Unit 35 Installation Production Booklet

Unit 35: Video Installation

Installation Production Booklet

Name: Social Action

Order of contents (italics show areas you must add in yourself)

Mind-mapping
Past and current video installation practice
Installation plans
Sketches on the content of your animation
Draft script of the animation
Installation / set skecthes
Progress of ideas
Types of visuals
Sound design
Lighting design
Projection vs screen
Single or multiple screens
Technological convergence
Possible venues
Location recce
Identify venue facilities
Risk assessment of venue
Final script
Storyboard
Cast and Crew and Production roles
Production schedule
Copyright issues
Venue booking confirmation
Risk assessment of installation
 Unit 35 Installation Production Booklet
Mindmap of ideas for your installation

Create a mindmap showing ideas of how you might install your video.
Defi ne what type(s) of vi suals you wi ll use.
(Eg. vi deo cameras, sti ll cameras, hand craft ed art work, fi lm, ani mati on, di gi tal technologi es)

Another idea I had was to have my TV

put up on the wall with a tacky neon
sign beside it saying Summer Vibes
with a pam tree, flickering on and off. I
think this works with my dark gritty
theme with my music video.

Another idea I had is to have the tv
mounted on a wall where half of the
wall is well brightly painted and the
other half is dark with the paint
chipped. I think this works with my
music video as it has a setting in a
summer place and a setting in a post
apocalyptic place. It helps show the two
themes present in my music video.
My One idea is to go with the summer
installation theme and have an old fashioned TV
playing the music video in a sand pit.
Another idea I had is to have my music video
played on a TV mounted to a white wall. There will
be a projector projecting different images to the
wall around the TV. The textures it projects will
match to what is being shown in the music video.
An example of this could be when in the water
scenes it will project a water texture on the wall.
 Unit 35 Installation Production Booklet

Past and current video installation practice

From your research i nt o video i nst allati on, gi ve t wo examples t hat you t hi nk i nfluence your work / i deas i n some
way.

One should be a past practiti oner, t he ot her should be cont emporary.

Contemporary Practitioner

Name: Bill Viola

Biography Recogni zed as one of todays leadi ng arti st s. Born i n 1951, Vi ola
has been creati ng vi deo i nstallati ons for over 40 years. Hi s
i nstallati ons are descri bed as t otal envi ronment s t hat emvelop
t he vi ewer i n i mage and sound. Hi s work has been shown around
t he world i n museums and galleri es. Vi ola recei ved a BFA i n
Experi ment al St udi os from Syracuse Uni versi t y i n 1973 where he
st udi ed vi sual art . Vi ola has recei ved numerous awards for hi s
achi evement s, i ncludi ng t he MacArt hur Foundati on Fellowshi p i n
1989, XX1 Cataloni a Int ernati onal Pri ze i n 2009, and the Praemi um
Imperi ale from t he Japan Art Associ ati on i n 2011.

Images

Notes on their installation

A lot of hi s i nst allati on look at the i dea of conci ousnessm hi s
i nstallati ons work qui te a lot wi t h li ght and have qui te ghost ly
quali ti es.
A lot of hi s work uses project ors and experi ement s wi th how it can
be mani pulat ed t hrough di fferent mat erai ls such as clot h.
Mi ni mali sti c look not crowded space

How is it similar to your ideas? Hi s i nstallai ons are si mi lar to my i deas as t hey are mi nimali sti c and
not crowded whi ch i s what I would loi ke to do wi t h my i deas.
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Furt hermore, hi s work wi t h project ors on blank walls is somet hi ng
I would li ke to do for one of my i deas.
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Past Practitioner

