And it’s basically impossible to ascertain the original source of the Nicklaus shot, though your google-skillz are probably better than mine. fwiw, here’s a pretty large scan. Slide film, right? I imagine it landed in Sports Illustrated.
20160415 — When I went to publish this, Medium suggested these two tags:
20160415 — Some day I’m gonna ask and answer the “why?” here.
Not “why here?”
Just the “why?” Here.
Thank you, AJ Schnack, for “Speaking is Difficult”, which is the best thing I’ve seen all year. It’s a reminder that the greatest and most moving imagery can be nearly still or slightly moving, and that the most powerful message can be delivered with simplicity and elegance.
20160414 — In the most “in-town” episode ever, I’ve seen five Google Fiber is Coming to Atlanta t-shirts on people (different people, on different days) who are biking, walking, or running on The Beltline.
20160413 —It’s been a pitch perfect Spring, always the Just-Exactly-Right temperature, but real heat’s on the way, when it’s fun to play guitar outside at night and make-up a song and record it with crickets in the backyard, like last summer.
It’s mirrored down the middle (obviously, there are two suns) which doubles the effectiveness of the looping. A simple idea, perfectly expressed. Naturally, I wondered what it would look like to complicate its perfection:
Is there a word for this? Ever seen a video of nine perfectly looped versions of the same GIF before?
I learned something while making Amen Corner 13th Tee Shot Supercut; you can see it in the time-line, above. The cascading green rectangles are audio from their corresponding blue video clips.
If you want audio to sound really good, just detach the audio from the video, and when you cut the video down to size (just a few frames, in this instance) don’t be afraid to let the audio bleed-over into the next two or three segments.
TL/DR: With quick cuts, let audio bleed. No harsh sound; sounds better!
I love the idea of separating out (or recording your own) sound effects — the sound of back slaps in the Vine above — and sync’ing them back onto an audio-less source. It’s really noticeable in the empty clapping Trump does for Melania here:
Just like in this Eric Clapton shreds vid. The effect plays on the fact that you think your ears are lying to you, but your eyes are saying “no, this is real,” and your brain takes that conversation and turns it into laughter.
I haven’t seen something as adolescently funny as Berger’s Trump air-horn Vine, which has had me laughing for weeks:
20160411 —Wondering if I should spend a year making new things out of one piece of footage, rather than making new things from new footage, as an exercise in restraint.
It’s something I’ve always wanted to try, to see if it’s possible to exhaustively explore source footage, rather than quickly and superficially picking the best/first idea and running with that.
What could you make if the only source you had to work from was footage of a single Trump rally? Or the back-9 at The Masters? Or Rear Window? How many interesting, transformational pieces could you make? Would you get bored?
It’s the whole breadth vs. depth debate, and it applies to working with photographic archives as much as it does found footage from film or television.
20160409 — There’s so little surprise and delight in scrolling these days. It’s all about luring you in to click & read with some snappy headline, which ain’t my game here.
The scroll is a rope thrown down the cave’s mouth. The corporate-ification of the Web has schooled us into being skeptical spelunkers. Often, when we reach the cave’s floor, there’s shit to see, and we’ve wasted time descending into nothing.
I want to confound just enough to make letting-out the rope’s slack worthwhile. There might not be much down here, but the descent should at least be fun, and we can turn on our headlamps, kick up some dust, and see what we might see.
You remember how this goes, right?
Oooh, look over there.