POST-PHOTOGRAPHY
CONCEPTUAL POSTPRODUCTION
SLIT SCAN EFFECT
Slitscan imaging techniques are used to create static images of time-based phenomena. In traditional film photography, slit scan images are created by exposing film as it slides past a slit-shaped aperture. In the digital realm, thin slices are extracted from a sequence of video frames, and concatenated into a new image.
http://folksonomy.co/?keyword=54299
http://camilleutterback.com/projects/liquid-time-series/
http://camilleutterback.com/projects/shifting-time-san-jose/
http://folksonomy.co/?keyword=54299
http://www.lightmoves.net/videostreamer/more/more.htm
http://research.microsoft.com/en-us/um/people/cohen/stylized_video.pdf
http://www.flong.com/texts/lists/slit_scan/#mak
http://www.waliczky.com/pages/waliczky_sculptures1.htm
http://www.digitalitis.de/timemirror.html
Digital Storytelling: The Narrative Power of Visual Effects in Film
Computer-generated effects are often blamed for bad Hollywood movies. Yet when a critic complains that «technology swamps storytelling» (in a review of Van Helsing, calling it «an example of everything that is wrong with Hollywood computer-generated effects movies»), it says more about the weakness of the story than the strength of the technology. In Digital Storytelling, Shilo McClean shows how digital visual effects can be a tool of storytelling in film, adding narrative power as do sound, color, and «experimental» camera angles–other innovative film technologies that were once criticized for being distractions from the story. It is time, she says, to rethink the function of digital visual effects.
Round and Round and Consumed by Fire (2009). Claudia Joskowich
Text by Omer Fast
«Take 16 minutes to learn something about Bolivian history. Or maybe not. Claudia Joskowicz’s two new video works, shown at Thierry Goldberg Projects, depict historical moments dramatically poised on the brink of a violent eruption. At first glance, the actors we see appear frozen even though they’re alive, as if God (or the artist) has buggered off, time has stopped, and the drama can’t or won’t conclude naturally. In Vallegrande, 1967, we slowly approach a dilapidated shed in a rural setting. A few curious locals have gathered to gawk at a dead body lying inside. Nude and supine, the dead man is watched over by soldiers and an eager photographer, who has climbed on the makeshift bier in order to get a better picture. In Round and Round and Consumed by Fire we are again in a rural village of mud bricks and shingled roofs. Two light-skinned men bearing pistols stand in front of a façade. They stand guard, perfectly still, awaiting the arrival of a band of soldiers who appear in the distance.»
Continue reading:
http://bombmagazine.org/article/4711/claudia-joskowicz
To see Claudia´s webside visit:
