Since 2011 our friend and resident visualist Matt Page has
been delivering all manner of interesting images using his own interpretations
of various cinematic and musical source material
There's no secret or shame in acknowledging that Matt's talents as a vj and narrative film maker have definitely added something extra on our dance floors which has caught the eyes of everybody that dances in front of his visual work
There's no secret or shame in acknowledging that Matt's talents as a vj and narrative film maker have definitely added something extra on our dance floors which has caught the eyes of everybody that dances in front of his visual work
With a keen appreciation for the
slightly more obscure but none the less accessible Matt has created the perfect
visual accompaniment and in the same breathe opened up a new creative chapter
for House Of Go Bang in the “live environment”
Having began working recently on the more intuitive aspect
of AV performance Matt has now joined us as our third crew member. To add some personal flavour and welcome Matt to the fold here are
some Q n A’s for anyone that doesn’t know Matt as well as we do. Also we
think that it’s a little different to delve a little deeper into the world of a
VJ.
Q Matt your
profession by trade is in creative teaching at university level. Can you
explain how you fell into this and what you would consider a bonus of this to be for
you.
Well I've been working as a film teaching assistant/technician within further and higher education for the last 13 years or so. I sort of fell into it as a stop gap shortly after completing a film degree but got to enjoy the aspect of practically helping others to express themselves. The job gives me enough time to concentrate on my own work too - which is a definite bonus.
Well I've been working as a film teaching assistant/technician within further and higher education for the last 13 years or so. I sort of fell into it as a stop gap shortly after completing a film degree but got to enjoy the aspect of practically helping others to express themselves. The job gives me enough time to concentrate on my own work too - which is a definite bonus.
Q You’ve provided the
visual element at House Of Go Bang for nearly 3 years now all be it remotely until now, however outside of
this what else are you working on and where can people view your other visual
work.
At the moment I'm
working on a music video and writing another short which I'm hoping will go
into production later this year. See here www.vimeo.com/pagematt
for past and current work.
Q Having spent a big part of your professional career involving yourself with visual creativity what would you say has been the biggest success you have enjoyed to date and also what has been the most challenging aspect of what you do.
Probably the biggest
success so far has been the ongoing House Of Go Bang output as it’s constantly
moving forward now visually as well as musically. That feels like a definite
progression. The first visuals work I started on was with a short lived
breakbeat night at (the now defunct) Pressure Point and my output was sketchy
to say the least. Probably due to the lack of real-time visuals technology and
the fact that I wasn't really sure what I was doing at that point! Even though
I've still got a lot to learn I feel as the visuals are becoming more interesting
and complex within House Of Go Bang. Some individual successes outside of House
Of Go Bang have been providing live visuals for Calabash at Brighton Pride 2012
and Cursor Miner/Phil Hartnoll at Latitude 2014. The most challenging aspect is
probably having to be on point for a whole 5-6 hours. Most DJs might play a few
hours, have a break then go back on again whereas I'm usually there for the
entire night setting up, mixing the visuals live then breaking the kit down at
the end. It can be long night sometimes!
Q So you set up your own equipment.
It depends on the
venue really. Some venues and installations (especially the bigger ones) may
have a permanent projector setup which means I just plug and play but a lot of
the time it's a case of scrambling up and down ladders in the dark and sticking
everything together with gaffer tape and beer mats! If I'm working in a new
venue that hasn't used visuals before I'll usually do a recce beforehand - not
all spaces are suitable for projection.
Q Can you explain what equipment you were using when you started and what you are using now, is the creative process the same or are there differences.
When I started
projecting live visuals I was using quite similar kit, the only difference now
is the ability to mix live and create effects on the fly. At first I was using
an old g4 powerbook running the first version of Final Cut Pro. There were a
few VJ software programmes available but due to limited laptop power it was
really difficult to project anything HD like so I was running a series of
pre-mixed clips off final cut through firewire. Not a very speedy or elegant
solution - there would be short black gaps in between switching mixes. Now I
use a macbook pro that can do pretty much anything instantly. The projectors I
started using were MASSIVE - it's easy to forget how cumbersome they were even
a few years ago. After a long time they'd get really hot too - I swear I saw
smoke coming out of the top of one of them once at about 3am. Nowadays they're
much more reliable and portable. This leap in real time mixing ability has
totally changed the creative process. I still have to do a lot of prep work but
it means that I can have an idea mid-set, mix it and execute it, much like a DJ
responding, crate digging and mixing a track in. When I first started that
ability to change and formulate ideas wasn't really there.
