I wanted to include edits and merges of videos within my final projection, and so took the UV Pole Videos [Take 2] rather than Silent Light Pole Videos [UV], for there was a darker space, along with better camera shots.
This first edit was done using the footage of the same performance from the two different cameras. I found that there was a large juxtaposition in what could be seen in the footage between the cameras, which was made even more obvious when putting them together. Although this is annoying, it is also refreshing to not be able to see much at some points, guessing where the body is within the room, versus the bright and lightly obtrusive images, where it is obvious where the body both is visually and within the room.
The 60s Mix used the same technique as UV DSCN Merge Pole; layering all of the images on top of each other and varying the opacity of each clip. The use of four, compared to the earlier three layers, was difficult as I was not used to this extra element that I had to control. I found the use of four clips to be more confusing as well, as there is too much on screen to keep an eye on. It was overwhelming rather than enchanting.
I took more of a simplistic approach after the overwhelming video of 60s Mix. I decided to layer two videos that show the same routine done from different perspectives. This keeps the element of confusion and surprise, but keeps it simple and easy to follow. One of the clips is also zoomed in further onto the general space of the body, creating a blue glow as it was dimmed. You therefore are not sure which body to watch, and become almost trapped within the video, without being overwhelmed and wanting to look away. Out of the three edits, I would want to continue with this one within the final edit of the projection videos.