welcometosixbyone

Quick Link to 6x1 Topix Week by Week

2011-01-21T11:08:00.005-05:00

WEEK 1: INTRODUCTION TO DIRECT FILM MANIPULATION (CAMERALESS FILMMAKING)

Film sizes and aspect ratios
What film manipulation looks like - at a glance
How to create a vlog (video blog)
Cymatics

WEEK 2: DIRECT FILM MANIPULATION CONT'D (MAGAZINE TRANSFERS, FILM PAINTING, ETC.)

Frame-by-frame drawn on film animation
Magazine and newspaper print magnified
Magazine transfer sample loop
Norman McLaren frames
Rhythmic editing sample 40-frame cycle
Desktop printing on clear leader

WEEK 3&4: FILM PROCESSING (B&W DARKROOM)AND BUILDING REELS.
Film processing example strips
Processing with Caffenol
Building reels for Assignment 1

WEEK 5: MULTI-PLANE SUPER 8 ANIMATION SHOOT
The multi-plane workspace and sample movies.

WEEK 6: THE BOLEX LONG-TAKE
Creating a minute-long continuous take using a 16mm Bolex
Bolex exposure test (using Kodak hi-con 7363 film)
Bolex Anatomy
Loading the Bolex

WEEK 7: 48-HOUR VIDEO RACE
The challenge of making film without a film or video camera

WEEK 8: THE ROUGH THEATER
The Rough Theater
Line Describing a Cone

WEEK 9-11: RECYCLED FOOTAGE: RECONTEXTUALIZATION
Culture Jamming or Artistic Appropriation
A Humament
Co-opting the "revolution?"
Creative Commons
Some culture-jamming videos

WEEK 12: MYSTERY PROP WORKSHOP
Example 1: 3D Filmmaking
Example 1a: More 3D Filmmaking
Example 2: Supery-Dupery Projector Loopery

Cymatics - Sound Made Visible

2011-01-21T10:59:00.003-05:00

48-Hour Video Race "Prop" Spring 2009

2009-03-29T14:07:00.012-04:00

And the mystery prop is . . .

. . . actually a line from the film 2001: A Space Odyssey. The line is:

"MY GOD, IT'S FULL OF STARS"

If you wish to use the audio file, download it by CLICKING HERE

OR . . . you may represent the line through text that we see OR . . . have some one say the line in your film OR . . . the possibilities are endless - so long as the line appears or is heard or sung or whatever ~ somewhere ~ in your 1-minute film.

Don't feel obligated to reference the film, in any way beyond the quote, itself. Your interpretation of the line can take on a life of its own.

And Finally, don't forget to also incorporate a cheese sandwich somewhere in your film, as well - in the spirit of the Cheese Sandwich Film Festival.

Your Teacher and Trusted Leader in the Sixbyoniverse

2009-03-19T15:21:00.008-04:00

YES YOU CAN . . . check out the article about the AP photograph of Obama appropriated by artist, Shepard Fairey.

Week 14, 15 and Beyond

2009-01-10T15:56:00.004-05:00

This Spring, the mothership blog will be on hiatus (while the Silvas focus on their brand-spanking-new minature Silva) but there are a new crop of student links (to the right) setting off on the 6x1 journey. Above is a picture of last semester's year end blow-out screening/installation experiemental-stravaganzah at Jengo's playhouse. Everyone was very cold but had lots of fun - in part due to the really great final projects and in part due to the endless cans of free Rockstar Energy drink donated by Cucalorus. The event featured work from the 302 Experimental Film class, 6x1, 2D Animation and the 302 Documentary class.

6x1 offered a crop of 48-hour video race featuring as the mystery prop . . .

. . . a cookie cutter.

Week 13: Sixbyonalorus

2008-11-10T22:33:00.001-05:00

This week, we're having class at Cucalorus 14 - for 4 days!

Week 12: 3D Workshop

2008-11-09T23:02:00.008-05:00

Click To Play

Get out yer 3D Glasses!!!

Above is one of the four 3D flicks made during our 3D film workshop.

For the workshop, we set two Panasonic DVX mini-dv cameras side by side - one camera served as "right eye" and the other as "left eye," - at identical focal lengths. Then, we synced up the footage from both tapes and composited the two "eyes" in After Effects.

Another part of the workshop included creating 3D glasses. Below is the Fall 2009 Class posing with their 3D Glasses.

Week 11: Making a Film without the Ususal Suspects

2008-11-01T18:14:00.008-04:00

For the 48-hour video race (our final assignment), we will explore the many possibilites of creating films/videos without a film or video camera.

So besides working the "mystery prop" into a 1-3-minute film, we'll need to figure out how to do it without the obvious technology.

This still leaves us with: cell phones, web-cams, digital still cameras (with or without movie mode), rayograms, pinhole shoebox cameras, computer animation, copy machines and of course, their grand-children image scanners. Are silly puddy flipbooks too far out or physically impossible? Jamie suggested a zoetrope and why not? Is there anything I left out?

We've also talked, in the past two weeks about considering the technolgy of choice within the context of concept. For example, consider the warped scanned image of the rubber duck, below:

Our mystery prop, in this case could be a rubber duck, and we're creating a story about the duck living in a universe, where suddenly all the molecules have a war and things start to melt. So we're not just using the scanned images because they look cool, but because it best communicates the story or concept. Incidentally, the warped image was created using only the scanner and by dragging the duck while the scanning progressed.

Oh, and just as a reference point, here's what the duck looked like, before all hell broke loose.

ATTACK OF THE 50FT TEACHER - IN 3D!!!!!!

2008-10-22T20:36:00.009-04:00

**** 3D glasses sold separately ******
This is a test. This is only a test. If this were an actual B-movie horror/sci-fi flick, you would be seeing several sixbyone students invading the UNCW campus . . . which should be happening around next week.

Click To Play

For best viewing use a pair of anaglyph 3d glasses or hold up a deep-red gel to your left eye and a blue (blue/green) gel to your right eye. CLICK HERE to select the Quicktime movie format instead of the default Flash format offered here. The 3D effect may be more clear in Quicktime.

Week 10: In case you didn't get your fill

2008-10-17T22:13:00.006-04:00

A couple of supplemental videos within the realm of culture jamming.

ABOVE: POPaganda: The Art and Subversion of Ron English

ABOVE: The Yes Men - Exxon Hoax: Vivoleum Pt1

ABOVE: The Yes Men - Exxon Hoax: Vivoleum Pt2 (The Reggie Video)

Week 9: Long-Take Bolextravaganzahhh3!

