Unit 35 Installation Production Booklet

Unit 35: Video Installation

Installation Production Booklet

Name: Charlotte Westall

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.
Define what type(s) of visuals you will use.
(Eg. video cameras, still cameras, hand crafted artwork, film, animation, digital technologies)

Documentaries used: - Linus Rickett, Owen Risley, Faryal Mumtaz, Victoria

Pethrus, Cherry Yeung, Morgan Pye

Past and current video installation practice

From your research into video installation, give two examples that you think influence your work / ideas in
some way.
One should be a past practitioner, the other should be contemporary.

Past Practitioner:

Name: Vito Acconci

Biography Vito Hannibal Acconci is an American designer, landscape architect, performance
and installation artist. He was born in 1940 in The Bronx, New York.
He began his career as a poet, editing 0 TO 9 in the late 1960s. During that
time, he found himself transformed into a performance and video artist using his
own body as a subject for his artistic works through the forms of photography,
film, video and performance. His first critic for his art was Cindy Nemser whom
wrote about Acconci in Arts Magazine in 1971. After critics came rolling in he
continued to create permanent sculptures and installations. In the 1980s, his first
permanent installation was completed, it was called Way Station I (Study
Chamber) this piece of work sparked major controversy as it was placed on a
college campus. Due to controversy, the piece was set on fire and destroyed in

Images
Notes on their installation
How is it similar to your ideas?
Contemporary Practitioner:
Name:
Biography
Unit 35 Installation Production Booklet
1985. The installation was a small trapezoidal-shaped steel structure with sliding
tiles painted to look like playing cards on the slanted face; one could enter this
structure through a door and descend a set of stairs to a desk and chair. The piece
was situated on the Middlebury College campus alongside a sidewalk that ran by a
group of dormitories and towards the edge of the campus. Unfortunately, the
structure was repeatedly vandalized and ultimately destroyed with a blowtorch in
1985. When asked about the destroyed piece of work situated at Middlebury
College, in an interview with Steve OBanion, he recalled thinking that whoever
tried to destroy his work was either angry or nave because steel cant burn. He
voiced his despair but also he felt that the destruction of his work might have been
a godsend as he felt that the piece was not done correctly.
His work in instillation artistry includes 'The Red Tapes', 'Undertone' and
'Command Performance'. His style tends to be in the form of CCTV live feed. His
majority majored in using TV monitor as in some instillation works a small TV
monitor would show the live feed of the person sat on the chair who has been
asked to 'Perform' by the TV monitor in front of them. The artist will show the
person on the chair commands for a performance and behind the chair there is a
CCTV camera set up in order to record the performer on the chair. The artist uses
this interesting technique because it would not only show the video that has been
projected it involves the audience therefore making it interactive as people can be
the performer not only through one screen only by multiple.
Vito Acconci uses the non-narrative forms in his works. Non-narrative form
explains that the content of the video installation includes alternative, poetic,
abstract, metaphorical, surrealist, avant-garde, absurdist, anti-narrative,
underground; carnival etc. non-narrative filmmaking is very artistic and
experimental. As for an example, in Undertone he artistically distorts his body
for performance without telling a story, by using artistic forms of video
installation he can create distortion, surrealism atmospheres for the audiences by
using his body for performance.
Douglas Gordon
Douglas Gordon is a Scottish artist. He was born on the 20th September 1966 in
Glasgow, Scotland. He has won the Turner Prize in 1996 and the Premio 2000
award at the 47th Venice Biennale for his works.

