form in between frames.
• The black frame on the right is an escalator going up to the upper level of Elbphilharmonie. There could be some abstract forms or the dance could ‘influence’ the movements up to stairs.
• Create a rough mock up of the space.
• Change the background to a darker tone or simply just textures of architectures in Singapore because if it is white, it will be very bright.
• Golden ratio: Slide and match the windows and the doors. Scale is derive from the architecture of the screen.
• There could be one long banner in one screen across the wide screen.
• There should be a consistency. If it is filmed in nature, then it should all be in nature and if it is in an urban setting then it should all be in urban. Unless there is a good reason to mix them both. Yet, always remember to question, nature with urban, does it work?
• Consider filming in places of crane, and port since Elbphilharmonie is situated next to a port. This is able to showcase the vibrance of the architecture too.
• The frames might not need to shift all the time or at all.
• There could be textures, brush strokes, that glides over to show the footages.

Research on Eadweard Muybridge motion experiment.