No Context at 200

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‘Paths Well Worn’ – my 200th video

I have now published 6000 seconds (or more simply, 100 minutes) of my life in my project No Context. It’s a wild ride that’s still not stopping but I’m taking another moment to gather my thoughts on this milestone.

Firstly, I’m really grateful to the people that watch these little videos, who tell me what they think of them and who notice when I’m filming and respectfully fall silent, or even the ones that belligerently refuse to quieten down and make the videos more interesting.

One of my English friends said to me that they felt like they could get to know my friends in these short snippets but somehow I didn’t seem to be there. I found it strange since the only thing they all have in common, by definition, is that I was there and there was a camera. I can’t even say that I shot all of them since there are (rare) occasions when a friend takes control of the equipment around me. So it’s true that  all my friends come through very clearly, but then again, people keep saying that you’re the average of the five people you spend the most time with, so they must reflect something of me.

Something I’ve done more of is watch my own videos back. For the first four months or so I never gave these videos a backwards glance and there were honestly times when I would forget entirely what I had filmed or what the final video looked like. However, recently people have been telling me that it’s somehow more interesting, and oddly meditative, to watch them in a chunk, in order or out of order. I gave this a try. Personally, I watch them in order since I know exactly what sequence of feelings and thoughts correspond to each 30 seconds and watching them out of order feels like some kind of dizzying time warp happens between every video. What I noticed is how other people and places seem to weave in and out of the story at different rates and intervals. There are people who are inescapable, roads that I’ve somehow found a million ways to film and well, my apartment. Then there are people that aren’t there often but appear every so often like a thread in a tapestry that just comes to the forefront before settling into the background. Then there are the things that were there and then vanish, places I saw on holiday and then never again or people that pass by strongly and fade out quickly.

The real challenge I’ve faced since my last post about No Context has been a challenge to the very core of the project: the idea of recording something beautiful or interesting each day. This worked great for a time. I recorded a whole wild summer which, despite a couple of low points was exciting and different. Now that I’m back in Paris where the project started a lot of the decors are the same. Thankfully it’s not the same university so a new neighbourhood has come into play (and studying films all day has had a huge influence on my style and ideas). I worry that sometimes the things I love around me are all the same things that I’ve already put out there. That only becomes more and more probable now that I’ve developed and settled into my new routine.

Aside from that, which was a risk from the start, I’ve had to confront what happens when there was nothing I wanted to record. Bad days happen. Bad weeks happen. There are days you never want to think about ever again let alone have to go back and confront through your own images. How are you supposed to edit a bad day and still make it something you’d want to watch? More urgently how do you film the innate beauty of your life when you’re not feeling all that optimistic? I was lucky because te project started when I was on such a high note I never really considered what would happen in this case. So I’m still working on it. Working on somehow still seeing the little things, or the big things that are worth filming but knowing how not to film them through rose-tinted glasses. I’m still creating No Context and I still want it to be a faithful and true vision of my life every day.

Check out the last few chapters in these playlists:

No Context in retrospect | What I’ve learned from 100 days of videos.

 

If you’ve landed here from my facebook (hello) you’ve probably seen or heard about my project No Context. If not, No Context is the ongoing project where I film, edit and post online 30 seconds of my life every single day. Yesterday, the 9th August I posted my 100th video in this series and I want to share some of the things I’ve learned in starting this and seeing it through up to now.

The first thing to know is that this project came from a place where I felt I didn’t have the skills to use my equipment. I had changed cameras in December and still felt, four months later, that I did not know how to use it. This was compounded by having to change editing software since Final Cut 7 finally became incompatible with my OS in January. (Just let that sink in: I was using software released in 2009 in 2016). One of my primary goals was therefore to learn to use my camera and find what editing software suited me – and I did! After a dalliance with Premiere Pro (CS5 in case anyone’s curious) I settled into a regular rhythm of using Final Cut X for editing then colour grading in Da Vinci Resolve. I’d say over 60 of the 100 videos so far were created in that workflow but I recently got the hang of the (highly unintuitive at first) colour correction capabilities of Final Cut X. I remember the days when I swore blind I would never use Final Cut X. I now use it literally every day. All it took was some patience.

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(RIP FCP7)

A difficult thing about this project is that, although it’s only 30 seconds a day, there are days when even that seems too much. One rule I set myself is to not use footage filmed for another purpose in No Context. Mainly this avoids running into any issues where organisations who I have worked with could claim I used footage produced for them but it’s also a good personal integrity failsafe. I never feel like I can just cheat a day and re-use some footage. The effect of this has been that there have been days where I have been solidly filming for hours on end but struggled to film No Context. The other occasions when this project seems huge is when life simply gets too much. This happens rarely but every so often I will have to make what feels like a monumental effort to produce something whereas the day after I could be sorting through three possible edits of a day. Life isn’t equally spread out but part of the fun is seeing through the ups and downs and watching the periods of rush and calm that come out in the project as a whole.

But these are technical goals and challenges. More than anything this project is about creating something and sharing something of myself and my life. That’s been beyond eye-opening. These last 100 days have been divided between three primary locations, spent with a huge variety of people and included one of the happiest weeks of my life, as well as a very difficult moment that I had to deal with. The videos that mean the most to me are often those that others find impenetrable or simply boring. On the other hand a video that took hours to edit and never seemed right at any point thanks to footage I didn’t like or a day when I felt like I had nothing to film have often been the videos that had the best reactions. It’s endlessly mysterious to me but I guess it’s in the nature of the project that it varies between pure aesthetic and more personality or story driven extracts.

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Case in point: one of my favourite days

People have told me they find the project voyeuristic, others have said it’s calming. I’m still not sure what it is yet but I’m sure I still have more to learn just from making sure I am creative and aware of my surroundings every day.

I said this in one of the videos and it was the idea that pushed me into this project so I leave you with the thought:

If I don’t spend 30 seconds of any given day in front of something beautiful or worth recording I should change what I’m doing with my days.

See the project from the start in the playlist below and subscribe to the channel if you want to see more. I’m still going.