2008-10-15T14:17:00.015-04:00

This past Saturday (yes, we had class on Saturday) our class gathered on campus from 12pm-4pm with the task of shooting (in groups of four) one continuous minute-long take on a 16mm Bolex, then processing the footage in a darkroom and finally projecting and transferring the footage to video.

A few days in advance, the weather forecast was not promising for Saturday: rain and drizzle fo' shizzle.

But, the class was instructed that the show would go on - barring a tornado - and students were strongly encouraged to bring umbrellas, swimsuits, raincoats or other impervious accouterments - hence, a few umbrellas in the long-takes. The result was four pretty off-the-wall long-takes and a rollicking good time.

*****

So, a bit more about the process. As mentioned, the class shot with a 16mm Bolex, which has a 28 second wind (at 24fps - sound speed). Since each group needed a one-minute long-take, they needed to undercrank the camera at half-sound-speed (12fps). Thus, they were able to shoot for 56 seconds. However, when the film was projected at 24fps, it played at twice the speed (see movie clip, below).

Click To Play

In Final Cut, students take the transferred-to-video Bolex footage and invert it to a positive image and then slow the footage down to half the speed to get something closer to reality. See the modified footage, below:

Click To Play

*******

Below, a few more digital stills from the shoot.

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AND FINALLY! ~ All four of the long-takes

Click To Play

Week 8: Artistic Appropriation or Culture Jamming?

2008-10-08T14:52:00.011-04:00

What sentiment do the below pictures convey? Which works lean more toward artistic appropriation and which works lean more toward culture jamming?

Oh, and also a video of Disney clips

WEEK 7: The Rough Theater

2008-10-08T14:09:00.009-04:00

~ The word "excellence" is a foreigner here ~

(Thanks to waterwinterwonderland.org for the image)

This week, we read as a class a short excerpt from the Empty Space, a book by former Royal Shakespeare Company Director, Peter Brook. More specifically, we focused on the concept of "the Rough Theater," an idea of a theater that brings dirt and grit to a performance - a ramshackle theater that might lend more to an audiences enjoyment than a pristine, state-of-the-art theater could. Certainly there are instances where a top-line theater is the best choice, but likewise, there are also instances where a scrappy hole-in-the-wall joint is more appropriate.

While Brook was talking about theater in the traditional stage-theater sense, we could apply the same principles to filmmaking as well as film viewing.

In an age where cameras and other filmmaking tools are becoming more high-tech and able to render image and sound with a hyper-real fidelity, where does black and white 16mm film, shot on the fly and processed in a bucket have a place? Or, with the ongoing desire to equip multiplex theaters with the best seats, projection and acoustic environment, where does a shower curtain, serving as a projection screen, strung up between two trees in someone's backyard have a place?

As the semester goes on, we will explore these questions.

Week 6: Pixillation

2008-09-22T22:55:00.012-04:00

As we have quite a bit of super 8 footage left over from last week's animation shoot, there is an opportunity experiment with pixillation, a stop motion technique where live actors are used as frame-by-frame subjects in an animated film. The actors repeatedly pose while one or more frames are taken and then change poses slightly before the next frame or frames are clicked off. These actors become living stop motion puppets.

Also, this week, we watched the finished cameraless filmmaking assignment, "the Four Elements." See below, a compilation of excerpts from each of the 8 projects.

Click To Play

Week 5: Super 8 multi-plane animation shoot

2008-09-19T12:01:00.015-04:00

This week, our class met for four hours for the super 8 animation shoot. The first hour was spent setting up the multiplane environment and the next three were spent animating.

Below are the completed multi-plane animation projects:

Click To Play

And below are some pix from the shoot.

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AND BELOW ARE SOME SHORT VIDEOS OF THE PRODUCTION PROCESS:
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Click To Play

One of the components of the animation project was for one or more of the group members to collect random objects while blindfolded and led by another group member and then to animate blindfolded (as seen in the video, below).

Click To Play

And below is the film that made it all possible:

Week 4: Putting it all together

2008-09-17T18:39:00.008-04:00

(thanks to Lvx Lvcis for the photo)

This week, our class split into two. Half went into "the darkroom" (aka Blackbox) to create Rayograms & experiment with contact printing and half stayed in the classroom to paint/scratch etc. It was an in-class work-day, dedicated to working on the 4-elements projects and applying all the cameraless filmmaking techniques, we've learned thus far.

WEEK 3: More film-manipulation techniques

2008-09-10T15:19:00.003-04:00

Thus far in class, we've talked about scratching, painting and bleaching film, creating magazine transfers and rayograms in addition to contact printing.

And this is just the tip of the iceberg.

There is so much we can do in the realm of cameraless filmmaking that a semester (much less, six weeks) couldn't possibly cover the territory.

But to arouse your imaginations further, below is another example of film manipuation, inspired by Roger Beebe's TBTX Dance .

This example shows how we can print images (using a standard desktop printer) directly onto clear leader.

First, it helps to have a template that perfectly represents the dimensions of the clear leader on which we will print (in this case 16mm leader).

Print out the template and tape 16mm clear leader, so that the sprocket holes of the film match up with the black sprocket holes on the template.

Then, take the template FILE into Photoshop or some other digital image creating program and superimpose a series of images (I have used vector shapes) within the sprocket holes. Save this as a SECOND file.

Next, take your template with the clear leader filmstrips taped to it and print the second file (the one with the repetative images) onto the template with the filmstrips.

Splice those clear leader strips together, load them into the projector and you're ready to go. See example of projected image, below:

Click To Play

Another movie example:

Click To Play

And a bit of the filmstrip from which the film was created:

To get a filmstrip animation template, CLICK HERE. This pdf document can be printed out and also opened in Photoshop.

Week 2: Magazine Transfers

2008-08-25T14:20:00.001-04:00

This week, we continue exploring film manipulation techniques (last week, we broke the ice with film scratching).

Two of the techniques we'll learn this week are magazine transfers and film painting.

For the mag transfer, we'll be tearing up bits of magazines, newspapers, phonebooks etc. and sticking these bits onto clear packaging tape.

Then, we will cut the packaging tape into strips, dunk the strips into buckets of warm to hot water, leave the strips immersed for about 3-5 minutes and then rub the magazine pulp off the tape.

Only the ink remains on the tape. Then, just slap the strips of tape onto 16mm clear leader film (avoid the sprocket holes) and project.