Images
Notes on their installation
How is it similar to your ideas?
Installation / set sketches
Draw a series of thumbnail sketches showing ideas for your installation. Add labels to your diagrams to
identify equipment, where the image will be seen, where the audience will stand etc.
Unit 35 Installation Production Booklet
Most of Gordons work consists the themes of memory, repetition in various
forms. His work has often overturned the traditional uses of video formats by
experimenting with time elements with multiple of monitors. In his work he has
reused older film footage in his work, the best known art works that he created
was 24 Hour Psycho which consisted of Alfred Hitchcocks infamous film
Psycho and made it last 24 hours. 24 Hour Psycho is one of his most famous
works he has produced as part of his video installation works, it is slowed down to
approximately two frames a second rather than the typical 24 frame per second
film time frame. He uses a technique of manipulating time by using the style of
video installation that is single channel as the work only uses one screen.
Another of his work is called In Between Darkness and Light, which shows
Exorcist (1973) and The Song of Bernadette (1943) two films that are about
adolescent girls that are driven by external forces. These two films are projected
on either side of a single freestanding semi-transparent screen so they can see both
simultaneously.
Gordons first exhibition was in 1986, but he exhibited his famous works 24 Hour
Psycho in the spaces of a tramway, Glasgow in 1993. Many of his work are ow in
permanent residence in galleries as for example Zidane, un portrait du 21e sicle
(2006) was purchased by Scottish National Gallery of Modern Art and the
Solomon R. Guggenheim Museum, New York. In addition, his colour photograph
Monster (1996-1997) is in permanent collection of the Honolulu Museum of Art.
He uses un-familiarising techniques in his work to encourage the audiences to
reconsider the means of the process of processing visual information. In many of
his work, he manipulates time and space through the forms of video installation.
Unlike Vito Acconci, Douglas Gordon uses the narrative form in his works.
Narrative form explains that the content of the video installation is telling the
audience a story, for example in 24 Hour Psycho he uses the narrative from
Alfred Hitchcocks film Psycho but manipulates the time frames to make the
narrative flow a lot slower than the original intension.
Vito Acconci uses split screens for his video installations this is effective because
he can divert attention to the different screens and create abnormal distortion
whereas Douglas Gordon uses projectors to attract singular attention from the
audiences, the projectors help to create atmosphere because the video can be
projected all around the room whereas screens cant.
 Unit 35 Installation Production Booklet

Sound design

What sound will your FMP / Productions have?

Ambient sound, soft bakground noise/music with the documentary playing over it.

Will you use headphones or speakers for this sound?

We will use speakers instead of headphones because we believe that the audience would interact with
the documentary and enjoy it more if the sound is coming from sources of all-around sound.

Why?
By this sound design for our installation, we believe that it would draw the audience in towards the
documentaries that are being shown.

Lighting design

What lighting will you have in your installation? Consider health and safety:
We would use soft side lights, positioned on both sides that it would avoid any glare onto projection, the
soft lighting would allow us to make the documentaries be more visble for audiences but not have any
glares or reflexions that may hinder the visiblity of the viewers eyes.

Sketch out your lighting plans for the installation.


Projection vs screen
Will you project your video or play it on a screen?
For our installation, we will project the documentaries onto the clear white walls, where there will be
multiple of newspapers placed on the walls where the projector will project the documentaries onto the
walls.
Why?
So we would be able to project the
documentaries onto the newspapers
placed on the wall. Also it would make
the documentaries much more
interesting and have importance as it is
projected on to the wall instead of a
screen, also it would allow our
installation to reach a wider audiences.
If you are projecting what will
you project ONTO? (ie fabric,
screen, materials etc)
We will be projecting onto newspapers
that will be on the wall. We will also
have sheets (e.g. bedsheets) hanging
over our productions so that it creates
more of a confined space for the
installation as well as the sound.
Unit 35 Installation Production Booklet
If you are using a screen, will you
use a single screen, or multiple
screens?
We are not using screens, we are
projecting our documentaries as our
installation.
How will that change how your
audience READS your animation?
The installation will be presented in a
way that represents documentaries well
and lets the audience gain the same
experience as they would when
watching it, and it would be similar to a
newspaper, so that each documentary
looks like an article.
 Unit 35 Installation Production Booklet
Technological convergence

What is technological convergence?

Technological convergence is the tendency for different technologies to evolve towards performing
similar tasks. It is when newer technologies that are created purely to take over past technologies in
order perform the same task required but done in a more advanced manner. The pros of technological
converegence for audiences is that it can be shown in good quality, people can view and watch in a
wide range of ways using hardware and software and also using this can create a stronger sense of
empathy with the characters in the media that is being shown.
(https://www.slideshare.net/ShibZ95/technological-convergence-12284141)

Will you be using this in your installation?

Yes, we will be using the old techological convergence, such as projectors, rather than the newer
technology such as TV screens, to do the same job of presenting our installation.

Explain your answer.

We will be using older technologies such as projectors rather than a TV screen. Also, using old
technology would relate it to the idea of old media by using newspapers as our medium.

Venues
Locate and show research into three possible venues for you to show your work.

