T B S工事中は貴重な映像アップ有り難う御座います。昼時のエスプラ、みすじ、一ツ木の喧騒は半端ないが外れると坂だらけの息の上がる街。主は円通寺坂を下りながら撮影していましたが、ここと雷電の墓のある坂は絶対に登りたくない坂。この時代ならまだ料亭がうじゃうじゃあったはずだが目を皿にして見ていたが残念、確認できなかった。
Great video :) Question Lyle, are the random cuts in this video (and pretty much all your other videos) directly from the tape itself as if you were playing it in a VCR, or do you edit them yourself on a computer?
Combination of in-camera and computer editing. Those quick flashes of just a few frames look like the type of sloppy edit you'd get with a tape-to-tape edit, but those are places where there was something about a scene that I decided to cut, but still wanted a trace of it left in, so I (by design) left in a few frames. In watching it again after uploading it, I see how those are irritating to watch... I'll try not to do that very often! // As for the way I took pretty much only short cuts back then - I quickly realized that, when editing from analog tape to analog tape, the quality dropped off quickly and very noticeably, so the attempt (at the time) was to have something that could be watched as-is without editing. Over two decades later, editing isn't much of a problem, but a new issue of sometimes not particularly liking what my 1991 self did with the video 26 years ago arises and cuts are made....
Yeah... there are two parts to that actually. One is a result of dropping things in editing. Like when I go up to the door of that second restaurant. The raw footage has a woman turning around inside and looking right into the camera. Her face is so prominent and clear, I thought it was best to drop that, but in so doing it ruined the flow of that scene. For watchability, it would have been best to just cut the whole scene, but I wanted (for anthropological reasons) to leave in the interior view of the restaurant. Sometimes I'll leave something in like that knowing it looks bad, but thinking "Well, the *content* is there, so it can been seen by pausing the playback...". I think that type of thing is behind the irritatingly short bits. The second part of that is I have (less so these days, but still...) found Tokyo to consist of more motion and action happening around you on the street than can be fully taken in, and I purposely wanted to convey that feeling with some of the short scenes I recorded. Oh - and there's a third part! When I really only put a few frames of something in, I know it'll go by too fast to really take in, but I put it in in the spirit of playful 悪戯 (like that microsecond of me just after leaving that restaurant - part of a cut scene where I said something too boring to post). Also, personally, I really hate overly slow video, BTW, so a fast pace is part of what I like anyway. In any case, I think recording moving pictures is an incredibly complex thing when you're trying to replicate how it feels to be there. Given something like 120 FPS (recording and playback), it would be so much easier....
I personally like the style, it's very watchable. I can understand wanting to edit some things in and out but leave the footprint there for reference and to connect the scenes together. But it is also for that reason that some of the cuts that are too short detract from the footage slightly. When the scene changes so fast that you brain has trouble keeping up with your eyes then your brain tunes out, Which leads to a sense of lost scene continuity as you know you are watching something but at the same time you feel as if you aren't watching anything, just waiting for a slow down to reconnect to the scene. I find that having this idea as an editing choice to try and replicate the feel of motion and the ephemeral in everyday Tokyo life is a nice idea, but I feel that the content itself does this very well on its own and that the short scene skips may not translate your intention to everybody, but it does to me. Again, I really like the style you have/had, and I think the content that you chose to shoot and portray captures the feeling you were going for pretty well. But then again I wasn't even alive at the time of shooting so you would have final word on that. I do find that the playful spirit does translate perfectly, it really draws you in. I have noticed that you do this in other piece too and it is really well done.
Thanks for taking the time to comment in depth like this. Reading your text above, another thing came to mind for me - "Intent and Result" as in they don't usually match up exactly! When I watch the videos I recorded on tape now, some of them I feel I got right, but usually with any given one, some parts I like and some parts I don't. I tend to put most of it on the wires anyway, thinking it's historically important to provide a view back to that time. The technology in hand is another factor influencing style BTW - with tape you can have an infinite number of cuts (within the length of the tape), but with a digital camera, (usually) each scene is one file. Due to that, my new stuff is the opposite! No cuts at all! Just out of curiously, what do you think of this one (taken earlier this month): Tokyo to Naka-Meguro Part-Two - Shibuya Transfer 渋谷駅-中目黒駅 乗り換えなど 170302 ruclips.net/video/XO7Ndr9pjAk/видео.html
![[Tokyo / Yotsuya] Once Japan's largest slum A prime location where leftover food stores prospered](/img/1.gif)
21:00 今のTBS本社工事中。
それにしても個人商店がたくさんあったり、カメラ向けるとピースしてくれたり、今は街も心も大きく変わってしまいました。
T B S工事中は貴重な映像アップ有り難う御座います。昼時のエスプラ、みすじ、一ツ木の喧騒は半端ないが外れると坂だらけの息の上がる街。主は円通寺坂を下りながら撮影していましたが、ここと雷電の墓のある坂は絶対に登りたくない坂。この時代ならまだ料亭がうじゃうじゃあったはずだが目を皿にして見ていたが残念、確認できなかった。
Great video :) Question Lyle, are the random cuts in this video (and pretty much all your other videos) directly from the tape itself as if you were playing it in a VCR, or do you edit them yourself on a computer?
