1. Micro Cameraless Phase ll (Pratt Experimental Animation)


    from Robert Lyons / Added

    3 Plays / / 0 Comments

    Camareless animation created by myself and the students of my 2015 Pratt DDA Experimental Animation class using a Celestron digital microscope and capturing to Dragonframe software. I chose an eight frame strip of 35mm film from each of my students contributions to our hand painted and scratched celluloid, cameraless animation group project and had them experiment with it under the Celestron to see what would happen. I took that footage plus some of my own experiments and edited it all together using the song "Hands - Phase 3" by The Stick Men.

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    • Fire: A Vili Myth


      from Lynn Tomlinson / Added

      25 Plays / / 0 Comments

      Created by Lynn Tomlinson in "Myth onto Film," an interdisciplinary Film/Anthropology course taught by Robert Ascher, at Cornell. Here's the course description: "In myths, whales fly, pebbles throw themselves across streams, and trees are transformed into women. Toward the end of visualizing myths--in particular the myths of other people--we explore the possibilities of animated film. The technique used is cameraless animation; that is, we draw and paint, frame by frame, directly onto movie film. The intellectual problem is to visualize the myths of others so that they are comprehensible to us but are not thought to be of us. Reading includes introductory works on both myth and animation and there is background reading on the particular myth that is committed to film."

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      • Micro Cameraless Animation Test #1


        from Robert Lyons / Added

        235 Plays / / 1 Comment

        This is my first test of a Celestron digital microscope that I bought last year. It is USB connected so I tried using it with Dragonframe single frame capture software. As people who know me are well aware I do a lot of cameraless animation (drawing, painting, scratching, etc of film stock) so I decided to use some of that material for the test. The microscope was being used with the 40x-80x lens (there is also a 150x-300x and a 300x-600x lens on it as well that I have not tested yet) This was basically a cheap, plastic microscope but worked pretty well for these tests. Everything seen in this test was generated from only four frames of 35mm film. The music is "B3" by the Adrian Belew Power Trio and is in no way synchronized to the imagery, it just happened to be the correct running time and I like it.

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        • Loud Sounds/Soft Sounds


          from Matt Lutz / Added

          12 Plays / / 0 Comments

          Stan Brakhage once described direct animation as “music for the eyes.” It is in that idea that I decided to take an old educational reel, bleach everything but the optical sound track (painstaking fucking process), and make new images to interact with the sound. Appropriately enough, the film was originally called “Loud Sounds, Soft Sounds” and was meant to introduce kindergarten students to the workings of sound through a simple poem, demonstrations of different sounds, and corresponding images. The poem is excruciatingly light, expectantly so, but by erasing the original frames the poem becomes less blatant, and though it’s simplicity can’t be changed, it becomes a celebration of sound and not so much a lecture on sound, making it - I feel - plenty more bearable.

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          • MEDA201_KirstyNeal_Assignment1


            from KirstyN / Added

            5 Plays / / 0 Comments

            For this assignment, I was inspired by Louise Curham camera less film works with experimentation of different mediums; applying and subtracting to the film, along with Len Lye’s film “A Colour Box” (1935) use of creating movement with different editing techniques. This brought thoughts of Walt Disney’s Fantasia, (1940), "5th Symphony" with how music was performed to animations of colour and patterns. Keeping these particular artworks and artists in mind, I applied acrylic paint, black permanent marker, red glitter paint and scratching to the 16mm film, clear film with green leader. Admittedly, I did avoid more adventurous techniques of exploring what could and couldn’t work on the film, in fear of damaging the projector when recording the projected film. Making different scratch marks in different directions (horizontal, diagonal, vertical, swirly) gave me the opportunity to edit these parts of the film to have repetition and playing with the use of time, by slowing down, or speeding up, to give the viewer a sense of vertigo. The thin streaks of paint with marks from the bristles of the brushes for example, help achieve the feel of twisting, spinning and ‘falling’ into a space. Exploring the sense of vertigo, it gave me the chance to manipulate with the editing techniques to pull of that affect. Changing the form of the film in the editing program gave me the courage to alter the film how I would have liked, and possibly even further in to the psychedelic realm of colour and movement.

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            • Cameraless experiments - Cambridge workshop


              from Cambridge Super-eight / Added

              19 Plays / / 0 Comments

              Extract of the film from the workshop led by Ian Helliwell at the Cambridge International Super 8 Film festival in 2010

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              • Escrituras


                from Scott Fitzpatrick / Added

                173 Plays / / 2 Comments

                "In order to achieve abstraction, I thought it was important to find a graphic system that would allow me to codify a reality rather than represent it." An imitation of Jesús Rafael Soto's kinetic op-art sculpture of the same name, laser printed onto recycled 16mm film in 2015 (double-sided). Escrituras is a cameraless animation that seeks to dazzle your eyes and damage your speakers.

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                • Blue Movie


                  from Scott Fitzpatrick / Added

                  237 Plays / / 5 Comments

                  C+M, for YK. Subtractive colour blending is used in an attempt to conjure Yves Klein's 'L'accord bleu (RE 10)', 1960. The limitations imposed by media and technology ensure that my perfect pigment never is, and that what is produced is ephemeral, declarative, and reverent of the impure. Laser printed onto recycled 16mm film in 2014.

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                  • FAG


                    from Scott Fitzpatrick / Added

                    326 Plays / / 5 Comments

                    "Really, when it comes to gay rights, there's two wars going on. The first war is political, but the culture war is over." - Dan Savage. How do you transgress in 2015? Don't bother. A personal Venn diagram, a conceptual cobbling together of interests and identifiers, a sound and animation experiment rendered in all 260 fonts on my MacBook. Please play loud. 2015 Onion City Experimental Film and Video Festival, Chicago IL

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                    • Stained Glass Portrait


                      from Akasha Winker / Added

                      Wednesday December 3, 2014 Animation Foundations II Final Animation This animation is a basic cameraless animation. I used 16mm film to create the image itself. Then I got it transferred. I used after effects to edit the footage and put it together. Then used garage band to create the music. Anyways I hope you enjoy and any feedback or comments would be appreciated. Personal Note: After countless hours of working on this animation I can finally say it is done to my liking. For those of you who do not know the process I used. I did a new experimental animation using 16mm film. I drew and painted straight onto the film. Then got it digitally transferred to a dvd, which I edited and put together to my liking. The final step in this process and something that was completely new to me was producing my own music, lucky my years in band helped and I was able to put together something decent for background music. Now for those of you who watched my earlier version of this animation, this one has changed some. But anyways I hope you enjoy, as this is what I have been working on the last 2 months.

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