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By Salu Ylirisku; Jacob Buur

ISBN-10: 1846289602

ISBN-13: 9781846289606

ISBN-10: 1846289610

ISBN-13: 9781846289613

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Robert Drew, who was also a developer of portable film equipment, believed that with lightweight equipment his film crew was so unobtrusive that they could record reality without influencing it. Drew, and his followers, focused on 47 2 Studying what people do 48 Designing with video people who were so involved in what they were doing that they apparently forgot the presence of the camera. Frederic Wiseman, one of the “purists” in direct cinema, however, strongly objected to the entire idea of being able to represent life as it is.

In the editing stage, the designers used the raw footage to create “video artefacts”. Editing allows a myriad of approaches, and at each point of the edited material there are innumerable possibilities to pursue. Based on what the designers perceived as interesting, choices were made on scenes, sequence, editing points, timing, and rhythm. There are no objectively optimal solutions at the moment of editing, because the value of the video artefacts cannot be known until they are created and displayed.

The cameras captured activities over a period of ten consecutive days in each household. Despite the extensive material, Crabtree later held the opinion that even this abundance of user material was of little help compared to the effort of creating it. The case is a brilliant example of the fundamental dilemma in conducting user studies for design: the relevance of the material becomes known only afterwards, but the study must be planned in advance! How then can designers ever argue for conducting user studies?

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Designing with video by Salu Ylirisku; Jacob Buur


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