Venue: Old Fire Station in Henley-On-Thames

Location: 66 Market Place, Henley-on-Thames, Oxfordshire, RG9 2AG

Positive aspects of this venue:
1. Good Space for broadcasting the work
2. Simple backgrounds/ white walls to give the piece that is
being shown more dominance towards the eyes of the
audience
3. The partition walls help block out natural lighting, creating
balanced lighting

Negative aspects of this 1. Limited capacity of space as other groups will be showing
venue: their installations as well
2. Tight space in the rooms
3. Natural Lighting can cause glares when projecting the
installation

Venue: The Lemongrove Gallery

Location: Henley-on-Thames

Positive aspects of this venue: 1. Has bright natural lighting

2. Has accessible and comfortable seating areas
3. Small rooms meaning it is less echoy

Negative aspects of this 1. Theres no accessible wall sockets so would need

venue: extention leads which could be potential tripping hazards
2. Very small spaces
3. Not much room for displaying any installations
 Unit 35 Installation Production Booklet

Venue: Eye Like Art Gallery

Location: Beaconsfield

Positive aspects of this venue: 1. Modern styled gallery filled with contempory art
2. No echo due to small space
3. Has available space for displays and lighting

Negative aspects of this 1. Very limited spaces

venue: 2. Not a lot of available space for setting up difficult
installations
3. Theres no accessible wall sockets so would need
extention leads which could be potential tripping hazards

Risk assessment of venue

Complete risk assessment for the VENUE

RISK ASSESSMENT
ACTIVITY HAZARD RISK PRECAUTIONS IN PLACE REVIEW REVIEWER
H/M/L DATE
Going up the People could M Make sure that Yes 5/06/17 Charlotte
steps /Stairs trip up or fall each step is Westall
down the stairs made visible
if the spacing for the viewers,
between each and warn
step is small ahead of the
hazards

There will be a Compact, tight L Regulate how Yes 5/06/17 Charlotte

lot of people in spaces between many people Westall
a small space each installation will be allowed
in the space to
view the
installations

Other The installations L Make sure the Yes 5/06/17 Charlotte

installations could fall on spcing Westall
could fall people and between
could injure installations
them are suitable
and make sure
the equipment
used for the
installations
are sturdy
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.
 Unit 35 Installation Production Booklet
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 the ideas in your mindmap, create a more definite proposal for how you will install your video.

Diagram of final plan:

Add labels to clearly identify your diagram

List the equipment you will need:

- Newspapers
- Bed sheets
- Projector
- White cardboard
- Blue Tac
- Glue Stick
- The Documentaries
- Lights
- Speakers

How have the following influenced your ideas?

Work of the Artists You Have

Researched:
 Unit 35 Installation Production Booklet
Venue and Facilites: We tried working around the space we
have in the venue as there will be
other people setting up their
exhibitions, so also, by using
bedsheets, it could help make our
space more confined and shut out the
surrounding noise.
Lighting: We will have artificial lighting which
will be placed accordingly to avoid any
glares and showcase the installations
properly. The use of the partition wall
and bedsheets will help block out any
unwanted natural lighting.
Sound: We will be using speakers for our
istallation for a more surround-sound
and draw th audience in more as it
would make them interct with it more.
Screens / Projectors: For our installation we will be using
projector technology as this will work
out better with what we want to do for
our installation and it works better with
the space that we have available.
Also, as we wanted to have the
productions playing on top of
newspapers.
Speakers / Headphones: If possible, we would like to use
headphone so the audience can listen
more clearly as other installations will
be running with sound at the same
time. However, this would limit our
audience figures, so having speakers
would allow us to show the installaion
to a wider audience.

Cast and Crew and Production roles

Research into each role. Define what they do, what skills they need to accomplish their task and who
will be completing the taks in your animation.

Director
Describe their job:
The Directors job is to creatively transform the script into a visual appleasing onto screen. They
are responisble for the artistic or commercial success or failure of the project. During pre-
production, the director will make cruicail decisions such as a hiring the correct cast, crew and
locations for the project. They manage majority of the aspects that may go into the production
including camera, sound, lighting, design and special effects. They also may work closely with the
editors through the technical processes of the production.
(http://creativeskillset.org/job_roles/758_director)
What skills do they need to do their job well?
The skills that the director needs to hold ability to do their job well is to have expeptional artistic
vision for the written medium, commitment to the project, passion for filmmaking, able to
collaborate with the cast and crew, excellent communication and interpersonal skills as well as be
able to inspire and motivate the team working on the project.
Who will be completing this task?

Producer
Describe their job:
 Unit 35 Installation Production Booklet
The producer is quite often the first person to get involved in with the project. They are also
responisble with approving types of locations, studio hire, final shooting script, production
schedule also is responsible for the day-to-day smooth operations on shoot. The producers can
be responsible for coming up with the idea for production or selecting the screenplay they will
produce. They have overall control on every aspect of the production, they bring together and
approve the production team and make sure that they create an environment where the talents of
the production team can flourish.
(http://creativeskillset.org/job_roles/757_producer)
What skills do they need to do their job well?
The skills that is required for the producer to do their required job role well is to have gooad
understanding of the business and financing side to the production, be able to control the
production budget. Also to be able to work well under pressure of the production schedule and
motiviate the production team. Understand the relevant health and safety laws and precdures and
ensure compliance with the regulations and codes of practise.
Who will be completing this task?

