Another experiment adding sound to GIF animations. This one was made using Final Cut Pro, Photoshop and Switch. Image and sound are the same files.
He turned away and sauntered across the sound wave. How did he walk with his loudness per second? She came nearer and heard his teeth. A block of white noise brought out the darkness of her eyes. She looked at him. She smelled him. Rainwater perfume. Water to sound.
“Listen to what you can of me.”
He echoed in the bare wavelength.
“Your clanking noises.”
And then, silence.
“Why is everything so fucking loud?”
She changed her pitch. As she followed him out into a new sound wave, she seemed out of synch. He was as blank as a half note. He faced the surrounding oscillations and the awaking resonance shaking his ears. She leaned her arms on the top of his head and looked at the shaking vibrations.
I’m adding sound to some of my Glifcker animated GIFs. This was the first test. Sounds and images are the same files, I just saved all frames as AIFF.
The process is simple, I save each frame as JPG, then as RAW and finally as AIFF, and then I add the sounds to the video.
The synchronization is perfect because what you see and what you hear is exactly the same.
There are many sounds of dashing disappearance, and she’d lick all of them off his flesh.
“Would you let me bite your ear?”
The wild effects of his noise enchained her to his body; and in spite of the rapidity with which the sound hit her subconscious ear she heard his din.
“Your noise excites me so much I can’t hear myself.”
“Thus Kubelka initiated the flicker film, what Regina Cornwell has described ‘phenomenologically as the short and very rapid succession of recurrent images which flutter or fluctuate in various structures.’ The effect is abrasive yet revolutionary. [Arnulf] Rainer values the process of cinematic projection and the immediacy of vision over the illusionistic three-dimensional representation of past events; it is a film that appeals not to the psychological or emotional but rather to the neurological and physiological brain, creating optical illusions and even fleeting hallucinations that at once disabuse viewers of the limiting priorities of mainstream cinema while inviting them into new worlds of perception.”
Flashes of Brilliance: A brief history of the flicker film, Michael Joshua Rowin.
Some days ago I discovered this film by Dwinell Grant entitled Color Sequence (1943)—I think that this is just a fragment because the film is supposed to last 3 minutes.
Grant was an illustrator, painter, and animator who in 1940 wrote the following about nonobjective painting, and nonobjective cinema: “(Nonobjectivism) is part of the earth itself … In creating it we do not say something about something else, but rather we produce a rhythm which is part of nature’s rhythm and just as deep and fundamental as a heartbeat, a thunderstorm, the sequence of day and night or the growth of a girl into womanhood … Nature is not something to be commented on, it is something to be.”
Even Color Sequence is not a proper flicker film, some parts of it consist of really quick changes, and it is significantly earlier than Arnulf Rainer (1960), the first flicker film, so it shocked me.
Color Sequence is quite unknown and I love it, so I decided to create a kind of digital relecture of it. In order to do that, I saved all the frames from the original video file that I found on the Internet as JPG, and then I intercalated and disintercalated them, what generates this digital aesthetic.
The soundtrack is composed of exactly the same files—I saved the original JPG frames as RAW and then as AIFF—so what you see is what you hear. The final result is this.
The quality of Vimeo compression is really awful for this kind of digital textures, so to watch it properly I recommend you to download the original video file (1018MB, right-click, Save link as).