AV News 179 - February 2010
Large venues in New Orleans and southern Florida have had a reasonable
attitude to the SLR with medium lenses. However it was most amusing at a
Katie Melua outdoor event in the UK to be told by security that "you must not
go any nearer with that big [100-400 mm] lens". A similar, but indoor, Simon &
Garfunkel concert in Chicago required one flash-less picture to be taken on a
compact, but only when I could risk being thrown out.
I always develop my ideas in ProShowGold, since that software has both useful
functionality for initial soundtrack mixing and the great advantage of supporting
Photoshop psd files, which contain the evolving image montages. However, for
stable projection and better quality images, I have to convert to PTE. The final
soundtrack is produced in Adobe Audition and the ProShowGold version is
ideal for use from a website where PTE is still sadly lacking. I am a great
supporter of people experimenting with motion in AVs, not a required technique
in "Connecting" and the 16:10 aspect ratio I now commonly use.
Where shall I Connect? This question is answered using a dreamy sequence
incorporating a slow changing montage of venue titles and deceased
musicians, photographed on the walls and at the entrances of famous
downtown clubs. I used to restrict myself to live recordings, made on both
portable recorders and even
pocket cameras. However, I now
use commercial music recordings,
matching the performers involved,
whilst retaining original location
photography for at least 95% of
the images.
Alan won the Bronze Medal in
the recent IPF International
Championships. See Page 39 Eds
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