It's important to note that variables like color vs. black and white or glossy magazine vs. newsprint have an effect on the overall look of the image patterns we create on film. See how printing styles differ, below, by clicking on the CLOSE UPS to see the detailed printing patterns:

above: black and white newsprint

above: black and white glossy magazine print

above: color newsprint (wide view)

above: color newsprint

above: color glossy magazine print (wide view)

above: color glossy magazine print

To catch a snippet of what your magazine transfer might look like, in motion, CLICK HERE

Week 1: welcome to the sixbyoniverse

2008-05-15T19:43:00.002-04:00

(thanks to Louise Curham for the images).

Loading the Projector (with single perf film)

2008-05-15T19:42:00.016-04:00

When building reels for Assignment 1, the elements project, it is important to have your film wound properly. This is especially the case with single perf (sprocket holes only on one side) film. Otherwise, the sprocket wheel's teeth can chew up your film.

*Note the above diagram*

The film is coming off the feed reel ~ over the reel ~ and the sprocket holes face right (away from the projector's body). The optical soundtrack faces left (toward the projector's body).

It is also important to note that for any non-abstract images, writing and animation, you should see the images coming off the film reel facing UPSIDE DOWN AND BACKWARDS.

~ Keep in mind though, your perspective to the film reel should be as in the above diagram - with the film coming off the top of the reel AWAY from you.~

This will insure that the images will be projected right side up and forwards. Notice in the below cross-section of the above diagram that the words "DISTRIBUTED BY" are not only upside down, but backwards and that the rainbow in the logo is likewise upside down.

*************************
As for stringing the separate strips of your elements project together, you should start with your reel. Then wedge your TAIL leader into a slit in the reel. You should build in the following order:

REEL < TAIL < 4TH ELEMENT < 3RD ELEMENT < 2ND ELEMENT < 1ST ELEMENT < HEAD LEADER

The reel, tail and head leader fall in a fixed order with the elements in between. Of course, you should consider the rhythm and quality of each of your elements and determine in which order the elements should fall.

PLEASE DOUBLE SPLICE ALL ELEMENTS TOGETHER. (This means to tape both the front and reverse side of two adjoining filmstrips). Make sure that the strip ends are free of dust, grit, oil, etc. so that the splicing tape may stick.

SINGLE SPLICE (tape only on one side) the HEAD leader on filmstrip. Note that the HEAD leader I have given you is longer that the tail to allow enough strip to load through the projector and wind onto the take-up reel - so that your first images don't get cut off from view.

In general your film must be DRY (so as not to rust the film gate) and relatively clean. Pat all of your elements with paper towels (don't rub) so as to remove as much oil and dirt as possible.

Creative Commons

2008-03-24T22:18:00.000-04:00

Would you like cream and revolution with your coffee?

2008-03-22T13:26:00.000-04:00

Is Equal selling a brand or an ideal or is it simply playing on the fact that other companies try to sell ideals/lifestyles instead of just products.

During the next few weeks in 6X1, we will talk about found-footage filmmaking. More specifically, we'll look at artistic appropriation vs. culture jamming.

Line Describing a Cone

2008-03-17T16:37:00.000-04:00

Click To Play

Students at UNC Wilmington "watch" but more appropriately interact with Anthony McCall's 1973 installation film, "Line Describing a Cone," in Dr. Jim Kreul's class. In order to view the film, a dark room is filled with smoke (in this case, from a fog machine), and the film is projected through the fog. By itself, the film would be a white dot slowly tracing a white circle on a black background for 45 minutes. With the fog, however, the film takes on a 3-dimensionality and the white circle becomes a cone.

Assignment 1: The Four Elements

2008-02-27T20:55:00.000-05:00

Click To Play

Students in UNC-Wilmington's 6X1: Variations on the One-Minute Film class worked in groups of two to express the idea of the four elements - Earth, Air, Fire, Water - via direct film manipulation. All 7 of the 16mm one-minute element films were captured on mini-dv. The short video above is a compilation of excerpts from each of the films.

Week 16: 49-hour Video Race Videos

2008-01-18T12:17:00.001-05:00

Students in UNC-Wilmington's 6X1 class have 49-hours to make a film without a film or video camera (digital still cameras, scanners, etc, are ok) using a mystery prop - in this case - a toy wooden block.

Click To Play

Part 1: In order of appearance. Matt E., Oliver M., Gigi R., Skip R., Martin H., Landon W.

Click To Play

Part 2: In order of appearance. James G, Collin A., Jason B., John T., Kristen B.

Click To Play

Part 3: Anthony T., Wayne M.

Week 15: 49-Hour Video Race

2007-12-06T05:21:00.000-05:00

. . . and the mystery prop is . . .

6X1 students had 49-hours to create a video using a "mystery prop," which had to appear somewhere in their 1 to 3-minute film. The mystery prop was revealed to the students only 2-days before their films were screened. To make things even more challenging, students could not use "any device who's primary service [was] for producing motion pictures" (i.e. video cameras and film cameras). That's right, students had to rely on such possibilities as digital still cameras (still and movie mode acceptable), cell phones, scanners, etc. but could not initially capture their images on strips of celluloid or video tape.

Films were produced by each of the students and screened on a vinyl shower curtain liner tied to two trees in the backyard of the Silva compound.

Earlier in the semester, the 6X1 class discussed the idea of "the Rough Theater," so the shower-curtain-liner-as-movie-screen was merely a manifestation of this.

The screening was part of a larger end-of-semester extravaganza which included installation projects from the experimental class and short documentaries from the doc class.

Week 14: Goodies from the 6X1 Factory

2007-12-06T05:05:00.000-05:00

Assignment #4: One-Shot (4 films: 1-minute each)

Click To Play

Film Studies students at UNC Wilmington, create a minute-long take using a Bolex and 16mm hi-con film. The film is then processed and transferred to video. The, shoot, processing and video transfer all take place within 4 hours. A soundtrack is later added.
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Assignment#3: Rayograms/Hand-Processing (4 films: 1-minute each)

Click To Play

Film Studies students at UNCW place various objects and film strips directly on 16mm hi-contrast film stock and process the film, in class. Afterwards, the film is transferred to video, effects are added in places and a sound track is added.
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Assignment#2: Multi-Plane Animation (4 films: 1-minute each)

Click To Play

Students in UNC Wilmington's Film studies department create 1-minute animations using a super 8 camera and a multi-plane animation set-up. Students worked in 4 groups of 3 or 4.

Week 13: 13th Annual Cucalorus Film Festival

2007-11-08T13:21:00.001-05:00

This week, class is at the festival. It's like an all you can eat film buffet.