Name: Nam June Pai k

Biography Born i n 1932, known i nternati onally as t he Fat her of Vi deo Art
creat ed a large body of work whi ch i ncluded t hi ngs such as
sculpt ures, i nst allati ons, performances, vi deot apes and televi si on
producti ons. He was born in Seoul, Korea. In 1956 he graduat ed
from t he Uni versi t y of Tokyo and t hen t raveled t o Germany t o
pursue hi s i nterest i n avant-grade musi c, composi ti on and
performance. In 1963 he had hi s legendary one-arti st exhi bi ti on at
t he Galeri e Parnass i n Wuppert al, Germany, t hat feautured hi s
prepared televi si on set s whi ch radi cally changed t he look and
cont ent of televi si on. In 1965 he was one of t he fi rst arti st s to use
a vi deo camcorder. Pai k has been t he subject of num

Images

Notes on their installation Very bold, bi g and i mpact ful. Has a lot of element s toget her, usi ng
screens t o creat e large and eye catchi ng scupt ures.

How is it similar to your ideas?

For some of my i deas I would li ke to creat e qui te a bri ght and eye
catchi ng i nst allati on, t hi s i s somet hi ng very aparent i n Pai k works.
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Installation / set sketches
Draw a seri es of t humbnai l sketches showi ng i deas for your i nst allati on. Add labels t o your di agrams t o i dentify
equi pment , where t he i mage wi ll be seen, where t he audi ence wi ll stand etc.

Sound design

What sound will your FMP / Productions have?

The sound it wi ll have i s t he sound from t he soci al acti on vi deos playi ng t hrough speakers. We wi ll also have
some abi ent sounds i nbetween vi deos and sound effect s for when t he soci al acti on changes. The sound effect s
wi ll gi ve t he vi ewer a verbal underst andi ng t hat vi deo i s changi ng whi ch wi ll st op confusi on.

Will you use headphones or speakers for this sound?

We wi ll be usi ng headphones. Thi s i s because li st eni ng i s very i mport ant i n underst andi ng what t he soci al acti on
vi deos are about . Fut hermore, t here wi ll be lot s of i nstallati ons goi ng on at the same ti me so i n order to hear it
clearly we wi ll need to use headphones. Headphones wi ll also creat e a more i mperssi ve experi ence heli ng the
vi ewer to separat e from t he world around t hem and focus more on t he vi deos bei ng played whi ch i s i mportant
to underst and what t he soci al acti on vi deos are about.

Why?

The sound it wi ll have i s t he sound from t he soci al acti on vi deos playi ng t hrough speakers. We wi ll also have
some abi ent sounds i nbetween vi deos and sound effect s for when t he soci al acti on changes. The sound effect s
wi ll gi ve t he vi ewer a verbal underst andi ng t hat vi deo i s changi ng whi ch wi ll st op confusi on. We wi ll be usi ng
headphones. Thi s i s because li st eni ng i s very i mport ant i n underst andi ng what t he soci al acti on vi deos are about .
Fut hermore, t here wi ll be lot s of i nst allati ons goi ng on at the same ti me so i n order t o hear it clearly we wi ll
need to use headphones. Headphones wi ll also creat e a more i mperssi ve experi ence heli ng t he vi ewer to
separat e from t he world around t hem and focus more on t he vi deos bei ng played whi ch i s i mport ant to
underst and what t he soci al acti on vi deos are about .
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Lighting design

What lighting will you have in your installation? Consi der healt h and safet y.
We wi ll have li ghti ng from t he project or and li ghti ng from poli ce si ren li ght s. Ot her t hen t hi s t here wi ll be no
ot her li ght sources. Thi s i s to draw attenti on to t he project ed vi deos as it wi ll be one of t he only li ght soruc es.
Thi s wi ll make it have a more i mpact ful presence and make it more li kely for people t o focus on it whi ch i s
i mport ant i n underst andi ng t he vi deos.

Sketch out your lighting plans for the installation.

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Projection vs screen

Will you project your video or play it on a screen?

It wi ll be project ed

Why? If you are using a screen, will you

I think the effect of a projector is more use a single screen, or multiple
interesting and having the light rays screens?
from the projector I think will help make
it a more atmspheric experience for the
viewer and goes well with the rest of the
exibit. I say this because it is quite a
gritty design with the police tape and
lights it works well with the video to
merge with the wall to show the videos
in quite a gritty way that matches the
rest of the exibit.

