How we protect the integrity of what we make. Clarity through reception. Feeling more, thinking less.
This is so cool. I'm starting an experimental animation course in August. I love the idea of doing something more organic like watercolor.
Gorgeous issue. Such a thrill to see the process laid out beat by beat in this way, especially with the timelapse GIF. And that final image, where it all comes together, is really remarkable -- one of the best pieces of animation featured in TLB to date. Great work!
My son and I were talking about how many times per second the human eye darts to refocus during its typical scanning of the visual field. He posited "about 3 times a second" and I replied, "that's every 8 frames, so that sounds about right." And I realized all these years later I still see the world in 24fps... micro-timing every motion of my surroundings. All of this is to say that your 27 FPS turntable gave me a moment of destabilization, as it wasn't' 30 (video) or 24 (film) or even 25 (PAL)... but 27... and I found myself caught in adding the half-frames required to sync it all up to my old self. So to hear that 24 fps was possible (even if this setting was unused by you) gave me a sense of relief and somehow made 27 ok again. Why? Why the worry and fuss? Why did this stress me... I think it's about divisions, factors... 24 has a bunch (2,4,6,3,8,12) 30 also has 6—including the exotic every-5-frames (2,3,5,6,10,15) but 27? you only get (3, 9)... which /really/ means it all done on ones..... ones... ones... animating on ones—that's a special type of commitment. And now it makes sense to me. This project is about animating on ones. And so 24 is no good... Too easy to hold. Too tempting to harmonize. Animating on ones means you're in the moment, and nowhere else.