| Order | Vid Title | Vidder | Fandom | Artist | Runtime | Why I chose it | link to vid |
|---|
| 1 | Looking | lim | multi | Joan As PoliceWoman | 03:40 | Dude, I made a vid by vidding my own vids, by which I mean really LOOKING at them as source/canon and exploring what meaning and feeling I found there, so I started with that, and, in a bit of the same vein, I now propose to watch this vidshow along with you and just make one or two brief comments about what I see on this watch. This is not my best vids or a themed selection and I'm not planning to go into What I Meant at the time or Why I Did or any of that. I'm just gonna be another watcher with you guys. .... Yep, comes back to say, I went FAST and just said what first occurred to me, as if I were sitting next to you. | vid on YouTube |
| 2 | Sandman | lim | McShep | Gob | 01:41 | This vid is so old, my god. Anyway, it's a really classic slash structure, with a POV flip and then ending with POV unity. First they are apart, here is Rodney (alone!), here is John (alone!). Then they fight to overcome some external and internal threats and end together. | vid on YouTube |
| 3 | Blank | lim | Stucky | Lisa Mitchell | 03:12 | The underlying narrative structure, as in, the duet POV which flips, is similar to Sandman, including the ending of escapes and throwing/leaping through a barrier, but of course the tone is totally different. Wow, there's so much walking in this tune and therefore in this vid! The piano which steps back and forth between two notes and the clapping and that glockenspiel dance. I so enjoy the perfect chime from 1:06 to 1:15 as the walking matches through with the change on that high, bright chime on the train, presaging the line, 'I like the way that you walk', which then slowly loses the match on the modern, alone Steve walking until he's on the train. Glee! And look, the next walking sequence, the fake army with the backdrop, also is very slightly out of time until the chime takes us to the actual troops marching and they sync in again. | vid on YouTube |
| 4 | Embers | lim | Person of Interest | Just Jack | 03:31 | This weird looping structure of repeating and overlapping sections is interesting to me. I'm not sure it 100% works but I can see the connections from Sandman and Blank in that there's this idea of assigning sections of music to characters or concepts of groups -- blocks. In Blank that walking sound was literalised as walking and mined for its connections. Here instead of instruments or verses it's edm type layered loops, so each loop is a 'voice' Finch is the facts and figures loop? John is the stupid hope loop, and so on? I'm not sure it matters. It's layering and cycling the video in the same way the music is layered and cycled loops. The concept of running a model -- of feeding in objects and letting them interact and seeing what emerges is literalised and explored. | vid on YouTube |
| 5 | Underground | lim | Sherlock | 2Cellos | 02:09 | Two cellos here but more than two voices. The victims keep resurging on the question -- Annie are you ok?. That's a strong key. Oh, interesting, Lestrade is actually mouthing in time but the words are different -- he's mouthing 'will you come' but I feel the ghost of the Annie lyric strongly here-- there's a lot of play with silencing, hands over mouths, gags, and signs being held up -- maps -- Sherlock finding his way through, tunnelling, uncovering, revealing, decoding. The verse (deeper) cello, is murkier -- first Sherlock dives IN to Moriarity and chases him through and then (amused by 'transition' on the transition to bridge at 1.00) the second half it's much more like Moriarty has the upper hand, is pursuing Sherlock. And the victims become more desperate, more urgent. They are not ok! Except maybe John is at the end? | vid on YouTube |
| 6 | Flow | lim | multi | Paul Hartnoll | 03:59 | Weirdly, I've got this open in another tab: http://nautil.us/issue/61/coordinates/what-time-feels-like-when-youre-improvising (I think about this a lot wrt vidding. I remember reading this http://nautil.us/issue/9/time/how-music-hijacks-our-perception-of-time while making a vid that isn't on here, Horse.) Anyway, I feel like it's almost a lie to read this vid with you as the next time I watch it I'll see a different vid anyway (Mind you, isn't that true for all art); I see discovery, exploration, free association, improvisation, emergence, FLOW. The connections swirl and eddy, there's a chaotic, fractal energy to the search for meaning. This vid is watching this vid. It makes me think I want to properly figure out how to do live vidding -- one time, real time, never repeated vidding. | vid on YouTube |
| 7 | Marvel | lim | multi | Keiichi Suzuki. | 03:42 | Fun hurray! Blatant showing off! Hmm, if I had to pull out some themes and continuities with what we've just watched: instruments and sections are keyed to characters, Peter and the Wolf style-- Thor gets that metal hit sound (hammer!) and then Tony is much more keyed to the HUH HUH fronting, Natasha takes the tap. At first they take turns, getting quite long sections each and then after the bridge they really start fighting for screen time, pushing and shoving each other and the screen itself -- literalising again -- out of the way. Motion matching is valorised here above all -- raccord and flow and a massive indulgence in impact on beats. Just lots of fun and pleasure and exuberance. | vid on YouTube |
| 8 | Poiesis | lim | Person of Interest | | 02:11 | The weaving of loops and threads here is much more explicit than in the other POI one we just watched. Explicit? Literal? IDK. Moments are distilled down into tiny gif-like loops that repeat themselves and layer on the screen -- data points come together. The game of life blooms and fades. It reminds me a bit of a tumblr dash, you know, as you scroll past gif after gif of iconic/beloved moments. And I also think about, like, the tension in vidding between exploring the pivotal moments, which necessarily means repetition, and synthesising them into something distinct: recreation vs procreation. | vid on YouTube |
| 9 | dry | lim | Johnlock | | 01:47 | I feel like this vid is EXACTLY WHAT IT SAYS ON THE TIN. You know? I feel pure slashy glow watching it. Awww, John! Awww, Sherlock! \o/ We're with John here, looking at Sherlock, though I feel we do flicker to Sherlock slightly mistakenly on the 'turns a genius to an ass' line. That eyeline shot is murking up the POV. If I were betaing I'd mark it for edit. Still using those signs and writing on the screen to make little jokes, I see, lim. Hahah. I like the motion throughline in this a lot, it's got a swaying, boat like feel to the cuts, which are smoooooth. | vid on YouTube |
| 10 | Expo | lim | MCU | | 04:01 | But not as much as in this one, which is a showstopper, man. Good thing this is the end then! The most intense single POV vid in this show, though it is a thread of mine -- I've made a fair few, they are just not in this list. So this vid doesn't seem to deeply partake in a lot of the concepts or preoccupations I've been pulling out so far -- except for the motion matching, which really reaches some kind of summit in this. this is like that | vid on YouTube |
