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DIVERSION-saigonggan 사이공간 _ more details & workflow http://hyunmini.com/?p=377 Constantly feeling rushed. Habitually saying ‘too busy’ or ‘quickly’. Always apprehensive that things might not be done in time. The desire to act quickly is basically a matter of speed. Elevation of speed requires reduction of time. The most economical way for this formula is a straight line. Connecting two points; starting and ending point, without a gap. People, consumed by the aim to reach the ending point, proceed rectilinearly. The space in between is merely a path leading to the ending point, and nothing more. This interspace has been omitted due to the rectilinear motion between the two points. Could people be liberated from the obsession of unidirectional movement and speed, if a new perspective is formed by visually converting the direction of spaces with intense unidirectional propensity? Walls, doors and passageways that can involve the audience are installed in the interaction version. An image is projected onto the wall. It starts from the z-axis, consistent with the direction of the person advancing through the door. The image is composed of one-point perspective spaces and situations with intense unidirectional propensity. When the person proceeds in the intended direction, the sensor perceives the movement and the projected image revolves to the x-axis perspective. The image has a flat layout, lacking space perception. With the movement of people as the variable, the image portrays different spaces revolving on their axises. In the animation version, symbolizes the interspace. Generally, fish are recognized from its profiles. It is more natural to visualize fish moving in the intersectional direction of people’s line of sight. While we constantly move rectilinearly, the space from the side; the interspace, could inhabit naturally travelling sideways. 늘 쫓기는 마음이다. ‘바쁘다’,’빨리빨리`를 입에 달고 산다. 제시간에 다 해내지 못할까 봐 불안하다. 빨리하고 싶은 마음은 결국 속도에 관한 문제다. 물리적인 속도를 높이기 위해선 소요시간을 줄여야 한다. 이 공식에서 가장 경제적인 동선은 직선이다. 출발점과 도착점, 두 점 사이를 막힘없이 이어야 한다. 사람들은 움직이는 동안 도착점에 이르러야 한다는 생각만으로 직선 운동을 하고 있다. 사이의 공간들은 도착점으로 가는 길, 그 이상 이하도 아니다. 이 사이공간은 출발점과 도착점 사이의 직선운동에 의해 생략되어 버린 지점이다. 사람들의 일방향성이 강하게 나타나는 물리적 공간들이 향하고 있는 방향에 시각적 변형을 일으켜 새로운 지점을 만들 수 있다면 사람들의 일방향적인 움직임과 속도에 대한 강박에서 벗어날 수 있지 않을까? 인터렉션 버전에선 사람들이 실제로 이동할 수 있는 벽, 문, 통로를 설치한다. 벽면에 프로젝터를 이용하여 영상을 투사한다. 처음에는 문을 이용하는 사람의 이동방향과 같은 z축의 영상이 나온다. 이때 영상에선 일방향성이 강하게 느껴지는 일소실점 공간과 상황을 보여준다. 사람이 의도한 방향으로 진행하면 이를 센서로 감지하여 벽면에 투사되고 있던 영상 속 공간은 x축으로 회전한다. 이때 영상은 공간감이 거의 느껴지지 않는 평면적인 레이아웃으로 구성한다. 사람의 이동이 변수가 되어 축이 회전하는 다양한 공간들이 연출된다. 애니메이션 버전에서 볼 수 있는 물고기 인간들은 사이공간을 상징한다. 일반적으로 사람들은 물고기를 옆면의 모습으로 파악한다. 물고기는 사람의 시선 방향과 교차하여 움직이는 것이 더 자연스러운 셈이다. 우리가 빠르게 직선운동을 하는 동안, 옆면의 공간- 사이공간에서는 옆으로 움직이는 것이 더 당연한 물고기 인간들이 살고 있을지도 모른다. _ (c)HYUNMINI.COM HIVCD GRADUATION PROJECT
1月3日
When it was released in 2013, Gravity was that rare case of a movie that was (generally) well received by public, critics and film scholars alike. Critics even wielded lofty terms such as "avant-garde" and famous film scholars described it as an "experimental film". High and nearly unanimous praise indeed. But Gravity is also a movie of contradictions. It features state-of-the-art special effects that push the boundaries of film technology. Yet this high tech extravaganza also evokes early cinematic technology and experience. It is a film that focuses on bodily experience, taking us on a breathless ride with the (heavily breathing) Sandra Bullock. Yet in other ways this film denounces the human body and its autonomy. Several years have passed since Gravity blasted off in cinemas, so maybe this is a good time to take another look at the movie and at what makes it remarkable. What is its importance in film (and even art) history? Did it herald a new way of filmmaking or did it harken back to earlier episodes of this art form? Those are the questions this video essay tries to address, along the way connecting Cuarón's movie to abstract expressionist painting and computer chess. Please visit www.filmscalpel.com for detailed credits. This video was made solely for educational purposes and makes "fair use" of copyrighted material. Fair use is codified at Section 107 of the Copyright Act: Under the fair use doctrine, it is not an infringement to use the copyrighted works of another in some circumstances, such as for commentary, criticism, news reporting, or educational use.
