Where to begin?
Barrett taught me how to do a magazine transfer during the last class—since I missed last Monday—and that was pretty sweet.
I got to see more of cute little Kai and how to make the incredible texture that is actual film get turned up to 11.
I got to do some pretty sweet hand painting with ink and oil, which I’ve always wanted to do.
I’m still not sure what was the coolest thing.
Obviously, seeing the Kai footage with the little extra oomph was awesome. I mean, who doesn’t love adorable children? But actually getting my hands dirty was incredible. The magazine transfer was super cool, and I can’t wait to show other people how to do it. The hand painting was one of the most rewarding and tactile experiences of my life—mostly because I got to experiment with the tape and figure out how to make things absolutely ridiculous.
I have to say, this is the least anxious I have ever been while filmmaking. I didn’t have to worry about whether or not my variable shutter knob was in the right position; there was not hunting to find the perfect bit of found footage to fit my agenda; I don’t have to hunt for the quote in an interview I did months ago that I may not have taken the best notes about.
I felt liberated.
Not that the camera is too restrictive! It’s an incredible device. With almost nothing (just film stock and light) it captures life rather than just imitating it, which is what makes it so beautifully unique and separate from the other arts. In making that kind of art, it too is liberating, but without it I am without worry or fear. I don’t have to stress about the frame since it’s already decided. My job is simply to manipulate it and let it be what it wants to be—like sculpture, I merely have to shape the clay and find emulate its essence, only I get to determine what about its essence I want to share.
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