Week 12: Supereee-Dooperee-Projection-Loopery

2007-11-01T20:06:00.000-04:00

These next few weeks, the 6X1 class will be exploring film/video as process oriented instead of strictly product oriented.

In other words, the film is also an EVENT which can not be replicated in movie theaters because each experience is different. The audience and participants are one in same.

Getting there isn't just half the fun - it's part of the film itself!

Does this still all sound strangly vague . . .

Well check out one such film event in the series of videos, BELOW: the 1st Annual My-Loop's-Bigger-Than-Yours-athon.

Click To Play

The class was divided into two groups. Each group was to start out by building a 5 foot 16mm film loop.

Click To Play

The goal was to see who could build the longest film loop and have it projecting for a continuously for a minute without falling apart.

Click To Play

Teacherman had to throw the class a few curve balls because the loops just kept growing . . .

Click To Play

. . . and growing. And both groups were unphased by the initial challenge.

Click To Play

The first NEW rule was that the film could not touch the ground.

Click To Play

The end of class kept inching closer and both groups were running strong, despite the new rule.

Click To Play

So Teacherman did a sort of shortest-straw-type game where he wadded up tiny balls of paper. All were blank, except one. On that one was written the word, "BANG!"

Whoever in the group drew the "BANG!" had to sit out. They could help strategize. They just couldn't hold the film as it projected.

Click To Play

So the groups got a little smaller . . .

Click To Play

And thus it was that eventually the Ambitious Chinchillas (yes . . . Teacherman made each group chose a team name) were done in by a broken splice.

And the . . . what was the other group's name . . . the someting Lemonades - was it the Pink Lemonades?

Anyway, the Pink ( . . .?) Lemonades won the loop-off.

But do they have they have the LONGEST loop?

. . . hmm. Perhaps we shall find out next week.

Week 11: Rhythmic Editing Exercise

2007-10-23T18:44:00.001-04:00

5 FRAMES + 15 FRAMES + 5 FRAMES + 10 FRAMES + 5 FRAMES

Repeat variations on the above pattern 43 more times

Add 40 more frames - freestyle

And you have a film that's exactly 1 minute.

Weeks 9&10: One-Shot Bolextravaganzahhh!

2007-10-20T22:28:00.000-04:00

What a way to finish our stint with film (now, the 6X1 class moves videoward)! Today, the 6X1 class produced 4 one-minute films shot on 16mm, then processed and finally transferred to video - all within 4 hours. Though the class was divided into groups of 3 and 4, the groups intermingled and created tiny films on a grand scale. Blue-afro space cats, sombrero decked guitaristas, brainy monsters and others coexisted in surreal harmony.

The weather was great - a little warm for October - but sunny, really sunny - so sunny that we had to ditch our original darkroom because despite great efforts to black out the windows, sun insisted on peaking through. So we developed film in the guys' bathroom with a couple of tubs of chemicals and a red flashlight.

Week 8: Never Mind the Sex Pistols, Here's the Bolex

2007-10-17T19:15:00.001-04:00

Week 7: Life After Rayograms and Contact Printing

2007-10-04T23:15:00.000-04:00

Click To Play

This week, we transferred about 5 minutes of 16mm hi-con footage to video with the goal of editing the footage in such a way as to present a one-minute trajectory with a beginning, middle and end. Sound will really facilitate the making of a whole from the fragments. And, of course, how the image track(s) is edited will determine the thread or story of your one-minute films. But beyond simply cutting and pasting, you might also play with colorizing the video, slowing it down or compositing two or more clips. The example above shows these techniques, starting with an unmodified clip of film.

Week 6 Prep: Assignment #3

2007-09-20T19:56:00.000-04:00

CLICK HERE to see an example of assignment 3 from last semester. This semester, things will be a little different in that we'll be making 4 short one-minute films instead of one long 4-minute class film.

EYE - FISH - SCIENTIST MAN - WOMAN WITH BABY - BACKLIT TREES (Click on image to enlarge)

Sixbyoners: choose one above swatches as your theme for the contact printing section of the assignment, next week. I've only posted 8 frames of the few-hundred-long-frame-long filmstrips you will actually contact print, but this should give you an idea.

EYE - FISH - SCIENTIST MAN - WOMAN WITH BABY - BACKLIT TREES

These images will serve as a (perhaps the only) grounding base for your Assignment #3 film. Much of you film will be an abstraction of photograms, so these images might help you decide which objects you bring for the photogram/rayogram portion of the assignment.

Also, remember that you will create a soundtrack to tie all the visual elements, together. Your final film may be narrative, in nature or more abstract and conceptually based. It's up to you and your group.

Week 5: Film Processing

2007-09-15T13:38:00.000-04:00

This week, the 6X1 class learns to process 16mm motion picture film. We are using a hi-contrast film stock (Kodak 7363), which allows us to process under a red safe-light and thus see the film as it "cooks" in the chemicals (Dektol).

Also, we'll try something completely different. From freeze dried coffee, washing soda and some asorbic acid, we'll brew up some coffee developer and see what it does to our film.

Eventually we will shoot film on the 16mm Bolex camera and process it, but first, we will focus on just the film stock through contact printing on the stock as well as making rayograms (laying objects directly on the film, exposing the film to light and then processing the film to get a negative impression of the objects).

For examples of what rayograms look like CLICK HERE

Week 4: Animation Shoot

2007-09-13T18:09:00.000-04:00

Click To Play

4 groups of students in UNC Wilmington's FST 398 006 6X1 class animate stop motion style with Super 8 cameras and cartridges of Ektachrome 64T film. Each of the groups animate using a multi-plane animation setup so that multiple levels of depth in their scenes could be achieved. After the 4-hour animation marathon, the film will be sent to the lab and transferred to video. Then the groups will edit the footage and add sound. Stay tuned for the finished animations.

Week 3: Film Painting Exercyzzzze

2007-09-07T12:39:00.000-04:00

Click To Play

This week, we spent about 20-minutes of class time painting on about 17 feet of clear leader 16mm film, projected and videotaped the result. This is the last in a series of class exercises dealing with film manipulation techniques (the other two were scratching on scrap footage and magazine transfers).

Week 2: Fall 07 Magazine Transfer Projectoravaganza

2007-08-30T19:52:00.000-04:00

Click To Play

16mm clear leader was rolled across a group of long tables and students from UNCW's FST 398 006 ("6X1") class slapped strips of wet packaging tape that had absorbed ink from magazines, phonebooks, etc. onto the film. Since the strips were still a bit wet, they had trouble staying on the clear leader as it ran through the projector but the result of this was still pretty cool.

