Is there such thing as being too creative with one’s video editing? I might have gone on a few aesthetic, psychedelic tangents, though those are also my favorite parts. Well, the vintage sci-fi clips are another, and then there’s the combination of the two, with related narrative content. And can you name — without looking — the three classic rock samples I used? I may be guilty of making a video about the authenticity of the Salvator Mundi — and the role of restoration and retouching — into a sort of work of art itself.
Above is a section of my video, showing the layers of overlapping audio, video, effects, elements, narration, and transitions. It got a bit sticky and I crashed the program several times. Then I started rendering out sections as videos themselves, and then splicing them together in order to not overwhelm the software, my CPU, GPU or RAM.
The premise of the video is that the Salvator Mundi can’t be by Leonardo because, well, the eyes are completely wonky, his nose droops off to one side, his cheekbones and jaw are misshapen, and there are other rather conspicuous and unsightly amateur errors. The experts who herald the painting as authentic conveniently never mention these, and cherry-pick supporting evidence, such as the use of sfumato, an instance of pentimento, and how the paint cracked around the mouth (none of which wouldn’t necessarily be true if it were merely made by his workshop].
But there’s a surprise revelation around two thirds through the video, when I discovered something unexpected midstream producing the video. I let this new scenario play out, and end part one on a dramatic note.
My last video has 390 views at present, which is more than I anticipated, but a drop in the bucket and about a tenth of what it needs to be in order for me to have enough of an audience that I’m not just making videos primarily for myself. It’s very difficult to do more than perpetually taxi in the runway. If you missed my first video on my channel, here it is again:
I’m excited about making videos. It really appeals to me because it combines a lot of my skills and talents (ex., I use Photoshop extensively to create special effects]. There may be some voice impressions. The Boomhauer in the upcoming second part is pretty good.
I’ve compiled a list of more than 30 prospective videos I could make in the future. At this point my channel is a delicate bud: a hatchling sea turtle trying to make it’s way across the beach to the ocean without burning up on the hot sand, getting snapped up by gulls, picked apart by crabs, or devoured by sharks. You can make a difference merely by watching the video through (even if it means walking away to make a spot of tea and coming back to watch the credits roll), liking it, subscribing, and better yet, sharing it.
The art history/criticism/theory/new type channels that do the best start off with a strong business angle, and zero in with laser focus on what will get the most hits and ad revenue money. Not me. If anything, if I were to pursue this avenue, it would be to develop a small cult-like following of people who were watching my videos half just because I made them. In other words, a video version of my blog.
Part 2 is about halfway done, but I’m going to take a little break from it and make a less ambitious video about a hot topic in contemporary art news that has me a bit piqued. I don’t want people to think I only do old masters. Ho ho ho, noooooo. This pony has many tricks up his, um, sleeve?
And a special thanks to Barry Hopewell and Damon Hudac for their kind donations via Paypal!
And if you like my art or criticism, please consider chipping in so I can keep working until I drop. Through Patreon, you can give $1 (or more) per month to help keep me going (y’know, so I don’t have to put art on the back-burner while I slog away at a full-time job). See how it works here.
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