With Bart and Gulin.
To hike Bryce Canyon by the Figure Eight combination trail is to walk through time. The path descends and rises many times past layers of sediment eroded and cut by switchbacks and Peekaboo tunnel doors. The strenuous way sorted us by inclination as well as by shape. It finally took our breaths away just when we needed it the most.
These paths coaxed us to breathe a bit deeper, to clear away underbrush, and to steady the beats made in our hearts. The expanse of land taught us to shore up our strength and to steady our step. By the time we climbed to the Sunset. Rim we had learned to practice ritual ascendance, return to the floor, and do it again until we got back for the car all parked into its place.
Sam used the hand-held time lapse method to capture 6-8 hrs of hiking over two days. A few clips are from the real-time source shot by Brixton, but most video here is from the time lapse footage. Grippe used 3 cameras to cover the hikes each day, switching them out as the batteries died. He set the time-lapse rig down from time to time to acquire detailed movements on a different time scale.
The still-set time lapse segments grow longer as the trio wrap up Day 2 on a bench with a twisted vision of Farview and Rainbow Point off to the left. This is the backdrop for a flow of clouds and shadows across the Hoodoos and all the way out on the plains painted all over the East.
The muzak is a kind gift from D. Okar. He retains all rights.
SpitBall used 3 tracks in the video. Each was derived from a poem on D. Okar's CD, Life Between the Asymptotes, basically by deleting the spoken word tracks. The Track Names reflect the poem tiles. In order of first appearance these are: 1) Wotan's American Cousin, 2) An Anti-Yesterday Tirade and 3) A Vast Pile of Cows.
None of these names has anything to do with time, hiking or Bryce Canyon. SpitBall chose these beats to emphasize and dampened various elements in the video as sound and image were melded in the edit suite.
The goal was to render (refine) the raw footage by altering the playback rate of the clips and using the still camera time lapse segments to tie the image flow to the audio tracks. At moments the video and audio are dissonant and rattle the structure of the film, then twist back into alignment . The clip retains the time progression through the 4 raw time lapse clips. Gulin is the dynamic element, pulling the film upward and guiding us to the Cairns where she places a pine cone on the rocks others had piled into a model of the spires that surround this place and the people building these things all the time.
This catapults the Hikers up to the high Southern end of the park where they tread the Bristlecone Loop and watch wind-blown vistas stretch from a pine in the foreground, to that plateau in the distance and sometimes beyond.
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