4.29.2013

時光流轉(II)-從王雅慧、丁建中、張暉明的作品談錄像作品中的時間與空間本質

2013年04月08日 Update   文  / 蔡家榛



4.時間與空間作為存在的座標軸,是以〝此在〞為核心所展開的架構:

延續上篇的結尾,筆者從丁建中的創作概念及作品導出一則時間與空間的真相:作為一切存在之座標軸。對於這概念,我們可以再從丁建中的拍攝、創作手法的角度理解,以動態影像呈現的《空屋》系列作品,是創作者以相機長時間曝光、在光源的圓周運動外逐一在個角度拍攝下多張靜態照片,爾再後製為錄像作品,丁建中這麼敘述他的創作過程:「因為我以前學過動畫,我很深刻瞭解後台算圖的工作模式,一個動作一個框格,而這當中需要幾張圖的那種製作方式,所以數位影像或動態影像對我來說,是比較偏向以這樣的方式來創作,以一種算圖的模式,因此我在現場逐張拍攝的動作可以說我在現場算圖。

又,後來我發現光在高速旋轉的時候並不如好萊塢電腦特效般精準以及會有完美的視覺狀態,因為在戶外的拍攝是無法用腳架對的這麼精準,並且光圈每次測光都不太一樣,所以會造成些微的進光大小的不同,所以後製串成影片的時候會發現光環在閃動,這些對不準、算不準,也無法完全掌位的狀態類似於劇場的「現場發生的狀態」。」


碎片#1,單頻道錄像,2'00",2012




4. If time-space is a coordinate systemof existence, then the heart of this system should be “here and now”

At the end of the last article, the author deduced from Din Chin-chung’s creative concepts and works that time and space is a coordinate system for all kinds of existence. Take a closer observation at Ding’s photographic approach: the Empty House series was a collection of video shots which were made by a large number of static pictures taken from as many angles as he could, with a circular motion round the outer light sources. Ding once spoke of his creation process: “As I learned animation creation before, and I know exactly the working mode of Render, that is, one frame for one motion, while it takes a couple of pictures to make an action. Therefore I prefer to take digital video shots the way as I did Render before. You may say when I took pictures from many angles, I’m still working on Render like I used to.”

“Meanwhile, I later found when the light is under high-speed swivels, the visual effect usually is not as accurate and flawless as the computerized special effects made by Hollywood. Especially when we do outdoor shooting, we cannot use a tripod with facility, not to mention the slight alterations of metering results. Hence it is normal to discover glitters from some unexpected light when undertaking video post-processing. Such inaccuracies and loss of control are very much like small accidents that occur at stage.”   

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