PROTO.CREDITS
PROTO.IMAGE /// FILM OO1 /// Heather Stone. 2018.
The Sound of Touch. 60 Seconds.
A study that incorporates a high amount of image saturation and exploits the sense of touch. The use of the close-up combined with am identifiable depth-of-field is highly seductive and allows the viewer to place greater significance in elements such as a single drop of water.
PROTO.IMAGE /// FILM OO2 /// Isabella Davis. 2018.
Breath. 60 Seconds.
Image superimposition and a delayed audio track utilize an intentional misalignment between image and the viewer experience. A linking element between the two primary scenes, a screen door and a shower, is a moisture that yields an atmospheric temperature to the clip.
PROTO.IMAGE /// FILM OO3 /// Jiang Zhao. 2018.
Marbles. 60 Seconds.
Three marbles and a wonderfully repetitive soundtrack yield an Eames-like sequence that plays with the simplicity of form and color. Through the medium of time, the director creates a narrative that seems almost interpersonal. Careful attention is given to the cropping of each frame and the relationship of the sphere to the edge so as to create a varied degree of visual tension.
PROTO.IMAGE /// FILM OO4 /// Kristia Bravo. 2018.
Zen and the Art of the Asbestos Training Facils.
The film begins with a pot of tea pouring hot steeped water into a bowl. The simple act takes on an almost religious quality based on the soundtrack. The steam creates a translucent threshold through which a black cat appears. The cat and the steam seem very much one in the same and one wonders about spirit and the interconnectivity of the universe.
PROTO.IMAGE /// FILM OO5 /// Camille Lane. 2016.
ARGUMENT IN THE GHOST HOUSE. MICHEL GONDRY. PROJECTION [RE]PROJECTION.
A couple prepares for a night alone and a pleasant meal but previous anxieties and the pressures of the day spill over into the chaos/fight that ensues. The images are dislocated projected shootings from numerous rehearsals as well as some iconic love and fight scenes around the table. The recorded conversation plays a wonderful counterpoint to the upbeat soundtrack where the ritual of the meal tends to run more smoothy. White Stripes’ “Dead Leaves and the Dirty Ground” was a significant precedent for this film.
PROTO.IMAGE /// FILM OO6 /// Alex Stinchcomb. 2016.
DR+P. 60 SECONDS
A metronome drip introduces us to a hauntingly constructed note. The seemingly minimalistic approach remains true to its original intentions by doing almost nothing at the climax brought on by the sound. Jurassic Park’s coffee mug served as a significant precedent in thinking about how to represent anticipation.
PROTO.IMAGE /// FILM OO7 /// Jennifer Budde. 2016.
PYROMANIAC. 60 SECONDS
Matches are simply striked along the curb in a rural neighborhood. The camera’s inability to focus on the flickering forms provides a magical sense of mystery embedded in a rich depth-of-field. The soundtrack provides a sense of waiting - perhaps even being lost - that slowly evolves into a sense of optimism that is supported by the changing patterns and increased illumination.