Lighting Director
Describe their job:
The lighting directors role is to use the script from the production team to design the atmosphere
of the scene that is required for each shot. They will use their advanced technical skills to modify
the lighting of each shot with the help of the lighting department. Lighting direcors make extensive
preparations before shooting period of production by holding meetings consisting of script reading,
making decisions about the style required. The lighting directors oversee the set-up operation of
the lights by instructing a team of Sparks on location.
(http://creativeskillset.org/job_roles/298_lighting_director)
What skills do they need to do their job well?
The skills that is required for the lighting director to do their job well is to have good technical
knowledge about how the lighting equipment works and how it is operated, strong
communication/team work skills. Have a good understanding of the reuirements of the relevent
health and safety legistalation and produedures. Also they need to have good leadership skills in
order to manage and motivate the lighting team, with excellent attention to detail.
Who will be completing this task?

Copyright issues

What potential copyright issues could your FMP infringe?

The potential copyright issues that my final major project may infringe is the songs that I am using in my
project must have permission for use and have no copyright issues for education use that will be
uploaded to YouTube for a college project. There might be worry if some footage might be archive
footage but in my final project, I will purely be using entirely my own footage and content of each shot,
meaning that the project will be purely be of my own footage/works.

How can you be certain that your work does not violate any copyright infringements?
According to Ofcom rules and regulations as part of section one of the Broadcasting code regards the people
involved who are under the age of eighteen are protected by law when featuring in media broadcasting, the
rules include that no material used that may cause harm physically or mentally when in production, also
make sure no overtime long hours when on set due to people under eighteen having the legal requirements to
work up to eight hours with an hour break per day. BBFC, known as the British Board of Film
Classification, is a classification board that classifies what age group each media product produces are
suitable for audiences. They censor what is suitable for target audience demographic, the classes include PG,
U, 12, 12A, 15 and 18. For each censor rating there is a requirement that a media product must abide to. For
my project, I am abiding to the rules and regulations to the 12-censorship rating, due to the narrative of my
short film is suitable for 12 year olds to endorse. The regulations for the 12 rating includes no discrimination
to be endorsed by the work at all, moderate language used when used in correct context, brief and content
 Unit 35 Installation Production Booklet
sexual activity and moderate violence but it mustn't dwell on any details of the violence. To abide to the
rules and regulations of the 12 rating I will be using no violence, moderate language that is in the songs and
no inclusion on sexual activity or any discrimination meaning that the story line will be clean as it is a
childhood love story told through cassette tapes.

Venue booking confirmation

Add the booking confirmation from the venue here:

APPLICATION FORM FOR HIRE OF THE OLD FIRE STATION GALLERY

NAME: (Block Capitals)Sarah Wilson

ADDRESS Deanfield Road, H.O.T RG9 1UH
TELEPHONEMOBILE 07919222411
E-MAIL SARW@HENLEYCOL.AC.UK
ORGANISATION REPRESENTED BY APPLICANT The Henley College
TITLE OF EXHIBITION Photograhy and Media Exhibition
BOOKING DATES - to include set up and take down of Exhibition
From: 2.00 pm WEDNESDAY 14th June To: 12.00 Noon WEDNESDAY 22nd June
I have read the Terms and Conditions governing the hire of the Old Fire Station Gallery, and agree to be
bound by such conditions.
I enclose herewith my remittance for ....................... Payable to Henley Town Council
Signature..............................................................................................Date...............................................

TITLE OF EXHIBITION The Henley College Photography and Media exhibition

This exhibition celebrates the work of media and photography students at The Henley College.

Wednesday 14th to Saturday 17th June students from the Photography A Level course will showcase their
portfolio work which they have been working on this academic year. The exhibition will platform a variety of
creative pieces where students have captured their experiences and observations through their love of digital
and film photography.

From Sunday 18th - Tuesday 20th June there will be a selection of viewings from the vocational film and media
course. On show will be a range of music videos, short films, radio dramas, documentaries as well as Social action
videos which highlight local and regional community issues.

Students showcasing their work at this exhibition have gained places at some of Englands top art universities such
as Bournemouth University, Bath University, University of West England and University of Arts to study either Film,
media or photography

The Media and photography department at The Henley College continues to grow from strength to strength and
we are proud to reach out to the local community and present this exhibition to celebrate our students hard
work, creative skills and passion for the arts.

