Hey Eleni -
Figure out a way of planning that works for you.
Keeping a notebook or sketchbook, using post-it notes or index cards,
researching - these activities often support the filmmaker through the making
process . . . You can write with pencil on paper or with a computer.
Short/simple
Nick wrote -
Are animated gifs the appropriate contemporary format for this line of
inquiry ( this = Arnold's work ) or is the gif-ification a perversion ( in
the negative sense ) +/or compromise?
I don’t see any of those negative evaluations (perversion in the negative
sense) - I see
1.
Scott Blake created a digital process of aping Chuck Close’s paintings, the
‘chuck close filter'. At Chuck Close’s request, he squashed the project.
However, an animated .gif he made using Muybridge as a starting point (and the
whole weird story) is visible at hyperallergic -
beautiful/strange https://vimeo.com/7656765
a 3-minute animation made in a 72-hour filmmaking ‘challenge weekend’ in 2006.
Fibonnacci in relationship to time.
Thanks!
Jessica
http://www.drawclose.com
On Aug 6, 2014, at 2:25 PM, c b bigmuddy2...@hotmail.com wrote:
Yes I'm looking for a
um, this is kindof awkward ~
I make screen glitch video. I love talking about datamoshing and other
codec alteration processes work; it is unlike any analog film process, though
analogies abound. I used to do 16mm hand-altered film, that’s part of why I’m
on this list, it’s the tradition I
Hello Eric -
You can use Compressor to create .mp4 files that are small enough to meet your
needs.
I can provide you with a click-through for creating a custom setting that you
can re-use in the future.
What version of Compressor and OS X are you using?
Also we can keep this off-list unless
Matt, this is a fantastic document . . .
This is thought to simultaneously relax the brain and increase active
engagement as the mind “fills the gaps” between each shutter interruption. In
this way, the brain constructs perception of movement from distinct still
frames.
Its interesting to me
The opening sets up --
first, a tension between the actual experience of life as a series of
sychronicities via singular point of view (the narrator finds only fragments)
and the very real need for a cohesive story for the psyche to hang on to (the
narrator I was looking for a story
Thanks for sharing this. I have certain obsession with film stock itself as
memory to be made public, 'decay as forgetting' is important to me -
Jessica
* * *
http://drawclose.com
On Jan 15, 2015, at 6:40 AM, Michael Betancourt hinterland.mov...@gmail.com
wrote:
I have a short write-up
All the Agent Smiths? Or camouflaging “the good guys”?
On Apr 20, 2015, at 4:37 PM, Gene Youngblood ato...@comcast.net wrote:
Friends,
Which one of the Matrix movies has a scene where a crowd of people are
dressed exactly the same, so that the one being targeted can’t be identified?
I made the “Amanda Bonaiuto” model last year, using the directions found on
this page (scroll down) :
http://smfaanimation.blogspot.com/p/animation-workspaces.html
http://smfaanimation.blogspot.com/p/animation-workspaces.html
Its kindof gigantic, but I made it so that I could fit a set of
Hey Ken
IDK if you’ve found a solution, but I was curious about your issue. I love
timelapse but the process can be hard on digital camera bodies depending on how
the machine is built to execute the task. This kind of programming decision was
added to DSLRs later - a tertiary feature - as
Off the top of my head, The Brothers Quay did one, as did Robert Longo.
If I think of other resources or references for you, I will pass that along.
* * * * *
Jessica Fenlon
artist : poet : experimental
http://station-number-six.com
flickr : vimeo : instagram
> On Jun 13, 2017, at 11:18
Thank you for your observations on the role of scholarship in creating centered
spaces for auteurs Evan.
When female filmmakers voices are centered, when I as a woman don’t have to
decrypt and explain what is perfectly clear to me — I was raised literate in a
male visual vocabulary (as is
I.thou is an experimental film (datamosh, so explicitly digital media)
deconstructing deadgirl narratives in American media culture. I made it to
unpack watching a lifetime of media made my men putting female characters in
violent/life-threatening situations as entertainment. The soundtrack is
Hi there Caryn -
I really love this question. I think the answers are complicated.
I have not seen closed captioning or subtitling *successfully* applied to
experimental work, to communicate sound design. I say that in part because of
watching Twin Peaks: The Return last year and occasionally
I know it’s “television” but ... Twin Peaks : The Return is, in its entirety,
astonishingly slow. Certain scenes are given the padding of ‘not turning away’
from really uncomfortable moments (especially couples fighting). One episode
ends with a 3.5 minute shot of a bartender sweeping up peanut
I’ve been observing this situation and reflecting on the need for competing
skills inside one person:
- adherence to personal vision in the studio
- the flexibility of ego to collaborate well with colleagues and students in
the educational environment.
I’ve seen behavior like this in art
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