Scores for Project 3

Hey everyone.  As promised, I'm posting several scores by both filmmakers and music composers as examples of what you might do for your own scores. 

I took several examples from here:

http://www.smithsonianmag.com/arts-culture/5-12-examples-of-experimental-music-notation-92223646/?no-ist

Kubelka

"Twenty-four frames, which you feel , which you always feel" - Kubelka
I had never considered the commonalty between frames per second and notes per measure. They share the principle of rhythm. "Cinema is not movement"  -Kubelka Most would respond with, No it is movement. Kubelka explains that each frame is a still image. We are simply viewing still images, not actual movement. The still images are show to a rhythm found in the flow of twenty-four frames per second. Each second is the equivalent of a measure of music. The emphasis of your own reality and understanding that you cannot truly understand any other reality really stands out in my mind. I am a creator and with each creation I find a meaning behind it. If you create something based on something in your reality, it won't necessarily be completely be understood by someone living a different reality. "The danger in film-making lies in thinking that bringing nature to people will be useful"-Kubelka. Film making brings the creator's world. This world is different for your own reality and can be interpreted in an infinite amount of ways by viewers.

Creating something locked to our own reality is not a hindrance, it's a reality~
Filming at 24fps (or any fps really) won't ever be the same I think, thanks Kubelka!

Kubelka's Rebellious Pragmatism

Kubelka’s most interesting statement in this article is that “cinema is not movies,” which conflicts a bit with the previous Eisenstein article.  While Eisenstein made movies delving into experimental techniques, Kubelka is harkening back to the ideas previously communicated by true avant-garde arbiters like Brakhage and Smith.  Kubelka seems interested in bucking trends and defying expectations yet adhering to some formulaic means of doing so. 

The story surrounding Schwechater is the best example of this.  The struggle between creative expression and corporate interests is a long fought bout.  Every new company wants to be “edgy,” but when a corporation seeks out the assistance of an avant-garde artist to communicate their vision, the result very rarely results in an eye-to-eye meeting between the two.  While Kubelka was not concerned with creating a “coherent” publicity piece for the titular company, he still used a system of rhythm and loops to create a complete piece that also used aspects of the product at the heart of the film (i.e. – the color red, film shot on site at a restaurant of models drinking the beer, etc).

While there is a focus on the “metrical” aspects of his films in the breakdown of his frame-by-frame systems or frame-to-whole ratios, Kubelka’s rebellious attitude is what fascinated me most in this reading; his rebellious attitude and the last bit that explores ideas of the ecstatic in filmmaking (and art in general). 

It’s interesting that Kubelka equates the ecstatic with death, to break free of the routine dirge of life.  It is even more odd then that Kubelka seems to believe he achieves some level of ecstasy from a pragmatic, repeatable structure to making his films.

Methodical Montage in the Realm of Experimental Film

Eisenstein’s Methods of Montage seems more inclined towards an analytical filmmaker’s technique than the previous mystical musings of artists like Smith and Belson.  Using various analyses that break down the rhythm of a film as expressive if its themes or tone, Eisenstein shows us a means of communicating to a viewer without explicitly showing us in explicit, conspicuous terms. 

I experienced this in the creation of my second film for this class as I became pretty caught up in the ide of creating a film frame by frame, inspired heavily by previous examples or the “flicker” films we were shown previously.  The process became extremely tedious, but viewing the final product did create a very unique sensation. 

I wonder however if this is more from the rhythmic tone of the piece or due to it being tethered to a very cacophonous, blast-beat soundtrack.  This relationship between film and sound is very interesting to me, and reading this piece by Eisenstein makes me wonder what the final result would have been without the connotation and weight of a soundtrack.

Although looking at some examples of Eisenstein’s work, soundtracks seemed to play a critical role in his films as well.  He also was perfectly tied to the time in which he lived and the area he lived in relation to his theories on editing.  Invariably tied to Marxist ideas and a culture propagated on propaganda, Eisenstein undoubtedly pulled from these ideas in his own work.

These ideas made me think to a scene from one of my favorite movies, Pan’s Labyrinth.  In the scene the protagonist enters the lair of a character called the Pale Man.  The scene transpires with mostly equal measured clips until the aforementioned creature chases after the protagonist.  There is also a smaller instance within this scene that I would argue is somewhat indicative of Eisenstein’s “intellectual montage.”  When the Pale Man grabs and eats the fairies that accompany our heroine, it is a direct and obvious recall to William Blake’s painting Saturn Devouring His Son.”  While Guillermo del Toro doesn’t flash the painting as a frame within his movie, our mind’s eye recalls it in a split second and the montage transpires within our own imagination.

https://www.youtube.com/watch?v=OSICJJq86ic

”The greatness of cinema is not that you can repeat natural light with natural sound, but that you can separate it.
In nature no lightning can occur without thunder, no thunder without lightning, but I can separate it.”
-Peter Kubelka, The Theory of Metrical Film.

Kubelka's films have an aura of dis-reality. We are given a hint of what is really happening, he seems to compartmentalize components of reality;sounds, images. He takes the tools given and the subject matter put before him to effectively create what he calls "his own world"; an objective creation that creates an objective.

His approach to film making is very unique and partly a product of his time with the tools he had to work with. Not many people are able to look at a film strip or a cut of footage and see it not as simply footage, but a piece of a puzzle, like that of a beat in a rhythm. This methodology is so unique that when initially searching for artists in modern day that do works like his, I ran into videos on chaos theory. If one can compare his work to a controlled litany of chaos, then this isn't so far fetched.
Take  Adebar, an early experimental film of Kubelka's, for instance. It not put together sequentially in the traditional sense. It is arranged in a way that pays close attention to silhouettes and timing, not of a clear sequence of movement and story. It creates a repetitive and for me unsettling piece.

I do however, identify with his thinking, that most art is too preoccupied with explanations or defining the subject. Because we all experience life differently, we will interpret art differently, even from what the artist thinks about his or her own work. By allowing the work to be non objective, it invites the artist and the viewer a freedom of interpretation and experience.

A Theory of Metrical Film

Peter Kubelko expresses his feelings about how artist tries to define their work too much. The vision becomes one sided and the chance for exploration and discovery may be lost. I for one, completely understand his mindset and share his view in allowing the audience to discover and interpret what they see, hear, feel. He speaks of how even though we all live this world, that all of our experiences in how we perceive life is different. The world doesn't revolve around you; so what triggers one may not be the same for another. "Each of you, as you sit here, lives a different life, so to say: the same time" a different consciousness, a different mood, different observations, different evaluation of the observations. These things or courses of interest come out from practically the past of humanity-- come out from your age, your experience, your education, your state of health, your parents, your parents' parents and where they have been and so on."-- Adevbar

Project 2 notes and references for Project 3

starting in Ae                                            

       
inputs for New Comp.

Next make a New Layer



In effects this is to make the "fireworks" effect


when ready to export go to Render Queue



Two ways to render- this option you might get color loss FYI






To have a live feed between Pr - Ae

Go into Pr and import your Ae and right click your .mov in Pr and go to "Replace with Ae Com"


(can do this with Au also)


Add Ps Layers that can be manipulated in Ae 

open photoshop-



if you can change background to transparent and keep doc type in film in video do it other wise just stay with custom


export you psd file and do not flatten your layers you want to change
go to import in Ae



Retain Layer Sizes



2nd screen will show match to above
you now have all your photoshop layers


good tool to use for your layers




can animate







PROJECT 3
'
download PD-Extended



good reference ^ cheetomoskeeto -youtube


good resource ^


Light Surgeons - Super Everything
example shown in class
http://www.lightsurgeons.com/art/supereverything/