Q You've displayed your visual work at various festivals all around the world, can you give us some background on this.
Q You've displayed your visual work at various festivals all around the world, can you give us some background on this.
That's the other side
to my film work. Even though I much prefer and enjoy creating live visuals my
background is as a narrative film maker and I continue to make short films
independently. My films have been shown in festivals around the US, UK and Europe,
which has been a great experience, especially meeting film makers from other
countries and cultures - it really informs my work. One of the reasons I began
to gravitate towards live visuals work is due the change in the culture of
short film over the last 6-7 years. Short films have now become an online
medium to an extent, which is great for reaching out to a wider number of
viewers but I've always been more interested in screening work in front of a
live audience. I made a piece for Cinecity (The Brighton Film Festival) in 2009
which was essentially a 24 minute 'mixtape' of the road movie genre with a live
score by Tim Brickell and that was such a rewarding project it spurred me on to
explore further 'live' film making opportunities.
Q Becoming the VJ for
House Of Go Bang has definitely added an extra dimension to what is being offered as part of the here and now delivery
but when and where were you first aware of music and visuals combining within
the dance experience and what if anything did this make you decide upon.
I didn't properly
catch up with dance music until about 1994. At that time there seemed to be a
focus on big outdoor (paid) events, Megadog parties etc. with huge lighting
rigs/computer visuals and as a film maker I always thought that was quite an
exciting and different use of the medium. Then I started getting into the whole
free party scene in London and Brighton and noticed visuals by their absence.
There were these amazing, huge spaces to work with but I suppose the difficulty
of sourcing expensive computers and projectors put a lot of potential VJs off
working within that scene.
Now visuals are
everywhere. If you go to any big electronic event chances are they'll be a
visual element to it in some respect and it's also sort of expected by the
audience. Visuals are going through a creative resurgence at the moment and
that's really exciting.
Q You not only
provided the technical aspect associated with vjing you also have a major hand
in deciding the visual output and source material. Can you explain what
influences you have used and why you made those choices that end up as part of
the “live experience”
Rather than just
projecting trippy graphics I try to create themes within House Of Go Bang and
weave some sort of loose narrative throughout what we do together in the live
environment. For example, mixing clips from Paris Is Burning (1990 documentary
detailing the New York 'ball culture' scene) or Hitchcock films over the course
of the gig. It doesn't really matter if the audience don't realise that, I
think it just creates a cohesiveness and visual style. I don't expect anyone to
actively watch 5 hours of visuals but it's a definite addition to the gig when
you look up you occasionally to see these images working in time with the
music.
Q You’ve sourced some fairly widespread and interesting material within the visual element ranging from specific genres of film made by well known yet underground film makers to documentary film covering the evolution of modern day dance music from a fairly “out there perspective”. Can you explain some of these sources and the reasons why you’ve made the choice to combine the slightly more obscure cinematic element in your House Of Go Bang work.
I much prefer trying
to create a cohesive narrative throughout the night. It keeps it interesting
for me and the audience I think. Although I do use a lot of graphics and
abstract imagery in my visuals I find it a bit cold at times. I prefer to use
something familiar that's been twisted or cut into a different context - could
be Teletubbies or clips from Dario Argento's films, or both together. I love
the way that by combining these disparate images you can create something very
strange or shed a different light on it, sometimes completely by accident.
Q Has being a part of the House Of Go Bang team working together side by side in conjunction with the music helped you with the intuitive part of being creative.
It's been amazing
working up behind the decks. It makes a real difference to being able to judge
the flow of the set and actually see the audience! Working on stage gives makes
me feel more closely involved and gives an insight into how all three of us work
together too, which is a vital part of what makes everything such good fun I
think.
Q Finally, if someone
was to offer you a visuals deal where your work could be shared via say a
download facility would you welcome this or would you want to keep everything
within the “live arena”
I think I'd rather
keep it live. As soon as these clips or mixes are viewed outside of the context
of a club or event minus the music they lose something in translation.
Many thanks Matt
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