If you are projecting what will
you project ONTO? (ie fabric,
screen, materials etc)
We are projecting onto a white board.
This is because we want the video to be
seen clearly and a white board will allow
us to prject clearly onto it.
How will that change how your
audience READS your animation?
I think it will make it more gritty,
making the social action videos
more dramatic and impactful on
the viewer. Also it makes the
videos more serious as it is
shown in a gritty serious way.
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Technological convergence

What is technological convergence?

Technologi cal convergence i s the tendency t hat as technology changes, di fferent technologi cal syst em
someti mes evolve towards performi ng si mi lar tasks

Will you be using this in your installation?

Fort unat ley as we are doi ng soci al acti on t here wi ll be no need for technologi cal convergence.

Explain your answer.

The vi deo wi ll be t he only thi ng t hat we wi ll act ually be showi ng on a screen, any ot her i normati on wi ll be
pri nt ed out so t he audi ence can read or look t hrough it
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Venues
Locat e and show research int o three possi ble venues for you t o show your work.

Venue: Bohun Gallery

Location: 15 Reading Rd, Henley-on-Thames RG9 1AB

Positive aspects of this venue: 1. Large area

2. A good amount of audi ences on a dai ly basi s

3. Easi ly convi enti ent to get too

Negative aspects of this venue: 1. St aff i snt very fri endly

2. Not a lot of knowledge out t he art pi eces

3. No seati ng

Venue: The Lemongrove Gallery

Location:
10 Duke St, Henley-on-Thames RG9 1UP

Positive aspects of this venue: 1. Good means of parki ng

2. Local t ransport nearby

3. Good amount of space for inst allati ons i n t he gallery

Negative aspects of this venue: 1. Messy art gallery

2. No seati ng

3. Not accesi ble for di sabled people

Venue: The Studio Gallery

Location:
Manor Farm, Dutch Barn, Rotherfield Peppard, Henley-on-Thames RG9 5LA
 Unit 35 Installation Production Booklet

Positive aspects of this venue: 1. Execellent Li ghti ng

2. Good amount of space wi th comfort able seati ng

3. Good means of t ransport

Negative aspects of this venue: 1. Bi t crowded

2. Not much i nformati on about t he art

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Location recce
Complet e t he locati on recce for t he fi nal venue.

L o c a t i o n R e c c e

Please produce a location recce for EVERY location used

Type of room/area: Radi o

St udi o

Locati on Address:

Address: 40 George St, Oxford

OX1 2AQ
Henley on Thames Oxfordshire
RG91UH

Sat Nav det ai ls (Post code):

RG91UH

Nearest Trai n Stati on:

Henley on Thames

Li ghti ng Informati on: Soluti ons:

Li ght ni ng sourced from t he power If li ghti ng fai ls bri ng torches and stage li ght s and
a generat or t o power t he li ght s

Sound Informati on: Soluti ons:

We wi ll be usi ng headphones to play our sound If havi ng sound i ssues use an addi ti onal
so it i s di rect ly avai lable for the audi ence comput er t o play sounds as well as headphones

Power Informati on Soluti ons:

Mai n elect ri cs Generat or for back up power

Hazards Soluti ons:

Tri ppi ng over wi res Be careful of pot enti al hazards. No runni ng and
Bumpi ng i nt o people keep people away from t ri p hazards
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Risk assessment of venue

Complet e ri sk assessment for t he VENUE

RISK ASSESSMENT
ACTIVITY HAZARD RISK PRECAUTIONS IN PLACE REVIEW REVIEWER
H/M/L DATE
Tripping M Be careful/no Everything 22/
Video running, will be put 05/
installation make sure no in place 2 17
cables in the hours
way before the
opening of
Light L Dont let the venue.
people stand
too close to
lights

Bumping into L Only allow a

people certain
number of
people in the
venue at a
time

Falling off the H Have it

ramp marked with
caution tape
so it is visible
to people

Falling off the M Have it

steps marked with
caution tape
so it is visible
to people

Bumping head M Caution sign

on the side to mind your
entrance as it head
is very low

Please leave this section blank:

Risk Assessment checked by: Name .. Signed
. Date

KEY: Activity : Describe the component part of your pursuit.