The music was uploaded from our media (http://ourmedia.org/node/345971) - rights free - but quite a bit of reverb was added.

Week 2 Prep: 16mm Film Magazine Transfer

2007-08-26T21:54:00.000-04:00

Click To Play

This week, we will be tearing up bits of magazines, newspapers, phonebooks etc. and sticking these bits onto clear packaging tape.

Then, we will cut the packaging tape into strips, dunk the strips into buckets of warm to hot water, leave the strips immersed for about 3-5 minutes and then rub the magazine pulp off the tape.

Only the ink remains on the tape. Then, just slap the strips of tape onto 16mm clear leader film (avoid the sprocket holes) and project.

See an EXAMPLE of what we collectively made in last semester's class.

Week1: welcometosixbyone fall07

2007-08-21T16:32:00.001-04:00

Hi Fall Sixbyoners (and any curious observers)

This class blog for UNC Wilmington's FST398 6X1 class has lots of handy little tools we'll use along the way to help with understanding the nature of our assignments. This blog contains many examples from last Spring's 6X1 class and some instructionals (which we'll vist from time to time).

Our first assignment involves painting, scratching, bleaching etc. 16mm film (i.e. film manipulation). I've included, below, an image of film sizes. It's good to think about these differences as we explore the idea of film manipulation. For example, if I make a mark with a sharpie on a 35mm frame and another mark with the same sharpie (same thickness) on an 8mm frame, the mark on the 8mm frame will take up a larger percentage of the frame and thus be projected as much thicker than the mark that is projected on the 35mm strip.

Needless to say, our choice of film stock size affects style and the amount of control we have over the frame. There's no ideal stock size. It just depends what you're going for.

Below is an assignment breakdown to give an idea of the date each project is assigned until the time it is due. Solid colors indicate that you should actively be working on the project during the time blocked out. Partial fill areas indicate that the assignment has been assigned, but you will only be able to plan the project during the blocked out time.

*** Click on image below, to enlarge schedule:***

thassit!

2007-05-01T16:34:00.000-04:00

Well, the semester has come to a close. We've made a lot of 1-minute films - 43 films to be exact. That's a lot of films produced by 15 students in four months. It's been an experience. Below is the class project (assignment #3), "Sport and Light," which will play on a much larger screen at the UNCW Film Studies Spring Semester student screening on May 5.

Watch the Video

One-Minute One-Shots

2007-04-11T20:06:00.000-04:00

Below are the 4 one-shots created by the Spring07 6X1 class.

By one-shot, we mean that the film is composed of only one shot with not even in-camera editing. The film begins when the camera starts rolling and ends when the camera stops rolling.

For this assignment, students used 16mm Bolex cameras and some hi-contrast film. The Bolex cameras are hand-wound, rather than battery powered and each wind has roughly 28 seconds. Since this class is all about making one-minute films and this assignment was all about a one-minute take, we had to cheat a little.

We slowed the frame rate of the Bolex to half the normal frame rate. This meant that when projected, the film would play twice the normal speed but it also meant that we could shoot for a full minute because the camera wind was running at half the speed.

Then, we processed the hi-con film using a red safelight. f4 and f5.6 seemed to yeild the best results for the sunny mid-afternoon light with which we had to work.

Then, the film was transferred to video. As I mentioned, the film ran twice as fast in the projector, so we had to slow it down to half the speed in Final Cut Pro. Also, since the film was processed as a negative, we also had to invert (or change to a positive) the video transfer.

Enjoy!

One-Minute SuperDuper8 Animations

2007-04-11T19:45:00.000-04:00

Below are all of the four group animations for the Spring 6X1 class. These were filmed using Super 8 cameras and Ektachrome film and the project utilized a multiplane animation technique.

For the multiplane setup, an 18X24 inch glass panel was propped up by two apple boxes so that the ground below the pane was visible through the glass. The ground level served as a background and was often decorated by a backdrop. This first pane was a mid-stage of sorts. Then a second glass panel was propped up about 8 inches above the first panel. This top panel served as a front stage. Finally, the scene was decorated with props, lit and a Super 8 camera hovered about 4 feet above the glass panel.

To see some pictures of the actual class shoot visit the post on the animation shoot

But don't forget to also check out the mini-epic animations, right here!

Extremely Short Festivals for Extremely Short Filmz

2007-04-04T13:17:00.000-04:00

So, soon you will have left this class having completed six one-minute projects. Six fun, challenging and I'm sure at times frustrating projects.

So now what?

Well, of course you have a few films to add to your reel . . . AND you can also choose to enter these films into festivals.

Right now, Drucilla (Dru), our Chiweenie (Chihuahua/Dachshund) dog is curled up in my lap. She's got a tiny dog collar for her tiny dog body and a tiny leash, some tiny dog toys and so on. There's a whole market for tiny dogs out there that caters to providing things for these wee creatures.

Likewise, there is a film festival market out there for your tiny films (epic in content as they may be). There are festivals such as the Aurora Picture Show Extremely Short Shorts for any film 3 minutes or under (postmark deadline May 1).

Stay tuned to the Sixty-Second Film Festival which is currently joking that it will "be back in a minute."

There are also festivals that cater to films that originated on film (you will have four of these film films by the end of the semester).

For example, there are several Flicker film screenings aroud the world. These screenings are more informal than your average festival screening though no less fun. The only rules are that your film be under 15 minutes and that it originate on film (though it can be, and in many cases is, shown on video) A great place to start your Flicker curcuit tour is with the founding Flicker in Chapel Hill. The next screening is May 7. There is NO ENTRY FEE for entering the Flicker screenings.

In general, one-minute films are great for festivals. Though they may not serve as the meat and potatoes of any shorts festival (outside of the extremely short shorts category), they are easy for festivals to program because of their length and are nice bursts of fresh air.

Collage and Found Footage within a Cultural Context

2007-03-23T09:30:00.000-04:00

How many letters in the alphabet can you link to a brand?

Earlier in the semester, I posted the Humument project as an example of a collage work. Though Tom Phillips was working in book form, you might easily draw a parallel between what he did and what you as a collage film/videomaker might do when you arrange nuggets of media together to create a new meaning.

Below is a talking point that does not necessarily express absolute truth but will be a jumping off point for class discussion:

Both the Lethem and the the Garnett and Meiselas articles have argued, in one way or another, that painters, filmmakers, musicians, photographers etc. do not live in a void and are not only directly influenced but quite often borrow from other artists' work.

Though this has been going on for centuries, it can easily be argued that this is especially the case in the 21st Century, where we are indundated with the omni-presence of media. Brands, TV shows, movies, advertisements, and so on make up our cultural landscape. It is not as simple as chosing to either embrace or opt out of this cultural landscape. We can not decide to turn our backs on the media culture - unless we choose to live in total seclusion. As we walk down the street, advertisements becon us from buses, bilboards, the bumpers of cars, TVs in restaurants and so on.

As filmmakers, we can not help but be influenced by this steady stream of media and create work that, intentionally or not, borrows from artists who create this media and who themselves have, no doubt, been influenced by the media stream as well. So how does this effect our views of plagerism?

Looking toward the One-Shot Assignment

2007-03-02T09:53:00.000-05:00

16mm hi-con print stock (kodak 7363) was shot on a Bolex (undercranked at 12fps). The film was then processed as a negative using Dektol developer. The negative image was projected and captured on video. In this video, you can see the original image side by side with the positive image (inverted through a filter applied in Final Cut Pro to produce a positive). Above the two images are f-stop #s which correspond to the exposure.

For the next assignment, a group of 4 will have a sufficient amount of 16mm hi-con stock (good ol' 7363) to shoot a single take long (duration) shot. We'll be learning the basics of using a Bolex 16mm camera and returning to a little bit of hand-processing. I know those windows in the above video are small so you'll have to use your imagination, a little, to see a parking lot and cars whizzing by on a busy road in the distance. Notice that as the screen gets lighter in the left video widow (negative) it gets darker in the right window (the positive).

One other detail. Bolexes are hand-wound, not eletrically powered, cameras. In other words, you wind the camera and start shooting. Each wind gives 28 seconds of roll time. But we need to make a one-minute film using one continuous long shot so . . . we will undercrank (slow the frame rate of the Bolex) to 12 frames per second when we shoot. Then when we project the film at 24fps the action will be double the natural speed and the one-take will speed by at 28 seconds. When we slow the footage down in Final Cut to HALF the speed, we will get a 56-second continuous shot.

Still not quite a minute, you say. Add titles and slug and it is!

A Humument

2007-02-23T10:07:00.000-05:00

Have you ever taken a page from a magazine or book and "edited" it to your liking - crossed out most of the sentences except for a few choice words, which, when read in their new sequence, take on new meaning?

The above is the first of 370 pages in a 19th century text transformed into hundreds mini-canvases. I thought this might be fitting, considering we are starting to talk about collage and appropriation. CLICK HERE to see a the full 370 page gallery of Tom Phillips' eternal work in progress. You can also click on the image above for a larger view of the first page. I have included, after a introductory blurb, which I borrowed from the humament website, a few more sample pages/pictures below. Again, click on each of the images for a better (larger) view of each page.

"A HUMUMENT is eternally a work in progress. Tom Phillips started his treatment of W.H. Mallock's Victorian novel in the mid sixties and an initial complete version was privately published by the Tetrad Press in 1970.

With Thames and Hudson's first trade edition in 1980 A HUMUMENT rapidly became a cult classic. It was seen to be a defining product of post modernism linking traditions as various as medieval illumination, experimental poetry and non-linear narrative with the procedures of modern art."

Earth, Wind, Fire, Water

2007-02-21T11:32:00.000-05:00

Students in UNCW's 6X1 class were assigned the task of representing "the four elements," using 16mm clear leader, inks, paints, salt, oil, magazines and packaging tape. The video is a class compilation of each of the one-minute "element" projects.

Sci-Fi, Horror or Circus Theme?: The Class Movie Gig

2007-02-21T10:22:00.000-05:00

So, as I mentioned in class, now that we have all these hand processed strips, the next task is to create sort of a collage video which makes a whole of all these separate parts. The only stipulations are that this be a video in four parts (each part, one-minute long) and that each person in the class participate in a designated role. I'll pass around "a hat," from which you will draw your position. If you want to swap positions, fight, pull hair to get what you want, etc. fine - as long as all positions are filled.

What will be the genre of this movie? . . . a bit experimental, of course. But beyond that, it's completely up to you: Western, Musical, Musical Western, Infomercial for the Dammed, 50s Melodrama, etc. Everyone in the class has a specific role but all are welcome to pitch in on genre ideas and semi-narrative themes when we watch the spliced version in class, next week.

Below is a list of all the roles with the number of people needed in each role and a basic description of the job.

Log and Capture/Tape Wrangler (1): Log and capture the footage

IMAGE

Rough Cut Editors (4): Assemble a rough cut of the four parts and add a title and also an inter-title (for each of the four parts). Each section need not be a minute long at this stage and, in fact, may only be 30 seconds long. That's fine. The Fine Cut editors will stretch out the footage to a minute per section.

Fine Cut Editors (2): Slow down sections (be mindful of frame-blending/whether or not you want it), super-impose or loop sections.

SOUND

Dialogue/Voice (1): Find some interesting bit of narration or voice that seems to fit the theme. archive.org might be a good place to start. Lot's of rights-free stuff from the mundane to the bizarre. Look in the audio section.

Ambient (2): You can record your own on mini-dv or find some online or . . . just use your imagination. Remember though that ambience implies background so your sound should fit this description and not upstage the voice or snd fx. It should also be something that is capable of stretching through the length of any one section.

Sound Effects (2): Again, create your own or find fx on line. Typing in "free sound effects" in the google search bar will turn up a lot of results.

Sound Mixers (2): Make sure the three above tracks are mixed properly - that they work with each other and don't all scream for attention at the same time (unless that is your intention . . . for part of the film).

Print to Video (1): Print that bad boy and turn it in to me.

Hand Processing Footage

2007-02-14T15:26:00.000-05:00

The above example is a result of laying objects directly on unexposed film and then exposing the film to light - a process of creating Rayograms. Below you'll see an itemized version of the above 16mm handprocessing demo footage from the 6X1 class. Various objects such as glass beads, salt crystals and rice were placed directly on strips of 16mm hi-con film (Kodak 7363), the film was then briefly flashed to light and processed in Dektol developer. This filmstock and developer are ideal for the process because it allows filmmakers to see the film develop before their eyes, under a red safe-light.

