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Fan Vidding: The TeenAge Years - Part 2 - Morgan Dawn Livejournal:The Here And Now
The Here And Now
Fan Vidding: The TeenAge Years - Part 2
We're still in 1993, solidly placed within the era of VCR vidding. In the first issue of the letterzine Rainbow Noise, vidder Gayle F writes an article about the use of color in vids: how she selects clips based on color scheme and not because of content or context or movement.  Digital vidding is another 7 years away and the ability to change or edit the color scheme of an existing clip is beyond imagination. 

"I realize this will not be obviously apparent to the viewer, but I do believe [color in vids] influences the whole, making it a more aesthetically pleasing and emotionally effective vid. …. I do think it is an often over-looked way of adding richness and cohesion to a video. It can be used to build mood, and to smooth transitions….. While color is generally only one of these many on-going considerations for me, I do have one recent vid where I feel it works a major force in the emotional effect of the vid, fusing meaning and mood. This is the MV vid, End of the Night.....When I was listening to the Doors' End of the Night, I decided it would be a great song for a Sonny-as-Burnett vid. Without a clear memory of that part of the series, I knew I wanted to use the dream sequence, and imagined that it would be played against a lot of night images, dark both visually and in content. When I actually rewatched the episodes, I was delighted by the frequent use of surreal color, and decided to build the vid using those images. Because so many of the images from these episodes have colored lighting, the same visual effect might have been inadvertently obtained choosing images only on the basis of content, but there were significant moments that could have been used with more natural lighting which I rejected in favor of the strange nightmarish world that builds up with the heightened color. All the night blacks are stained with either blue or red, and the cold, distant blue and the hot, flame and blood red are themselves used as the predominant lighting in other shots. The unnatural, bleached white of the dream sequence becomes the "bright midnight" of the lyrics, fusing the black nightmare world of Burnett with Sonny's haunted dreamscape. I choose just one moment of white interior lighting before the end of the song-in Burnett's bathroom, where the screen splits into black and while halves as Sonny/Burnett reaches out to touch his reflection in the mirror. Although the color was less exaggerated, it echoed the other scenes and epitomized the emotional conflict. Only when Sonny starts to remember and accept who he is, does natural sunlight, normality, enter the images. Even then, the first images are blue washed, impressionistic. Only in the last-paradoxically nightmarish-shot of Sonny's return to the station is the lighting clear and bright."

A few years later, Gayle repeated the lesson in color at an Escapade vid panel and fan vidders boggled at the idea of using color as  a primary factor in choosing a clip. It would be like designing an entire menu around the color white. Or red. Choosing your food based on color and not on nutrition or taste? Craazy vid talk!

You can see screencaps from the Miami Vice vid "End of the Line" here.

On a personal note, my first VCR vids were done with Gayle as my teacher and mentor. When I vidded with her clips were selected based on color, context (what was happening in the episode) and content (what was happening in the clip), often in that order. When I vidded on my own, my choices were content, context and only then color. When I began digital vidding, I discovered I no longer had to put color last - I now had the ability to change the color palette of a clip if I needed to. I could have my white chocolate cake with white chocolate  frosting and white chocolate cherries on the top and eat it too (although why anyone eats white chocolate anything is beyond me.)

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