Here a piece of footage which Aisling McCoy sent in which animates text for an unusual effect - Alex Gopher's 'The Child'. Following on from this, here's another interesting one, made using Processor.
Thanks to Antoin Doyle for pointing tout filmmakers Tom Burke and Shane Hogan who make up areaman productions. Their series of shorts about the Liberties really are excellent and have been shown recently at the Stranger than Fiction Documentary Festival at the IFI.
'Semiconductor's' description of their film brings us back to that definition of structuralism:
We'll meet again next week in richview @ 6.30 on Tuesday... (Tues 21st)
Here's a link to a post I made on Richviewer a while ago which introduces Seadragon, Photosynth, Gigapan etc, which we touched on today. Have a look - all work on the creation of 3d space from 2d images...something that is relatively low-tech in terms of software used and equipment needed...
This short talk by Olafur Eliasson might also provide some food for thought.
This Film was made by Keiichi Matsuda as part of Nic Clear's Unit 15 at the Bartlett School of Architecture in London. It uses 'a combination of hand drawing, physical models, collage and live footage, composited in after effects and cut on premiere'.
Keiichi Matsuda describes his film as a project about:
'....architectural intervention, but its basis lies in economics. Our current system of economics and politics (as they have converged to a point which is hard to distinguish) is fundamentally unsustainable. It relies on debt and exponential growth, and operates on an abstracted belief system that ignores our finite world resources. Technocracy is a post-capitalist economic system devised and developed in 1920s America by academics and scientists as a solution to the waste and unsustainability of capitalism. Like capitalism (and communism/socialism etc.), it does not concern itself with scarcity, but rather with abundance, with the view that the capacity exists to feed, clothe and shelter everyone in the world. This does not happen with the current system as 'there is no way to sell an abundance'. This has shown itself increasingly as false scarcity is imposed on us in the form of digital rights management, licensing for broadcasters, action against peer-to-peer services etc....'
Some of the techniques used are similar to those which Kevin Kelly calls 'painted film'.
'...painted film is "drawn" with photographs. It is painted, layer by layer, frame by frame not by hand but with manipulated photographic images. It is painted by cameras. These movies are the cinematic equivalent of photoshopped films....'
Another example of this 'painting' can be seen here in the making of Speed Racer.
we're holding our first screening on tuesday evening. anyone who would like to come should send us a link to a piece of film that describes space in an interesting way.
pick something you like, and you can tell us about it on tuesday. This could be from youtube, vimeo etc or a dvd you have.
we'll be watching excerpts, not whole films and will be talking about each one in terms of technique, theory and its ramifications for how we can create our own films in the coming weeks.
we can also do a quick walk-around the facilities in ucd for those who are unfamiliar with the architecture school.
the event is open, and please us know if you are coming by emailing us at nowwhatmutiplex(at)gmail.com
looking forward to seeing you there!
alice & james rossa
still from Filmworks by Anthony McCall via Lombard Street
Image and transport technologies, revolutionized in the nineteenth century, instigated new relationships with time as fundamental as those begun in the transition from prehistory to recorded time (Kern 1993). Both Paul Virilio (1989) and Friedrich Kittler (1999) suggest that cinema must be located in the twinning of media and military technologies. As Sigfried Zielinski argues, however, reiterating the assertion made earlier by Lewis Mumford (1934: 12-18), nineteenth-century military and media technologies both depended for their mechanization and automation on the logically and chronologically prior development of the clock (Zielinski 1999: 72-74). The new armaments and logistics of the Maxim gun and the tank, like the new network of rail and telegraph, like the structured time of the shutter, derive both technologically and conceptually from the mechanized measurement of time. Without the mass-scale precision engineering required by the popularization of watches and clocks in the 1870s, the machine gun, the railway schedule, the production line, the cash register, and the cinematograph are not thinkable. The splitting of human actions into mechanically discrete movements, the atomization of economics and bureaucratic flows into distinct and quasi-autonomous, even meaningless keystrokes on the adding machine and typewriter, the Taylorization of work at Ford's River Rouge plant all spring from the same imagining of time as a discrete series of steps. And yet, although the cinema has the discretion of a chronometer, it also struggles with other temporalities, some coming into being, some fading from their old hegemony. However important the addition of the second hand to mass-produced watches, it alone cannot account for the opening up of microscopic, infinitesimal times, or the mise-en-abyme of the commodity fetish as it spiraled into spectacle.
“What would the world be like from an underground perspective?”
SURFACE is an experimental film, exploring the emotional journey from an underground urban perspective. This 'urban symphony' transforms human actions and street objects into beats that harmoniously compose a grand audio and visual composition. The film emphasizes the ideas of ‘point of contact’, ‘human identity’ and notion of ‘live footprints’.
SURFACE is a part of UND-VIS, a thesis project for MFA Design and Technology, Parsons The New School for Design. UND-VIS : Under Vision Experiment; explores the new visual language of an unconventional perspective from below.
More info. + behind the scene : www.surfacefilm.com
©2009 COPYRIGHT - All Rights reserved
Project info @ http://vimeo.com/channels/keithloutitssydney
This film is 100% 'real', but there are some new techniques for me here, such as using time lapse to create the illusion of forward movement for the helicopter ocean scenes. These flight sequences would not be possible without the skill and patience of Chief Pilot Peter Yates. Thanks also to Trevor Cracknell (for getting wet!) and Family.
Artist Info @ www.keithloutit.com