Here is a soundtrack for your ears of wind and rain.

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Yesterday eve, I sprang forth from the pages of the Art and Science of Digital Compositing, and spied beams of sun setting through the crack above the blankets shielding me from the outside, through the pain of glass. Gripped by sudden aescetic cravings of exterior exposure, I groped for objects of anamnesis both photographic and calligraphic and was on my way. With bicycle in tow, I rode to a mound of dirt, and this is what I saw.

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Tonight I performed an experiment with chroma keying the circuit board footage as a test to see how much of an arduous process I am in for over the rest of my post production. This is a still from my footage:

As you can see, the chroma screens are underexposed, as are the subjects, and as a result the image is somewhat noisy, which doesn’t help matters with the already artifacted DV source. Also, there are lighting inconsistencies in the chroma screen. Also, like an idiot, I decided it would be a good idea to backlight the subjects with a blue-gel; I thought this would make my planned key more believable. I thought that because the blue light was from a source other than spill from the bluescreen, it would be okay. It’s not okay. Blue is blue! That must be kept in mind in the future.
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