Hazard : List the things you anticipate might cause harm or the things associated with your activity that
have the potential to cause harm. Consider the likely harm.
 Unit 35 Installation Production Booklet
Risk: Assess the risk as either H (High), M (Medium) or L (Low). When concluding your assessment
consider all of the circumstances.
Precautions: Consider what you could do to minimise / negate the risk.
In Place: Will the precautionary measures be in place at the time of the activity?
Review Date: When would it be reasonable to review your assessment? Remember it might be whilst
you are undertaking the activity.
Reviewer: Name of the person responsible for completing the risk assessment.
A copy of this form should be taken on the activity or visit by the Reviewer.

Installation plans
From t he i deas i n your mi ndmap, creat e a more defi ni te proposal for how you wi ll i nstall your vi deo.

Diagram of final plan:

Add labels to clearly i denti fy your di agram

Our Installation will consist of social action videos being projected onto a plain white
wall on the left side there will be a board with all the different subjects of social action
they will be labeled with different colours and the video will have a coloured borders
approriate to the subject, on either side there will be Police sirens flashing and police
hazrd tape to draw in our audience, there will be a set of headphones for people to
listen to and take in the important messages we are trying to project.

List the equipment you will need:

Projector
Blank sheet to project on
White Board
Headphones
Police syren
Police tape
 Unit 35 Installation Production Booklet
How have the following influenced your ideas?

work of t he arti st s you have researched
The cont empoary arti st s t hat we have
researched have i nspi red us t o use a
large space, wi t h a lot of empt y space
t hi s i s so we can draw focus ont o t he
speci fi c thi ng and not confuse t he
audi nce.

venue and faci li tes We vi si ted t he art gallery where we wi ll

be doi ng our vi deo i nst allati on t he faci li ty
has i nflueced us to obt ai n the largest part
of t he gallery so we can have an open
space and draw our audi ence to focus on
our projecti on screen, t he faci li t y its self i s
very open and full of space so i s perfect
for our vi deo i nst allati on.

li ghti ng The faci li t y i s full of nat ural li ght ni ni ng

t here are a lot of wi ndows to li ght up t he
enti re room. However i f we encount er a
problem i n havi ng too much li ght , whi ch
wi ll t hen make our projection not very
vi si ble we wi ll need to have a conci gency
plan to black out t he wi ndows, and make
t he room a li tt le darker.

screens / project ors The project ors have i nfluenced us to do

t he same i n our i nst allati on as it can draw
i n a lot of people i n because t here i s a lot
more freedorn and a large focus area.

speakers / headphones We deci ded to use headphones because

we found out t hat we are tryi ng to send a
message and help people underst and t he
soci al acti ons. We want to reach out to
t he people and make t hem aware and
usi ng headpgones means that t hey can
focus on t he projecti on and li st en wi t hout
any di st racti ons.
 Unit 35 Installation Production Booklet
Cast and Crew and Production roles
Research i nt o each role. Defi ne what they do, what ski lls t hey need t o accompli sh thei r task and who wi ll be
completi ng t he taks i n your ani mati on.

Director
Descri be t hei r job.

The di rect or works on t he set to help creat e t he vi si on of t he creat or, t he di rect or has t hei r own creati ve
i nput as well.

What ski lls do t hey need t o do t hei r job well?

The job requi res creati vi ty, good ti me management and judgement , because t hey are maki ng calls t hat
change t he look of t he project .

Who wi ll be completi ng t hi s task i n your ani mati on?

Seb Jefferi es

Producer
Descri be t hei r job.

The producer moni tors t he project and works t o help di st ri but e it and works t o plan and coo-ordi nat e t he
project .

What ski lls do t hey need t o do t hei r job well?

Thi s job requi res good judgement of ti me, mat hs ski ll, be very coordi nat ed and det ermi nati on.