1月3日
"Sonámbulo / The Sleepwalker" is this week's Vimeo Staff Pick Premiere. Read a Q&A with director Theodore Ushev here: https://vimeo.com/blog/post/staff-pick-premiere-the-sleepwalker A surrealist journey through colours and shapes inspired by the poem Romance Sonámbulo by Federico García Lorca. Visual poetry in the rhythm of fantastic dreams and passionate nights. A film by Theodore Ushev Music by Kottarashky Production: Les Productions Unité centrale / 9311-8990 Quebec Inc., Canada, 2015 Distribution: Bonobostudio (International), La Distributrice de films (Canada) AWARDS Special Jury Award, Animafest Zagreb 2015 Special Mention, Fest Anca 2015 Best Music Award, Animator Poznan 2015 Canadian Film Institute Honorable Mention for Best Canadian Animation, Ottawa International Animation Festival 2015 Special Mention, Multivision International Festival of Animated Arts 2015 Alva Costa Award for Best Short Film up to 5 Minutes, Cinanima Espinho 2015 Honorary Distinction, Etiuda & Anima International Film Festival 2015 Special Mention, Longue vue sur le court 2015 Special Mention, Sommets du cinema d'animation 2015 Best Short Animated Film Award, Les Rendez-vous du cinéma québécois 2016 Special Prize, Hiroshima International Animation Festival 2016 MORE THAN 100 FESTIVAL SELECTIONS, INCLUDING: Holland Animation Film Festival Annecy International Animation Festival Animafest Zagreb Ottawa International Animation Festival Toronto International Film Festival DOK Leipzig Edinburgh International Film Festival Encounters Short Film and Animation Festival Curtas Vila do Conde IndieLisboa Cinanima Espinho Anima Mundi Guanajuato International Film Festival Sao Paulo International Short Film Festival Vienna Independent Shorts Melbourne International Animation Festival ANIMATOR Poznan Animatou Geneva Anim'est Bucharest Sapporo International Short Film Festival Uppsala International Short Film Festival Festival du nouveau cinéma Montréal London International Animation Festival Animateka Ljubljana Anima Brussels Ann Arbor Film Festival Stuttgart International Festival of Animated Film Hiroshima International Animation Festival More about the film: http://bonobostudio.hr/en/film/distribution/sonambulo
1月4日
Song by Tony Anderson: “The Way Home" (Licensed through The Music Bed: https://www.musicbed.com/) Follow me: http://www.mikeolbinski.com / http://www.twitter.com/mikeolbinski / http://www.facebook.com/mikeolbinskiphotography / http://www.instagram.com/mikeolbinski For quite a few years now I've been wanting to do something different with my time-lapse films. I love color. Storms are full of color. The blues, the greens, the warm oranges and reds at sunset. The colors are sometimes what make a simple storm into something extra special. But black and white speaks to my soul. I love it. There is something when you remove the color that lets you truly see the textures, movement and emotion of a storm. And then you hear a song. I had asked my buddy Jay Worsley (https://vimeo.com/jayworsley) if he had heard anything lately that might rock for a black and white storm film, and he linked me to Tony Anderson's "The Way Home." The moment I heard it, I knew that was the song. My recent films have a frantic pace to them and people occasionally tell me they'd love to see the footage in a much slower speed. I already knew that going with the monochrome style sorta demanded something more solemn and poetic...and the song was perfect for that. I also went with a much wider aspect ratio than I've ever done before. I feel like it actually feels like it brings you in closer to the action, almost like you were standing right there with me. I held myself back for a long time in doing this project because I wasn't very knowledgable about using tools like Premiere Pro to color grade footage, and all I thought was that I'd have to re-render all my clips as black and white before doing the film. And that's a lot of work. But the past few years have brought me tons of experience in Premiere Pro, plus help from my buddy Jay, and I figured out how to do it all there and without a ton of effort. The film is made up of some of my favorite clips from the past few years. A mix of the monsoon and supercell plains chasing. I'm so inspired by the songs I choose for these videos. Kerry Muzzey, Tony Anderson. Their songs are so powerful and moving and the stories they tell themselves are amazing. I went with clips that felt right with each beat of the song and while I usually try to tell a story with these films, I mostly decided to let the music be that here. Thanks to Tony Anderson for such an incredible piece of music, and to Jay for pointing it out to me. And also to my friend and fellow time-lapser, Brian Miner (see him on Vimeo: https://vimeo.com/bdmphoto), who did some B&W work this past fall and reminded me of what I've wanted to do for so long now. I hope you enjoy this! The creative juices were flowing and I also have some serious withdrawals from chasing storms. I HAD to work on something to hold me over until spring gets here. Only around four months to go before I hit the road to chase supercells and tornadoes in April, May and June! I have a couple of tornado chasing tours going this spring, if you are interested in checking those out, here you go: http://www.mikeolbinski.com/plains-chase/ ------- Captured with a Canon 5DSR, 5D3, 11-24mm, 16-35, 35mm, 50mm and 135mm. Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro
1月3日
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