Wells Reading Response

I think that there is an interesting separation pointed out between orthodox animation and other forms. i know that when i think of "orthodox" i think controlled, understandable, basic, and possibly even considered more "boring" than other animations, althought growing up i definitely preferred a cartoon over any form of live action. Old disney films would most likely be the most relatable for me. Tho, as time progressed my tastes in the maturity of the animation progressed, especially when thinking about japanese anime. Im not much of a nerd in the department but Ive seen how they take the traditional cel animation and hyper realism discussed in the readings and made some of the most beautiful imagery I have ever seen. especially with the film the Animatrix. in the later years I started thinking that "hey i guess animation doesnt need to be just like regular films" then i realized there was that entire other side : EXPERIMENTAL. the chart in the text clearly illustrates the distinction i had never even thought about before. the narrative aspect sort of threw me off conidering i for some reason never thought you can make ANYTHING occur in the frame in an animation, which poses an interesting question: why do so many animated films hold the specific structure that non animated films have? why dont they all take advantage of the chance to make impossible things happen?? thats what my 495 is hopefully going to do a little bit...

Chion Readings

when sound is applied to image, fireworks occur! it truly is a special relationship that audio has to an image that it did not have before. some sort of added presence that evokes emotion. i know that when i see a film on TV but the volume is on mute i feel somewhat disconnected from the visual source; it does not have me truly consumed in its clutches. but when headphones or some sort of louder audio source is introduced, somehow the music makes the magic happen. i liked how in the reading he talks about sound being the first thing our brain processes, and that its not something we really actually recognize right away. it is a completely different medium, absorbed by a completely separate realm of sensory perception, and it seems the combination of these two by our brains creates something new, as different ingredients when cooked make a tasty recipe. this also kind of reminds me of that film we watched in class where the image going thru the projector was actually causing the optical soundtrack to provide "music" simply because of how the film was scratched in that area. In this case, the sound is a biproduct of the image, and yet it adds so much to the film. There is a rhythm of sound that matches the image, that being the first thing we register upon our first viewing. another connection i thought of was the rhythmic editing examples by the previous class. There were some with sound and some without, and the ones lacking felt longer and more arduous to watch then the others. It is almost like a catalyst that causes the chemical reaction of FILM to occur. It is truly fabulous and mysterious... o.0

Synesthesia

synesthesisa is an interesting condition i think we all have a small amount of, tho not to a point at which one could be declared mentally cockeyed. we recieve all of everything that we know to be our own reality through one of 5 physical senses, and it would make sense that sometimes they can crossover and connect differently. In a way, something as simple as smelling cookies can make us feel physical sense of coziness that can actually translate to the muscles in our bodies. So in a way, we can relate to those with this condition on various levels, especially in the films we watched in class. in a way, completely different elements of different things all can relate. take the color red for example. we can relate that one color to numerous other ideas such as warm, spicy, love, pain, anger, intensity. All of these abstract ideas stem from one single color because of millions of subtle connections among them. it would be ridiculous to say that at anytime we are only utilizing one single sense alone form the others (unless of course the case of deafness, blindness or other disabilities), and in this way we can look at the color pink and almost catch the faint hint of roses borne on the breeze, simply by the powerful association we cant control.

Response Dos_ Camera-less Filmmaking

cameraless moovie makin is probably the most fun Ive had making something that looks cool when projected everrrr. up until this point i had never used or even touched film and already we've made some awesome looking products with little effort! whoever thought of using magazine transfer for film is brilliant and should win an award! the scratching and painting on film was ok, not my fave, but I just love the way tape looks with the ink on it; it reminds me of comic books or that intro to all of Marvel's films. I can definitely see myself using some of these techniques in combination with my compositing and visual effects to create some really unique and stunning graphics and transitions. I think the reason making a movie without using camera to capture light on a layer of film emulsion really almost can define itself as "true film MAKING" in the sense that you arent just using a piece of technology to essentially copy images from the real world to be viewed later, but you are personally making and designing art that will be put into motion at "X" frames per second, and I think it's special. Film as a medium is really starting to finally create a root inside my thoughts about how best to share whatever creative or artistic images I can muster, and I am excited to learn more, especially hand processing.