Meg – Overall, this OGR is a very solid start to your Premise project. I like the theme and experimental nature of your approach. The early 3D result look very promising too alongside a good array of drawings, animation ideas, metaphoric/representational ideas, and 3D/hybrid possibilities. Well done.
I do have two ‘concerns’ (for the lack of a better word). Firstly, finding an outcome. Simply put, at some point you will need to turn your experiments into an animated short (or something else?) to take it beyond a series of isolated films. As we discussed, keep that future outcome in mind as you work. Experimentation is great but too much can be bad.
Secondly, I would have expected a few more finished experiments in this OGR, however basic. When I spoke to you last you were working on a second shot (light cast). It is a shame that it didn’t make it into your post - Particularly given how simple it is (technically speaking) in comparison to your first. There is a lot of experiments to do in relation to the time you have left this term – You will need to at least make one to two shots per week to explore all of your ideas and achieve the projects potential. Keep going though Meg, I look forward to seeing the next post.
Hey Meg - just chipping in here to say, I think there is a creative writing aspect to your Premise project that will help you fix down the actual 'carrier' of your ideas in terms of how an audience will arrive at your film. You've been producing some nice 'free association' drawings which are your ongoing attempts to 'capture' your private/subjective experience of 'over thinking'... and I think it would be really useful if you found some text-based methods now by which to further bring things into focus...
I'm just going to drop some more avant-garde spoken word references in your general direction: don't take fright, but I think there's an argument here for you to think bravely about how you might start to consider expressing the experience of your own head in ways that don't necessarily relate to traditional scripting or voice-over work...
https://www.youtube.com/watch?v=VZ3-zmujXho
Likewise, the work of minimalist/percussive composers - for example, this wonderful example by Steve Reichs involving spoken word samples and loops/layerings...
https://www.youtube.com/watch?v=1E4Bjt_zVJc
I guess what I'm wondering is what would some of your drawings 'sound like'?
There is something about the 'noise' of over-thinking and 'the palimpsest' of thoughts echoing round and round that makes me think that music/spoken word is central to this expression of your experiences, and I think there is a big argument here for you collaborating with other creative practitioners in the development of this film. I think you should also look at experimental animation/animators as a further means of emboldening your vision for your work...
Check out Norman Mclaren, Oskar Fischinger, Walter Ruttman and Stan Brakhage. I'd suggest there's an avant-garde factor to what you're doing here - surrealist/dada too - and I'd like to see you embracing some additional visual research in this sense, and also thinking now about 'the noise' element implied by your drawings and the experience they describe.
Meg – Overall, this OGR is a very solid start to your Premise project. I like the theme and experimental nature of your approach. The early 3D result look very promising too alongside a good array of drawings, animation ideas, metaphoric/representational ideas, and 3D/hybrid possibilities. Well done.
ReplyDeleteI do have two ‘concerns’ (for the lack of a better word). Firstly, finding an outcome. Simply put, at some point you will need to turn your experiments into an animated short (or something else?) to take it beyond a series of isolated films. As we discussed, keep that future outcome in mind as you work. Experimentation is great but too much can be bad.
Secondly, I would have expected a few more finished experiments in this OGR, however basic. When I spoke to you last you were working on a second shot (light cast). It is a shame that it didn’t make it into your post - Particularly given how simple it is (technically speaking) in comparison to your first. There is a lot of experiments to do in relation to the time you have left this term – You will need to at least make one to two shots per week to explore all of your ideas and achieve the projects potential. Keep going though Meg, I look forward to seeing the next post.
Hey Meg - just chipping in here to say, I think there is a creative writing aspect to your Premise project that will help you fix down the actual 'carrier' of your ideas in terms of how an audience will arrive at your film. You've been producing some nice 'free association' drawings which are your ongoing attempts to 'capture' your private/subjective experience of 'over thinking'... and I think it would be really useful if you found some text-based methods now by which to further bring things into focus...
ReplyDeleteI'm just going to drop some more avant-garde spoken word references in your general direction: don't take fright, but I think there's an argument here for you to think bravely about how you might start to consider expressing the experience of your own head in ways that don't necessarily relate to traditional scripting or voice-over work...
https://www.youtube.com/watch?v=VZ3-zmujXho
Likewise, the work of minimalist/percussive composers - for example, this wonderful example by Steve Reichs involving spoken word samples and loops/layerings...
https://www.youtube.com/watch?v=1E4Bjt_zVJc
I guess what I'm wondering is what would some of your drawings 'sound like'?
There is something about the 'noise' of over-thinking and 'the palimpsest' of thoughts echoing round and round that makes me think that music/spoken word is central to this expression of your experiences, and I think there is a big argument here for you collaborating with other creative practitioners in the development of this film. I think you should also look at experimental animation/animators as a further means of emboldening your vision for your work...
Check out Norman Mclaren, Oskar Fischinger, Walter Ruttman and Stan Brakhage. I'd suggest there's an avant-garde factor to what you're doing here - surrealist/dada too - and I'd like to see you embracing some additional visual research in this sense, and also thinking now about 'the noise' element implied by your drawings and the experience they describe.