designer

discovering a new technique for photo montage for projection by Tracey Gibbs

In my second year studying at Liverpool Institute for Performing Arts we had a day working with amongst other things, artist Gavin Mitchell who’s work I found completely brilliant and so interesting. He blends the old and the new with a delicate humour and wryness which turns a multitude of found images into a new fabulous creation. OK you can see I liked it lol so much so I now am the lucky owner of one of his works a present for graduating from the Mr Gibbs.

Find his work here

https://gavinmitchell.net/

So back to the workshop and looking at projection and content creation, we had been asked to bring some imagery to play with , well with a career and study of photography going back a wee while ! I have in fact a huge plan chest filled with remnants of my early days from college through to the last commercial film shoot I did back in the 90’s! So I grabbed some that I thought looked interesting with a thought that some of my cohort may not have access to stuff as living in halls.

He also arrived with a wealth of stuff from old movie’s on film, trailers for films and a massive collection of old slides sourced from car-boots and many a bric a brac find both here in the UK and on his travels. Looking at overlaying them to create images with stories or indeed oddities .

At first I was tentative, as any photographer will tell you the thought of chopping up transparencies is well? just not done ! fact. The first three were combining some footage and stills from Gavin with some images I took for a property developer of the Manchester Tobacco Factory both before and after. Shot on a magic film called polarpan where you actually processed it yourself? I know ! the resulting images were a strong contrasting black and white . Exceptionally fragile and at times not a guaranteed outcome, we were edgy in the 90’s lol

still available to buy (must dig my processor out ) from one of my favourite places full of interesting photographic and video finds

https://www.profilmdirect.co.uk/polaroid-35mm-auto-process--slide-mounter-slide-mounts-polapan-and-polachrome-1521-p.asp

The shots gave me some great graphic windows with which to play with, placing behind them almost giants of humans going about their business.

Series Windows

I was loving this with the possibilities for projection work for bands or theatre work opening up my mind and making me braver, with a gentle nudge from Gavin I did it !

Using some outtakes from one of my earliest test shoots whilst working as a full time assistant at Avalon in Manchester and clips from processing of some really interesting branches in oil from a collaboration with a young artist who’s name along with the model has long been forgotten (research underway) I began to snip the larger medium format images and recreate as 35mm slides!

Girl in the Wood series

So new from old,I am now in the process of multiple layering of images to create new content for projection . Then scanning them in on my Flextight Precision II another part of my transition from analogue to digital as a photographer , yes you could do it in photoshop but how much more fun is it to be hands on and make something.

Q LAB 4 FOR PROJECTION by Tracey Gibbs

The learning curve on all things projection has and is huge! Words banded about such as media servers,pixel mapping and much more. In my time at LIPA I have tried a few different platforms such as Resalume which is primarily designed for DJ’s and Isadora more the the theatre world. Both ok but not quite there for me on speed and ease of use, me and Isadora fell out several times as it has a tendency to just stop working ! not ideal. Over the summer I attended a Women in AV gathering in London with guest speaker and personal projection heroine of mine Nina Dunn, her talk was fascinating as yes there is a lot of technical aspects to get your head around but she talked about her journey and those learning curves which gave this newbie hope. During the networking following I had the chance to talk further with Nina and talking about my new adventures at university and all things projection, her advice was to have a look at the new QLab 4 with a dedicated video element . I had in my first year had a tiny play with the software for my sound module and had found it really nice to use, perhaps because it is a Mac based software yey!!


QLab4 pixel mapping

QLab4 pixel mapping

So a little research and playing with it pre tech for Bright Lights Big City my biggest video work to date at LIPA , both me and my assistant Matthew Wane were convinced . There are more complex and stable ways of projection as we were running with two laptops and no media server, with some incredible companys out there producing some powerful pixel mapping tools . One standout for me is Disguise who have worked on some amazing projects, including a few for Nina.

https://www.disguise.one/en/showcases/theatre/ great powerful software

https://figure53.com/qlab/ home of q lab 4

https://somethinggraphic.net/ Nina Dunn

FIRST TIME WITH THREE by Tracey Gibbs

Was a great challenge on Bright Lights Big City to incorporate three projectors , the theory was there but the practice of rigging two above the set proved a little trickier. A lot learned and to be carried forwards but loved the creativity it allowed me especially in the final scene, where my design was to be the feature as the lead character Michael begins to type and reflect on his journey.Working in what is quickly becoming one of my favourite software’s Adobe’s powerful After Effects, I created and animated word drop with a fabulous typeface I discovered AlbertSthal Typewriter. The director Graham gave me the freedom to develop the concept, seeing it for the first time in tech was nerve wracking ! with a little tweak on timing working with my assistant 1st year LIPA TPT student Matthew Wane we ran it again and it worked in perfect timing with the final number. We ran the footage in slightly different sizes and positions through the two Panasonic projectors over the set and a Christie positioned front of house to cover the floor and frontal aspects of the set. Many thanks to Brian Roberts for the clip