Pictured first in each of the below examples is the filmstrip as it would be seen in its physical form. Then there is a very short video clip that shows that filmstrip as it would appear projected. Oh, and a little frame blending was applied to the video. I actually prefer the above composite video without the frame blending because you can more clearly see the objects on the film - but hey, that's just me.

1. Glass Beads and Bubble Wrap

(click on image for larger view of filmstrip)

2. Super 8 Film Footage: Telephone Booth Number Pad
(click on image for larger view of filmstrip)

3. Contact Printing: Stars and Leaves

(click on image for larger view of filmstrip)

4. Contact Printing: Sliced Up 16mm Stock Footage Taped to 16mm Clear Leader

(click on image for larger view of filmstrip)

5. Rice, Salt and Pushpins

(click on image for larger view of filmstrip)

Animation Shoot (. . .and me without my sound)

2007-02-07T10:18:00.000-05:00

So I was walking around to each of the four animation groups, during our class shoot and because of the different conversations I heard filtering throughout the classroom, I decided to shoot some video. In addition to capturing some video of 6X1ers working with the multi-plane animation setup, I wanted to get such comments on tape as:

“The bug people are going to come down and destroy. . . “
“Make the mice run up and eat the jelly beans. . .”
“He can fly away because he’s got a jetpack.”

. . . all from different corners of the room.

But what made this conversation especially surreal is the logic and calculation that went into each of these comments and the sincerity with which they were received.

Well, I was about to log and capture these snippets and upload a short video, when I realized that unfortunately there was no sound on the tape. So I pulled a few stills from the video, instead.

Here it is, The 6X1 animation shoot.

Photograms and Rayograms

2007-02-04T12:02:00.000-05:00

For our third 6X1 assignment, we will be taking strips of unexposed 16mm high contrast film (Kodak 7363) and exposing the strips using various techniques. One of the techniques with which we will experiment is laying random objects (lighters, salt, beads, paper clips, etc.) on the unexposed filmstrip, flashing the filmstrip with low-level light (I find that cell phone light works well) and then processing the strip of film under a red safe-light. Our processed strip will appear as a negative. In other words, white areas on the filmstrip will indicate where the flashed light was blocked from the filmstrip and black areas will indicated where light hit the filmstrip unobstructed. The shades of grey will indicate translucent areas on the object that allowed some light to pass through to the filmstrip.

Below is an image of a photogram using a very similar technique to what we'll be using in class. The main difference is that the artist, whose work is pictured below, placed objects on photo paper that had dimensions exponentially larger than the dimensions with which we'll be working with (the 16mm frame). Oh, and another difference: the photogram below has been toned (something we'll talk about later) blue.

So, for example, we would have a very different experience seeing the lemon slices projected on 16mm film than we do viewing the picture, above. If we were to lay these lemon slices on 16mm film and process accordingly, we might see magnified chunks of lemon slices flashing by - a bit of a rind here, some pulp there. For the most part, the lemon slices would be abstracted. Keep this in mind when choosing the size of the objects you will bring to class for this exercise.

All 6X1ers should CLICK HERE and print out the Assignment 3 guidelines.

Magazine Transfer Exercise

2007-01-31T00:01:00.000-05:00

The above video is a compilation of all the magazine transfer segments we created during the second class period of 6X1.

For those of you who are visitors to the class blog, the process for the above film involved strips of 16mm clear leader film, magazines/newspapers and packaging tape. Students pressed bits of torn up newspaper and magazine to the tape, submerged the tape in warm to hot water for five or so minutes and then rubbed the paper off the tape so all that remained on the tape was the ink. The tape was then laid directly onto the clear leader until it dry and the adhesive bonded to the film.

All the segments of film were then spliced together, put on a reel, projected and transferred to video.

Where Animation Meets Film Manipulation

2007-01-29T10:23:00.002-05:00

The first two weeks of class have been spent diligently scratching, painting and otherwise manipulating 16mm film. This week (week 3) we’ll finally have a chance to see the results of our efforts on the projector.

This will also be a day when we make a subtle transition from film manipulation to animation. This week we will watch Norman McLaren’s 1949 animated short, “Begone Dull Care.” Like the Brakhage and Scratch Film Junkies’ films we saw on the first day of class, McLaren’s short utilizes direct film manipulation. However, in “Begone Dull Care,” we begin to see “characters” emerge in the form of shapes and lines that synchronize with the music. Compare this to the Junkies film we saw on the first day of class, where the music, it seems, is performed live as a response to the visual. McLaren does the opposite. The images in “Begone Dull Care” are a response to the music.

The 100-frame animation (detailed in the instructional in the previous post) also fits within this realm of animation/film manipulation as there is a conscious effort being made to add form and character with the inks applied to the film.

See stills from "Begone Dull Care," below:

McLaren at work:

Len Lye film strips:

CLICK HERE to see a few direct painted on film samples from Bärbel Neubauer

Frame-By-Frame Drawn On Film Animation

2007-01-24T13:42:00.006-05:00

OK, so if animation (particularly film animation) is new to you, this is, I think, one of the best ways to be able to see how animation works. I have provided a little instructional below. Some of this, I went over in class but it always helps to have a little reinforcement.

First off, the standard speed for 16mm is 24 frames per second. I have given you a FILMSTRIP ANIMATION TEMPLATE that looks like this:

You’ll notice that there are 4 rows containing 25 frames, each. So each row represents just a smidge over 1 second. Remember that one frame of 16mm is the square formed by any 4 neighboring sprocket holes.

Now, for the animation:

Let’s say the first shape on your filmstrip animation template is a circle and let’s say by frame 25, you want that circle to morph into a square and you want the morph to be gradual.

Once you have your beginning (frame 1) and ending (frame 25) shapes for this 25 frame sequence, you’ll want to go to the midpoint between those two frames (frame 12 or 13). There, you’ll draw a squircle (half-square/half circle).

FRAME 1 - START

FRAME 12 (or 13) - THE MIDWAY POINT

FRAME 25 - END

You’ll then go to frames 6 and 18 and create two new midpoints.

FRAME 6 - THE MIDWAY POINT BETWEEN FRAME 1 and 12 (or13)

FRAME 18 - THE MIDWAY POINT BETWEEN FRAME 12 (or 13) and 25

Below are pictured the 5 keyframes side by side (you can see more clearly how this will animate).

And below is a rough, 5 keyframe animation. Note that this animation loop is 1 second long so about same the duration as your frame 1-25 animation when projected.

At this point, you have 5 keyframes and you can “tween,” or draw the frames in between, those keyframes by providing subtle frame to frame transitions. Keep repeating this process for the other three columns until you come to your end frame (100).