Who wi ll be completi ng t hi s task i n your ani mati on?

Joshua McCart net

Model Maker
Descri be t hei r job.

The model maker creat es the models used i n t he project .

What ski lls do t hey need t o do t hei r job well?

Good eyes for det ai l, creativi t y, drawi ng ski ll and concent rati on.

Who wi ll be completi ng t hi s task i n your ani mati on?

Tara Pri ngle
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Set builder
Descri be t hei r job.

The set bui lder helps desi gn and bui ld t he set .

What ski lls do t hey need t o do t hei r job well?

Good const ructi on ski ll, eyes for det ai l, ti me management , creati ve desi gn.

Who wi ll be completi ng t hi s task i n your ani mati on?

Callum Reeves

Storyboard artist
Descri be t hei r job.

The st oryboard arti st draws t he i niti al fi rst draft of scenes t hat wi ll be i ncluded i n t he project .

What ski lls do t hey need t o do t hei r job well?

Good art ski ll, creati vi t y and i magi nati on.

Who wi ll be completi ng t hi s task i n your ani mati on?

Seb Jefferi es

Stills Photographer
Descri be t hei r job.

Thi s phot ographer grabs project sti lls to help bui ld a timeli ne.
What ski lls do t hey need t o do t hei r job well?

Eye of det ai l, knowledge on how t o use a camera and ti me management .

Who wi ll be completi ng t hi s task i n your ani mati on?

Sam Salameh

Lighting Director
Descri be t hei r job.

The li ghti ng di rect or di ctates where t he poi nt s of li ght are goi ng to be to work around
shadows and nat ural li ght ,.
What ski lls do t hey need t o do t hei r job well?
Good eye for det ai l, cable management , knowledge on t he movement of li ght .

Who wi ll be completi ng t hi s task i n your ani mati on?

Joshua McCart ney
 Unit 35 Installation Production Booklet

Copyright issues

What potential copyright issues could your FMP infringe?

Si nce we are usi ng ot her peoples soci al acti on vi deos we are goi ng to need t o get permi ssi on from t he orgi nal
creat ors to use t hei r work. Also we need to make sure the soci al acti ons we use dont i nfri nge any copyri ght
t hemselves ot herwi se we cant use t hem.

How can you be certain that your work does not violate any copyright infringements?

The best way i s to get all t he nessercary permi ssi ons from people and cross reference it wit h copyri ght laws to
see i f you are wi t hi n t he law.

Venue booking confirmation

Add t he booki ng confi rmation from t he venue here:

Unit 35 Installation Production Booklet
 Unit 35 Installation Production Booklet
Risk assessment of installation
Complet e a ri sk assessment for t he INSTALLATION

RISK ASSESSMENT
ACTIVITY HAZARD RISK PRECAUTIONS IN PLACE REVIEW REVIEWER
H/M/L DATE
Social action Projector could H Put projector Everything 22/
fall on a steady will be set 05/
table up 2 hours 17
before
opening of
Sirens could L Blue tack the the venue
fall and hit sirens
someone

Siren lights L Make sure the

could damage beam isnt too
eyes high

People could M Tape wires to the

trip on wires floor to avoid
tripping

People could L Have a member

bump into the of staff near the
installement projector to
prevent people
from knocking
stuff over

Please leave this section blank:

Risk Assessment checked by: Name .. Signed
. Date

KEY: Activity : Describe the component part of your pursuit.

Hazard : List the things you anticipate might cause harm or the things associated with your activity that
have the potential to cause harm. Consider the likely harm.
Risk: Assess the risk as either H (High), M (Medium) or L (Low). When concluding your assessment
consider all of the circumstances.
Precautions: Consider what you could do to minimise / negate the risk.
In Place: Will the precautionary measures be in place at the time of the activity?
Review Date: When would it be reasonable to review your assessment? Remember it might be whilst
you are undertaking the activity.
Reviewer: Name of the person responsible for completing the risk assessment.
A copy of this form should be taken on the activity or visit by the Reviewer.