We approached Jon with the idea for arm-mounted cameras a few weeks before the show, and luckily he was up for it, so we broke out the power tools and set about making some mounts: After dissecting a couple of tripods and orthapaedic elbow supports, we had a solid platform for the miniature cameras.
We covered the gig with 5 cameras in total: 2 roving cameras, 1 static, and the 2 'lipstick' arm cameras that were wired into tape recorders at the back of the stage. The trickiest part was getting the cameras on and off Jon's arms whilst he continued to play as his set is more or less continuous..
The 'post production' on this video was unorthodox: All analogue and all in-camera.
We were really keen on making a gritty, abstract performance video. So we set to work with magnets, screwdrivers, VHS tapes and a host of other techniques: We made an initial edit and played this back through a ÂŁ3 TV we picked up at the local market, and 'manipulating' it with a screwdriver allowed us to flutter and flicker the image on screen. We'd also bought an industrial strength magnet and used that to distort and twist the picture on itself. We made several runs through the track in this way before playing everything out to VHS (with obligatory stomping and scrunching).
This effectively gave us a new set of footage to make a tailored, grunged-up edit of the original piece.
Producer: James Bretton
Production Company: Blinkink
Additional Camera: Chris Nunn
Edited by Monkey - 21 Jan 2010 at 10:30am

Ockham's Razor are presenting their new piece 'The Mill' at The Royal Opera House as
part of London International Mime Festival, 19-21 January 2010.
The Stochastisch Serie is known as non-deterministic, or random methods of sound generation.
Stochastic elements referring here mainly to real sounds including vocal experiments and
sampled sounds which create a complexity and richness which has been a trademark
of many well known Traum releases in the past.
The London based artist Max Cooper sees his new 12 as a construction of different moods
going beyond club music, as witnessed in the past through tracks such as i and End of Reason.
It is no surprise that the B2 track Dischordance is another one of these timeless pearls alongside these
mentioned tracks that have created a fan base worldwide for him.
The friction Max generates is created by two sides colliding, the synthesised drums and melodies and the random experiments with voice.

An OLED installation by Hannes Koch, who said the technology would âchange the quality of light in public and private spaces.â -Image by Sebastian Pons
Ingo Maurer, who has designed chandeliers of shattered plates and light bulbs with bird wings, is using 10 OLED panels in a table lamp in the shape of a tree. The first of its kind, it sells for about $10,000.
He is thinking of other uses. âIf you make a wall divider with OLED panels, it can be extremely decorative. I would combine it with point light sources,â he said.
Other designers have thought about putting them in ceiling tiles or in Venetian blinds, so that after dusk a room looks as if sunshine is still streaming in.
Today, OLEDs are used in a few cellphones, like the Impression from Samsung, and for small, expensive, ultrathin TVs from Sony and soon from LG. (Sonyâs only OLED television, with an 11-inch screen, costs $2,500.) OLED displays produce a high-resolution picture with wider viewing angles than LCD screens.

Flexibility is one of the appeals of OLED, a cousin of the LED. - Image by General Electric
But OLED lighting may be the most promising market. Within a year, manufacturers expect to sell the first OLED sheets that one day will illuminate large residential and commercial spaces. Eventually they will be as energy efficient and long-lasting as LED bulbs, they say.
Because of the diffuse, even light that OLEDs emit, they will supplement, rather than replace, other energy-efficient technologies, like LED, compact fluorescent and advanced incandescent bulbs that create light from a single small point.
Its use may be limited at first, designers say, and not just because of its high price. âOLED lighting is even and monotonous,â said Mr. Maurer, a lighting designer with studios in Munich and New York. âIt has no drama; it misses the spiritual side.â
âOLED lighting is almost unreal,â said Hannes Koch, a founder of rAndom International in London, a product design firm. âIt will change the quality of light in public and private spaces.â
Mr. Kochâs firm was recently commissioned by Philips to create a prototype wall of OLED light, whose sections light up in response to movement.
Because OLED panels could be flexible, lighting companies are imagining sheets of lighting material wrapped around columns. (General Electric created an OLED-wrapped Christmas tree as an experiment.) OLED can also be incorporated into glass windows; nearly transparent when the light is off, the glass would become opaque when illuminated.
Because OLED panels are just 0.07 of an inch thick and give off virtually no heat when lighted, one day architects will no longer need to leave space in ceilings for deep lighting fixtures, just as homeowners do not need a deep armoire for their television now that flat-panel TVs are common.
The new technology is being developed by major lighting companies like G.E., Konica Minolta, Osram Sylvania, Philips and Universal Display.
âWeâre putting significant financial resources into OLED development,â said Dieter Bertram, general manager for Philipsâs OLED lighting group. Philips recently stepped up its investment in this area with the worldâs first production line for OLED lighting, in Aachen, Germany.
Universal Display, a company started 15 years ago that develops and licenses OLED technologies, has received about $10 million in government grants over the last five years for OLED development, said Joel Chaddock, a technical project manager for solid state lighting in the Energy Department.
Armstrong World Industries and the Energy Department collaborated with Universal Display to develop thin ceiling tiles that are cool to the touch while producing pleasing white light that can be dimmed like standard incandescent bulbs. With a recently awarded $1.65 million government contract, Universal is now creating sheetlike undercabinet lights.
âThe governmentâs role is to keep the focus on energy efficiency,â Mr. Chaddock said. âWithout government input, people would settle for the neater aspects of the technology.â
G.E. is developing a roll-to-roll manufacturing process, similar to the way photo film and food packaging are created; it expects to offer OLED lighting sheets as early as the end of next year.
âWe think that a flexible product is the way to go,â said Anil Duggal, head of G.E.âs 30-person OLED development team. OLED is one of G.E.âs top research priorities; the company is spending more than half its research and development budget for lighting on OLED.
Exploiting the flexible nature of OLED technology, Universal Display has developed prototype displays for the United States military, including a pen with a built-in screen that can roll in and out of the barrel.
The company has also supplied the Air Force with a flexible, wearable tablet that includes GPS technology and video conferencing capabilities.
As production increases and the price inevitably drops, OLED will eventually find wider use, its proponents believe, in cars, homes and businesses.
âI want to get the price down to $6 for an OLED device that gives off the same amount of light as a standard 60-watt bulb,â said Mr. Duggal of G.E. âThen, weâll be competitive.â

A lamp using 10 OLED panels by the designer Ingo Maurer costs about $10,000. -Image by Osram
f**k Buttons - Surf Solar
Edited by Monkey - 03 Sep 2009 at 11:07am
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