The deeper I get into my Winter term video project, the more challenging it becomes to wade through the material I’ve amassed and keep the story focused. I’m tempted to provide too much detail, background information, and context in order to convey a multi-dimensional character.
He Who Dances On Wood video effectively cuts to the heart of the story, without bogging us down in unnecessary process or detail. In a beautifully poetic piece – both narratively and cinematically – we learn why the subject dances, and what it means to him. It is a great example of “show don’t tell.”
The story is not rushed. In fact, the first minute is very quiet, allowing anticipation to build, with fantastic morning light, imagery, and different POVs to set the scene around the tunnel where he dances. It’s not until one minute in that we hear the character tapping.
At 1:06 there’s a creative shot with the tap shoes hanging from a tree.
1:24-1:34 slow motion is used, keeping with the unhurried pace, yet holding viewer interest. The opening two minutes are primarily intimate, we get to know the character up close. At 2:00, the shots open up as we see other people in the frame, passing by as the subject dances.
Nice detail shots and symbolism as he describes his relationship with the wood and with rhythm / time:
2:35 a nice silhouette effect.
A key overall takeaway for me in this video, is how cinematic techniques can be used to allow the character space to reflect on the past or present. For example, the quiet scenes of nature and subtle movement, or the character himself walking along the river, in slow motion, or staring into the sunset.
Wonderful character selection – I thought the narrative was deep and rich – taking us way beyond the surface level story.
This video has some great elements in nature that help show our character’s relationship to the wood, which is his primary outlet as well as the one thing that “brings him joy.” I enjoyed the L-cut at (1:04) that introduces the tapping of dance shoes before we see it happening. The various shots within the tunnel frame the subject as a tall shadow who fills half of the screen, which I think works well because it is the acoustics––at that moment––of the tapping that pull together the flow of the piece. I like when he says that “rhythm is in all things,” (2:52). The natural sound of the rain falling, the leaves blowing in the wind, and the birds flocking together create a beautiful soundtrack for his narrative. This is a great example of how quality audio can really carry a piece; it inspires me to focus on capturing more sounds within my environment no matter where or when I am shooting. Thanks for sharing!
The opening of the piece – especially the slow motion shots starting at 0:08 – is a fantastic example of how pictures leading sound can create suspense. That is a technique that I wouldn’t think to use as a radio reporter. Together with the L-cut Whitney noted at 1:04, the filmmaker delays the gratification of seeing the man dancing with pictures and sound together. That delayed gratification continues until 1:37. It seems to build tension and create an audio-visual story arc that follows a different track from the story of man’s life. I also really like the way the filmmaker made use of back-lighting at 1:52, 2:39 and 4:49.