Combination of in-camera and computer editing. Those quick flashes of just a few frames look like the type of sloppy edit you'd get with a tape-to-tape edit, but those are places where there was something about a scene that I decided to cut, but still wanted a trace of it left in, so I (by design) left in a few frames. In watching it again after uploading it, I see how those are irritating to watch... I'll try not to do that very often! // As for the way I took pretty much only short cuts back then - I quickly realized that, when editing from analog tape to analog tape, the quality dropped off quickly and very noticeably, so the attempt (at the time) was to have something that could be watched as-is without editing. Over two decades later, editing isn't much of a problem, but a new issue of sometimes not particularly liking what my 1991 self did with the video 26 years ago arises and cuts are made....
I don't mind the cuts. But sometime there are too little frames between the cuts for your brain to digest what the eyes are actually seeing.
Yeah... there are two parts to that actually. One is a result of dropping things in editing. Like when I go up to the door of that second restaurant. The raw footage has a woman turning around inside and looking right into the camera. Her face is so prominent and clear, I thought it was best to drop that, but in so doing it ruined the flow of that scene. For watchability, it would have been best to just cut the whole scene, but I wanted (for anthropological reasons) to leave in the interior view of the restaurant. Sometimes I'll leave something in like that knowing it looks bad, but thinking "Well, the *content* is there, so it can been seen by pausing the playback...". I think that type of thing is behind the irritatingly short bits. The second part of that is I have (less so these days, but still...) found Tokyo to consist of more motion and action happening around you on the street than can be fully taken in, and I purposely wanted to convey that feeling with some of the short scenes I recorded. Oh - and there's a third part! When I really only put a few frames of something in, I know it'll go by too fast to really take in, but I put it in in the spirit of playful 悪戯 (like that microsecond of me just after leaving that restaurant - part of a cut scene where I said something too boring to post). Also, personally, I really hate overly slow video, BTW, so a fast pace is part of what I like anyway. In any case, I think recording moving pictures is an incredibly complex thing when you're trying to replicate how it feels to be there. Given something like 120 FPS (recording and playback), it would be so much easier....
I personally like the style, it's very watchable. I can understand wanting to edit some things in and out but leave the footprint there for reference and to connect the scenes together. But it is also for that reason that some of the cuts that are too short detract from the footage slightly. When the scene changes so fast that you brain has trouble keeping up with your eyes then your brain tunes out, Which leads to a sense of lost scene continuity as you know you are watching something but at the same time you feel as if you aren't watching anything, just waiting for a slow down to reconnect to the scene. I find that having this idea as an editing choice to try and replicate the feel of motion and the ephemeral in everyday Tokyo life is a nice idea, but I feel that the content itself does this very well on its own and that the short scene skips may not translate your intention to everybody, but it does to me.
Again, I really like the style you have/had, and I think the content that you chose to shoot and portray captures the feeling you were going for pretty well. But then again I wasn't even alive at the time of shooting so you would have final word on that.
I do find that the playful spirit does translate perfectly, it really draws you in. I have noticed that you do this in other piece too and it is really well done.
Thanks for taking the time to comment in depth like this. Reading your text above, another thing came to mind for me - "Intent and Result" as in they don't usually match up exactly! When I watch the videos I recorded on tape now, some of them I feel I got right, but usually with any given one, some parts I like and some parts I don't. I tend to put most of it on the wires anyway, thinking it's historically important to provide a view back to that time. The technology in hand is another factor influencing style BTW - with tape you can have an infinite number of cuts (within the length of the tape), but with a digital camera, (usually) each scene is one file. Due to that, my new stuff is the opposite! No cuts at all! Just out of curiously, what do you think of this one (taken earlier this month):
Tokyo to Naka-Meguro Part-Two - Shibuya Transfer 渋谷駅-中目黒駅 乗り換えなど 170302
ruclips.net/video/XO7Ndr9pjAk/видео.html
金松堂書店、先日閉店しましたね。私この動画の半年後に田町通り沿いの会社に就職したんです。入社したての赤坂ってこんな感じだったなーって。懐かしいです。フィッシャーマンズクラブとかなくなって久しい店もこの動画にあります。ライルさんが入り損ねた洋食屋さんもほどなくしてなくなりました。
現在、赤坂に勤めています。
TBS以外、今とあんまり変わってない印象ですね。4:02あたりなんて今とまったく一緒だなーなんて思ってましたが、91年って私生まれてないし、取締役が新入社員になった年…そう考えるとかなり時代を感じました笑
33:25またまたこの時代には珍しく携帯を持ってる人がいるじゃないですか！ライルさんまたよく気付きましたね😆
あと、テレビカメラ(街頭インタビュー)にカメラを向けるライルさん🤭！！
「立ち読みしないで買って下さい」とお店の人が言ったらほぼ全員いなくなりそうな勢いの立ち読み軍団ですね😅
1991まさに赤坂乃木坂住民でした。懐かしい。
いいなぁ昭和