In viewing the cone shadow footage I realised that I need to decide if the projection should just be on a single surface, such as the back wall, or floor. This could use a shadow puppet arrangement, with the camera filming from behind a translucent screen. This could also work for filming the floor – the camera would be under the floor, which would also show the footprints of the forms, as well as their shadows. It would need to be strong enough to support the models, i.e. perspex.
The clip above takes the previous footage and only shows the back wall. I think this works well, although the shadow of the side wall and ceiling should be avoided by removal of these elements from the model. Again, the texture of the back wall is particularly strong, and a neutral surface may work better and act as a “screen” to receive the projection of the moving shadows.
This is a test of a cone shadows model, using the found card as the “space” into which the cones’ shadows are projected. The intention is that the form of the cones is communicated entirely by the shadows, and this form is reconstructed by the mind of the viewer/reader.
The two edits below are made from the same piece of time-lapse footage (shot at 1frame/0.5 seconds), taken while the sunshine was very intermittent. The left hand edit just speeds up the entire recording to 120x real-time, while the right hand version edits out all of the sections where the sunlight has disappeared, and then speeds it up to 60x real-time, to allow more time for the moving shadows of the cones.
For the reconvening of the Austinmer International Knitting Circle I had brought yarn to dye with eucalyptus leaves. The silk yarn once skeined left three perforated grey card cones. The grey card is similar to that commonly used for architectural models, and the form of the cones and perforations made an interesting found object, both externally and internally. I thought this would be an interesting object to film, and the three cones matched the three Yi cameras.