"IF YOU LOOK CLOSELY AT OUR [MOVING IMAGERY AND EDITING], YOU’LL SEE A COMPLEXITY OF WORKING WITH VIDEOS ON A FRAME-BY-FRAME BASIS [INSPIRED BY STRUCTURAL FILMMAKERS LIKE STAN BRAKHAGE -> MTV GEN MUSIC VIDEO ADAPTATIONS, A GESTURE STILL PRESENT TODAY]. THERE HAVE ALSO BEEN ADVANCES IN DIGITAL INTERPOLATION TECHNOLOGY SUCH THAT YOU CAN SET A PARAMETER AT THIS POINT IN THE TIMELINE, SET A PARAMETER AT THIS POINT IN THE TIMELINE, SET THE RULES FOR HOW A MANIPULATION IS HAPPENING THROUGH THIS TIME SPAN, AND THEN ALLOW THE COMPUTER TO DO THE MORE INTENSIVE FRAME BY FRAME PROCESSING FOR THAT INTERPOLATION.
AT ONE EXTREME, IN OUR VIDEO FOR THE HEIDI KLUM L’OFFICIEL PROJECT, THERE IS THIS ALMOST INSANITY OF THE FRAME BY FRAME TREATMENT FOR THE FULL VIDEO, INCREDIBLY ARTFUL OR PAINTERLY. AT THE OTHER EXTREME, VIDEO FOR INSTYLE WITH NATALIA REYES AND DIEGO BONETA [OR PETZEL GALLERY AND JON PYLYPCHUK] WHERE [WE] PULLED BACK FROM THAT INTO A MORE TRADITIONAL CINEMATOGRAPHY AND MORE TRADITIONAL CUTS, WITH FEWER MICRO TREATMENTS FRAME BY FRAME [TO ALIGN WITH THE BRANDING OF THE PUBLICATION AND GALLERY]." – S.A.
AGILE CINEMA™
