I think that when you want to do this, you cannot think of music, but you have to think of film. How many frames do I want to carry on this motion, before i transition into the next segment of the film. Should I use paint or dye? How can I achieve a certain kind of texture? By asking questions like these you create your film, and by that way you create a musical feeling. Visual music should come through naturally when making a film, because film is inherently musical. By experimenting in this class we can all learn what makes a film more musically pleasing for the eye.
Sunday, January 31, 2010
General Thoughts...relating to visual music
Often times film has been thought of a medium built much like music. A time based medium, that has rhythm or pulses, but instead of hearing we see the rhythm and "melodies." Editing is one of the ways where rhythm can be created. However, for our class, we can create rhythm simply by coloring or scratching the emulsion. With our experiments, I think this is something I want to strive for in my films. To create rhythm, a melody developed by a certain style, using a combination of instruments to make that melody really sing.
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Yes I think Hans Richter said something like "film should aspire to the condition of music", which is something like you just described in terms of how to work with the language of film but in a musical manner, i.e., composing motion in time.This also relates to a sense of abstraction that music inherently carries--since it is an invisible medium yet it is entering our consciousness and affects our senses, bodily and mentally and emotionally.
ReplyDeleteCheck out this show, I saw it a few years back in NYC but its been travelling around. I may have mentioned it in class; "What Sound Does a Color Make"
http://www.hawaii.edu/artgallery/sound/welcome.html
I can't help but want to count frames when making a film, even though it seems to be useless, since the audience won't ever notice the difference between 24 and 25 frames... it still seems to be habit?
ReplyDeleteI tend to count frames by what the audience can make out, Four frames is long enough for the audience to really see something, and 6 frames is a 1/4 of a second. 3 frames is something very quick that the audience will see something, but not know what exactly they saw, generally. 2 frames even more so, and one frame is just a flash that will go by so fast. And so on. I think knowing and thinking that way will really help to portray rhythm. The difference between 24 and 25 won't be noticed by the audience, but between 24 and 28, maybe. I don't know.
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