Tue 18 Jul 2006
this is just for Simon. who by now is on a plane going to Sydney.
another 2 secs.
trying to strengthen the sense of narrative over such a small timeframe.
visual
Archived Posts from this Category
Tue 18 Jul 2006
another motion50 / flip
finally got some footage of simon to be able to add him to the growing archive of 2 second films. in cutting the film i was keen to see what effect adding audio could have – based on the effectiveness of the audio in the last one i made. so i went for something a little funny – funny ha ha not funny odd.
on watching this i then thought about inserting blank frames again. this time i added them into every second frame. it creates a flicker that gives the impression of a celluloid flicker – ar at least hints at it. so the effect seems to make the still frames even more like a dance, more continuous even in their abruption. for me it also shifts the way the audio works – it’s much less funny. or maybe that’s because it was a one time gag – the subsequent viewings perhaps don’t sustain the joke.
have a look and see what you think. the first is the original and the second is the flicker version.
also, to view all the mirco50s to date you can use the category listing on the right -> or click here
the first edit [0:02m]: Play Now | Play in Popup | Download the second edit [0:02m]: Play Now | Play in Popup | DownloadMon 17 Jul 2006
another. sound. narrative. white and black frames.
Mon 17 Jul 2006
yet more influence. inserted “long” visual silences within the material.
Mon 17 Jul 2006
so, just because i can’t help but be influenced by these two… here’s my next 2 sec flips that also moves away from the single frame or 2 frame rule. the thing i started playing with here though is the use of blank frames. will try to get back to my own more rigid experiments as soon as i can.
Mon 17 Jul 2006
Trialling my first 2 sec flip. With audio and (embedded) text. And like Paea, I did not limit myself to 2 frame grabs, but unlike Paea, I kept it to 2 seconds total.
Mon 17 Jul 2006
simon really is able to pump out those posts, eh? *grin*
this morning paea and played with a simple dance task in improvisation. we looked at the terms initiate and respond. this began as an alternating solo task – with the each of us responding to the previous. after four 5 minute solos we stopped and discussed the situation. the structure we established allowed an accumulation, so that in each succeeding solo there were traces and remenants of the previous solos. one of the words i wrote while watching paea dance was repurpose. in responding there is, amongst other things, a range from the simple mimetic to the complex reinterpret – the word repurpose seemed to fit somewhere in between those two end points. the idea being that to repurpose a movement or phrase was to retain the essence of the material but imbue it with the interest or influence of your own dance. in watching it seemed clear to both paea and i how there were threads coming through from each subsequent solo.
we also discussed how broad the term respond is. there’s such a wide variety of elements that this term could cover and how you could implement it.
we then shifted into dueting keeping a focus on the modes of initating or responding. for me this immediately opened up a whole new range of questions. the distinct modes become more and more blurred through dueting. an initiation becomes a response becomes an initiation and i think you get the idea…
we also decided to video this dueting for use in the flips. look out, there’ll be some up here later today i’m sure.
finally, there was a moment of experimenting with using a tripod as a mini crane and also as a simple steadicam. paea and i are planning on making a little dance film and, after watching Fearless on the weekend i was inspired by those sweeping overhead crane shots and wanted to find a small scale version for us to use! the clip is below, tripod angles, and is a little dark.
Wed 12 Jul 2006
Studio 2 – PICA. Afternoon. 11 July 2006.
Mon 10 Jul 2006
playing with the idea of micro editing. the following text lists the simple processes for exploring the notion of a 2 second feed. taking motion and editing it to stillness then reanimating through compiling frames together. looking at composition, choreo-cinematography, remapping time, loss of information, redundancy, reconfiguring and perception. just for starters of course.
from these edits there are two main streams in terms of inscribing the images. the first is through following the chronological progression of the movement. that is, taking a phrase (be it through movement of body, camera or both) and pulling out frames so that there is still a sense of shape or linearity in the resulting images. it’s almost like the reverse of time-lapse photography or stop-motion animation.
the second stream is more about dislocating the images from their chronology and composing the sequence through other means. each frame has a relationship to the preceding and succeeding frames. this becomes a more compositional assemblage where the editing takes precedence in the choreography of the piece.
other things: what is the resulting visual impact of extracting frames from a linear progression? does it allow the inbetween moments to be represented? are those missing elements holding signifigance in their absence?
using a cell size of 2 frames instead of 1 creates a very different experience. the fractions of movement that the eye picks up with 2 frames makes the sequence fit into a dance idiom. some interesting reading here.
things to try: turn your sound off when you watch them. open them all up in pop-ups and view at once. download to your desktop and open all in quicktime – set them to looping playback. observe the topography of the studio. step through them frame by frame. the clips are listed in order below the body of this post.
process 1
fixed frame, dancer walking and standing score.
import entire 3min clip into FCP
edit frames from viewer onto timeline
1. choosing static poses (1 frame)
2. choosing ‘in-between’ moments (2 frames)
3. compiling chronologically
process 2
fixed frame, dancer walking and standing score.
import entire 3min clip into FCP
edit frames from viewer onto timeline
1. choosing static poses (1 frame)
2. compiling frames with repetition of images
process 3
fixed frame, dancer walking and standing score.
import entire 3min clip into FCP
edit frames from viewer onto timeline
1. choosing ‘in-between’ moments (2 frames)
2. compiling chronologically, duplicating
3. reversing duplication.
process 4
moving frame, dancer improvising with a focus on relationship to camera and sense of moving through the frame
log and capture clips into FCP – extracting ‘useful’ sections
edit frames from viewer onto timeline – one clip at a time
1. choosing dynamic moments (2 frames)
2. compiling chronologically – 5 segments only to create a section
3. repeat section
process 5
duplicate sequence from process 4
1. reduce each cell to 1 frame only
2. duplicate to fill 2 secs
process 6
moving frame, dancer improvising with a focus on relationship to camera and sense of moving through the frame
log and capture clips into FCP – extracting ‘useful’ sections
edit frames from viewer onto timeline – one clip at a time
1. choosing dynamic moments (2 frames)
2. compiling chronologically
process 7
same as process 6 – different footage.
process 8
same as process 7 but there are 2 frames for each cell – this is a 4 second feed
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