ADMINISTRATION CHARGES 01/04/15 30/03/18

Payment and Booking Form Received on Local Organisations / Users 265 per week
Public Liability details supplied on; (on the Henley electoral register)
Receipt Number:. Hirers outside of Henley 300 per week
 Unit 35 Installation Production Booklet

TERMS AND CONDITIONS

Booking (Potential hirers may be asked to submit Photographic examples of their exhibits)

Full payment is due at time of booking.

Hire period from 2.00pm on the Wednesday of booking (keys should be collected for a returnable deposit of 10 from
the Town Hall at this time). At 12 noon on the last day of your booking keys should be returned to the Town Hall. To
open the Exhibition Centre door, turn the key to the right and push door inwards. The Exhibition Centre is an old
building and has very heavy doors. We would advise a minimum of two people available to open and close them.

The hire fee covers the use of the main gallery, kitchen, WC and heating and lighting.

Cancellation

Hire fees will only be refunded if the Gallery is re-let for the whole period, or if the booking is cancelled more than 8
weeks in advance of the hire date, in which case 50% of the hire fee will be refunded.

Conditions of Hire

The Old Fire Station Gallerys principal use is for exhibitions open to the public. Entrance must be free, with the
exhibition being sustained for the whole period of booking. Work sold should be collected by the purchaser on the last
day of the exhibition or replaced with another exhibit.

Exhibits may be displayed using chain from the hanging tracks or free standing (chain available at the Town Hall for a
returnable 20 deposit). No other fixtures or fittings may be used unless authorised by the Council.

The hirer must not remove from the Gallery any of the equipment provided. This includes the hanging chain,
furniture, plinths, tables, portable screens and the desk.

The hirer must provide an attendant in the Exhibition Centre whilst the facility is open to the public.

The Council reserves the right for its officials to enter any part of the premises at any time.

The Council insures the fabric of the building and claims by third parties. Hirers are wholly responsible for adequate
insurance cover for their exhibits and for any damage which may occur to the building as a result of the hire. The
Council does not accept responsibility for loss or damage to Exhibitors property. The hirer must arrange
Public Liability Insurance for the period of the exhibition with a level of cover commensurate with the risk and
a minimum of 1m.

Council staff will be available for routine maintenance. Any damage must be reported to the Town Hall
immediately. Please do not touch the gas boiler or heating controls, seek advice from the Town Hall.
Hirers are responsible for leaving the Centre in a clean and tidy condition. All rubbish to be removed.

NO SMOKING IS ALLOWED IN THE GALLERY

PLEASE NOTE THAT VEHICLE CLAMPING IS IN OPERATION IN UPPER MARKET PLACE, LOADING /
UNLOADING PERMISSIBLE ONLY ON THE PAVING DIRECTLY IN FRONT OF DOORS
 Unit 35 Installation Production Booklet

OXFORDSHIRE FIRE SERVICE

FIRE INSTRUCTIONS - PLACES OF ENTERTAINMENT

FIRE NOTICE
OLD FIRE STATION GALLERY
ACTION IN CASE OF FIRE

1. If you discover a fire or one is reported to you, you should:

Operate the Fire Alarms by breaking the glass.

EVACUATE THE PREMISES

This may be accomplished verbally or by public address, where appropriate.

Every effort should be made to avoid alarming the public and thereby causing panic.

Attendants should go to the available exits and usher persons from the premises in an orderly fashion.

The assembly point for the building is at:

UPPER MARKET PLACE CAR PARK, MARKET PLACE.

2 The HIRER or designated responsible Fire Officer is responsible for ensuring that the FIRE SERVICE IS
CALLED immediately on the report of suspicion of an outbreak of fire.

CALL 999 AND ASK TO SPEAK TO THE FIRE SERVICE

When the Fire Service replies give the call distinctly -

FIRE AT OLD FIRE STATION GALLERY, MARKET PLACE, HENLEY ON THAMES,

RG9 2AG

DO NOT HANG UP UNTIL THE ADDRESS HAS BEEN REPEATED BY THE FIRE SERVICE.

GENERAL INSTRUCTIONS

3. In the event of fire it is the first duty of all concerned to prevent injury or loss of life.

4. For this purpose, you should make certain that you are familiar with all the means of escape in case of fire and
that such means of escape are unobstructed and easily openable from within.
5. Since there may be an opportunity, in the event of fire, for you to attack it with the nearest fire extinguisher,
you should also be familiar with how to use them.
 Unit 35 Installation Production Booklet
Risk assessment of installation
Complete a risk assessment for the INSTALLATION

RISK ASSESSMENT
ACTIVITY HAZARD RISK PRECAUTIONS IN PLACE REVIEW REVIEWER
H/M/L DATE
Yes 5/06/17 Charlotte
Westall

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.