The moment I heard the opening thump of bass...I knew I would be using this song for my film. But then those haunting vocals hit my ears...and blew my mind. It was like a punch deep in my soul. It's hard to explain that feeling when you first hear a song and you immediately fall in love with it. Almost like you've known it all along.
I hadn't even planned to start working on this film yet, but I was so inspired that I furiously began to lay down time-lapse clips. I couldn't stop pouring over it. It was last September and I was supposed to be working on Monsoon IV, but I forgot all about it once I heard Ex Makina's "Breathe." It almost felt like it was made for a black and white storm film.
About halfway through editing, I knew the song title would be my film title as well. It was so perfect I couldn't believe it. Sometimes for me...when I'm chasing or watching an amazing storm...I'll realize I haven't taken a breath in awhile. Never really thought of it until I heard this song.
I love being inspired by other artists. I love soundtracks. I can't imagine the movie Interstellar without that powerful pipe organ soundtrack by Hans Zimmer. Music is so important to what I do and I'm so incredibly thankful to husband/wife duo Iain and Rebecca Campbell for writing this amazing song. Thanks to the MusicBed as well for having such fantastic musicians and artists.
In early 2017, I put together a film called Pulse that was my first ever black and white time-lapse movie. It was so different and fun, I wanted to do a follow-up this year before the next chase season begins. Breathe is made up solely of storm clips from 2017...either from the spring across the central plains or from the monsoon here in the southwest. Some are favorites, some are just ones I knew would be amazing in monochrome and others I used because they fit the music so well. I also went with a wider aspect ratio on these films to give it more of a cinematic feel.
This is also the first film I've ever done in full 8K resolution. I'm super excited about that. You may not be able to watch it in that resolution, but it's there if you can. Otherwise, 4K is a must if you can!
I truly hope you enjoy this. For me, I needed something to pass the time and bridge the next few months as I wait for supercells to return to the plains. But honestly, I truly love putting these together. Thanks for all your support in the past and feel free to share!
I used two Canon 5DSR's along with a Canon 11-24mm, 35mm, 50mm, 135mm and Sigma Art 50mm. Manfrotto tripods. The final product was edited in Lightroom with LR Timelapse, After Effects and Premiere Pro.
Son-J and Terracollage have teamed up on a project creating a conversation between the two mediums visual and auditory. The visuals are composed with iron powder, high reflective pigments and magnets. A choreography of iron spikes, accompanied by glitter and gold. Practical effects only.
I had a lot of high speed train journeys recently and I love watching the wires seemingly dance around outside the window. I wondered if we could be getting fooled by a similar process during our usual experience of time, and thought it would be an interesting project for a music video set to the music created during the same journeys.
The wires outside the window are static but they appear to move because of our motion past them. Perhaps our usual experience of movement could be explained by a similar process, where time is a physical dimension into which everything grows, with the present as the surface of this inflating structure. It ties in to a lot of physics ideas which are very common, and I thought it could make for an interesting music video, if I could find someone who might be able to pull it off!
Luckily for me, one of my favourite visual artists, Kevin McGloughlin had already been experimenting with linked techniques and ideas, and he's gone to town on it with a multitude of techniques and editing precision to create something pretty special. And yes, there's certainly a nod to the original time-stretch slitscan effects of Kubrick's 2001.
I wanted to show the transition from our normal experience of time to a stretched out past as a physical structure when viewed from an alternative perspective outside of the dimensions we're usually constrained to.
One other interesting thing about this model of time is that it helps with some mind-pickling metaphysical conundrums around the sense in which the past exists. In this model it literally exists out there behind us as a physical 4D structure. If we could travel outside of our growing surface somehow and went back to the past it wouldn't be much fun though, we'd just find solid lifeless stretched out versions of ourselves.
For the music I wanted to bring these ideas of frozen moments of the past into play, and no better excuse to get stuck in with the Prophet 6 on some lush classic analogue synth sounds for the main chord sequence, and plenty of nob noodling for a dance of modulating sounds around the main sequence. I wanted to keep it fairly sparse to let the chord patch be central, and just focus on trying to make every element, including the percussion, warp a little, so you can either listen to the track from a distance and hear the harmonic ideas, or delve in to find all sorts more hiding in there. Kevin did an amazing (and painstaking) job of warping the video to sync with the audio detailing.
If you'd like to receive exclusive music, mixes, video and news you can sign up to the site at maxcooper.net/#join
Max Cooper and I discussed ideas about space-time before embarking on the Resynthesis project.
We were on the same page for the most part, though, working with Max is always insightful and he enlightened me with some really fascinating ideas about space - time.
I was delighted to once again collaborate, especially with reference to 'time', which is such a relatable and unavoidable part of everyone and everything.
The track is really beautiful, I saw the visuals in the music quite clearly from the offset.
I could hear the 'time stretching' in the melodies and synths and I was greatly inspired by it.
My aspiration in this piece was to create a journey for the viewer, a passage through space and time, in an effort to represent time as a dimensional structure.
I aimed to convey existence as a solid component of time, an effort to glimpse the idea that our past still exists out there in a stretched, distorted dwelling..
I wanted to capture a human / mortal essence of time, displaying brief impressions of human interactions and activity, traveling in time.
All the fundamental assets were captured employing photography and realtime footage.
I stretched time in both 3d and 2d space using a wide variety of time displacement techniques, ranging from 'in camera' work to quite laborious post production work.
Fun Fact..Some of the clips contain exactly one googol videos playing simultaneously.
(using a method I devised some time ago, ie.the second last very short clip)
Most of footage/photography was shot in Dublin Ireland, with additional shots from Co. Sligo.
Working with Max always makes for an interesting time.
"moDernisT" was created by salvaging the sounds and images lost to compression via the mp3 and mp4 codecs. the audio is comprised of lost mp3 compression material from the song "Tom's Diner",
famously used as one of the main controls in the listening tests to develop the MP3 encoding algorithm.
Here we find the form of the song intact, but the details are just remnants of the original. the video was created by takahiro suzuki in response to the audio track and then run through a similar algorithm after being compressed to mp4. thus, both audio and video are the "ghosts" of their respective compression codecs. version one.