I decided to re-take the UV pole videos, as these were the most unusual and successful when working with light. I also wanted to add clips of this element into the final projections, that I have decided to display within the performance. To do this, I blacked out the room better, minimising the effect of the sunlight that was hitting the window as I recorded. The sunlight didn’t make as a big effect to the recording as I thought it would have done, and so I was grateful for that. I also found that the second camera that I used was able to keep up better, and record at a higher quality than the camera that was used in Sound to Light.
I chose upon re-taking the UV videos rather than the strobe light videos, as I would want clips of these in the final projections for my performance. Because the cameras struggled with picking up on the strobe, and minimal footage showing myself on the pole, I decided not to utilise this opportunity again.
Throughout the 00060 to 00063 series, there was still an eerie glow from the UV-lit white clothing that I was wearing. This was also seen in Silent Light Pole Videos [UV], and I believe it is because the UV light is sat just to the right of the camera, making the light very potent, and hence the camera picks up on this brightness, especially against the contrast of the blackout room.
I believe these recordings are more successful than the last collection, and I would prefer to use these within the final projection videos within the performance. I also found that I was better able to manipulate the space, according to the camera. I moved around a wider circumference of space around the pole to achieve this manipulation. This is an element that I would like to ensure I bring into the performance, as the manipulation of space and the environment is a key part of the performance and on of my central ideas.