Once you have your template the way you like it, tape your filmstrip down enough so that it sticks but not so much that you can’t lift it up and adjust the filmstrip (without your paper tearing) to make sure it is aligned with the sprocket holes and also move the strip from column to column. You are ready to ink your film! If your sharpie isn’t offering a dark solid line (if it’s a bit watery) you may need to ink on the other side – just retrace the shape.

If you need another filmstrip animation template, CLICK HERE.

how to create a vlog (video blog)

2007-01-22T10:52:00.000-05:00

There are two paths to uploading your video to your blog that I'll touch on, in this post.

The first deals with video from a digital still camera - in my opinion, the easiest path and the one that will yeild the best quality video.

The second deals with capturing video from a mini-dv camera onto i-Movie and compressing it for the web.

FIRST, LET'S BEGIN WITH THE DIGITAL STILL CAMERA METHOD:

Remember that your digital still camera should have a movie mode, which takes short compressed movies. Often this mode is indicated on a camera mode dial by a tiny icon of a movie camera. You press the take picture button to "start rolling" and press the button again to "stop rolling."

Remember also that your movie only need be a minute long.

Once you have taken your movie, you may edit it down. Your camera should come with a USB cable, which you should be able to plug both into the camera and also your computer. If you have a Mac, you can plug your USB cable into the back of your computer or into the keyboard, as pictured, below:

For simple editing of these compressed still camera movies, I have downloaded the free Kodak Easyshare software. If you are transferring movies with another very basic, user friendly video editing program, it may share many similarities to this one. And if you are more seasoned at this kind of thing, you can compress your movie using Quick Time Pro, Final Cut Pro or Adobe Premier. If you wish to download Kodak Easyshare for free, CLICK HERE. The instructions I have provided below are for Kodak Easy Share. If you aren't going to edit you movie or will edit it using a different software, skip to ". . .OR IF YOU PREFER TO EDIT IN I-MOVIE" or "UPLOADING TO BLIP TV."

Once you have Kodak Easyshare downloaded to your computer, it may open automatically, once you plug in your camera's USB cable. If this happens you will want to cancel the transfer (unless your movie is the only thing on the camera's memory card). Otherwise, you will transfer all pictures and movies on your camera, which could take awhile and use unnecessary space.

See image below (also, you may at any time double click on the images to enlarge them).

Then you will want to hide Kodak Easy Share so that you can access your camera's memory card from the desktop.

Accessing camera pix from the desktop:

Note that your pix and movies may have cryptic titles, so if you have many, you will need to select each one until you find the right movie.

If you DON'T want to trim your movie at all, simply drag and drop the movie onto your desktop and rename it with something that makes more sense to you. You can skip the trimming instructions below and proceed to uploading your video onto blip tv.

If you do want to trim your movie:

a. Open your movie in Kodak Easy share. If the program opened when you plugged your camera's USB cable into the computer, the Kodak Easy Share icon should be located in your dock.

b. Once your movie transfers, you are ready to edit. Click on the tiny edit icon as picture below:

c. With the new screen that pops up, click on the trim icon, as pictured below:

d. Once you click either of the trim buttons, your movie should immediately trim from that section of the play head.

e. Once you have trimmed, click save as and save to your desktop.

. . . OR, IF YOU PREFER TO EDIT IN I-MOVIE:

a. Connect a firewire from your mini-dv camera to the computer and open up i-Movie.

b. switch from edit mode to camera mode . . .

. . . and click on import to import your video and edit it as you wish.

c. Once you have edited your video, click on "File" from the menu bar at the top of i-movie, then "Share" and select Quicktime movie and "Web Streaming." You will then have a movie suitable to upload to blip tv.

UPLOADING TO BLIP TV:

a. After opening Safari, Explorer, etc., type

http://blip.tv/

in the address bar. If you haven't yet signed up, you'll need to do this, first.

b. click "upload" and fill in all the information: title, description, tags etc. By the way, tags are important in that they help viewers find you film. For example, if I'm taking a short movie of my dog, I might type in "dog, pet, dachshund, chihuahua," as tags. Think about which words best describe your video. Uploading may take awhile depending on the size of your movie.

BLIP TVs MAX FILE SIZE IS 125MB.

It's a good idea to keep your movie files under this size. Using either of the two above methods for capturing video should minimize this problem. Remember, uploading may take ten or so minutes, with a wireless connection or with DSL (DON'T TRY THIS WITH A DIAL UP MODEM). Sometimes blip tv wishes to "review" your movie before the upload is officialized (is that a word?). This is perfectly normal and infact You Tube and other similar outfits do the same thing. Just give it a few minutes and refresh. If a significant amount of time (30 minutes) has gone by and your video is still not accessible, maybe something has just gone wrong. In that case, try again.

c. Once your video has uploaded, you shoud see it in its own window with some options listed below. Chose "Share" from the options.

d. Finally some html strings will pop up. Chose the html for Myspace (in the second window).

e. Copy and paste the complete html string from this window into your composition window in blogger where you would like it to be.

This may seem a bit laborious at first, but once you get the hang of it, it's quite easy so don't give up. Before you know it, your vlogs will be seen in the remotest parts of the world.

HAPPY VLOGGING!!

starting class blogs (and vlogs)

2007-01-17T18:06:00.000-05:00

The purpose of this blog assignment is to get in the habit of regularly writing about your experiences with and around the 6X1 class. What did you think, for example, about the first night of class where you scratched (and painted) on film? Was it the first time you ever did anything like this? Did the experience give you any ideas? What about when we saw the projected loop?

As the semester goes on, there will be class readings and assignments, or things that happen during class, which should provide good food for future writings.

In the coming weeks, we will look as a class at the process of creating video postings. If you have a digital still camera with a movie function and a USB cable, you can do this quite easily. And when you post your one-minute video, be sure to provide an explanation (it can be short) on what promted you to make the movie - or what you like about it.

welcometosixbyone

2007-01-17T00:10:00.000-05:00

This hands-on course is designed to introduce students to a wide range of approaches and techniques of film and video production quickly, yet comprehensively, in order to demystify the production process.Over the course of the semester, students work in groups and alone to create six 1-minute-long projects based on specific assignments (i.e. cameraless filmmaking, 16mm film hand-processing, stop motion animation, rhythmic image editing, collage, etc.). The goal of this course is to expose students to alternative/experimental forms of filmmaking through a series of intensive exercises that will equip students with new creative tools while at the same time helping students develop a portfolio of creative work.