Muko River, Amagasaki, Japan
Muko River, Amagasaki, Japan
In the digital world the use of thumbnails as a standard UI visual shortcut is taken for granted… but its precursor is one of the many beautiful aspects of shooting film: the contact sheet. I can still clearly remember the nervy thrill of opening the first roll of film back from the lab – Ektar 100 on my Contax T2 – one glance at the contact sheet and my worries were gone!
Ever since I’ve become addicted to that thrill, the only downside I discovered was that when you order scans of your developed film they don’t scan the contact sheet or maybe they will if you ask? I’d like to have it, purely as a quick overview of what was on the roll… But it also prompted me to do a little research on the subject…
You can order prints of the original contact sheet from some of Magnums most iconic photos, for example have a look at this gorgeous contact sheet – “Audrey Hepburn behind the scenes during the filming of American musical comedy ‘Funny Face’, a film released 1957. Photographed by David ‘Chim’ Seymour for Coronet Magazine while in rehearsal in 1956….
Reproducing the original without alteration and enlarged to a 16″x20″ paper size, these Magnum Contacts offer a unique insight into the methods by which our photographers produced some of their best known images, by clearly showing the sequence of frames and the marks of the editing process on each sheet.”
If you do a Google image search for “film contact sheet’ there are many, many contact sheets from famous shoots, as well as some very clever uses of the contact shoot…
Ditto for this Pinterest collection – I love seeing them marked up by the photographer eg this one of Hendrix by Gered Mankowitz, 1967
When I was in Japan last November I went to an exhibition by Rinko Kawauchi and bought a 2013 book of hers called SHEETS which “attempts to retrace Rinko Kawauchi’s steps in this world through a reassembly and re-editing of her filmstrips as a reinvented whole. Cinematographic at heart, the sequences of randomly selected contact sheets offer a real-life time lapse, a resurrection of moments in the personal history of the artist and immortalised in some of her more significant publications.”
Another use of contact sheets has been as the primary image itself, such as this LP I bought the other day in a junk store… I thought it was such a great cover I didn’t actually mind if the music was terrible/contained no sample gems..
Photography by Jim Shea
There is a quick guide to making a contact sheet here but what about a digital contact sheet? Apart from taking a screenshot in LightRoom or Adobe Bridge or any other app that displays your images as thumbnails, there is a handy Photoshop Action that can automate creating a contact sheet from a folder of photos… if you’ve never looked you may not even know this handy script exists:
Just set up the parameters, point it at the source folder of images, hit go and watch it build your contact sheet for you…
▶ on the Kraak
▶ from the new xX album – ymvv
▶ VII (JLin Remix) by Second Woman
▶ Photek 1997 essential mix!
▶ skip to 1’46” for group chaos…. and @4’45” for tuning… and @5.10 OMG!
▶ great interview with Robert Henke abut the early days & evolution of ableton LIVE
▶ ever use Air BnB? if so, you’ll want this
▶ this seems like a brilliant idea, executed in a clever way that provides a cucial role in studios (syncing analogue gear to apps) but doesn’t cost a lot: KLIK
▶ thanks Paul!
▶ gorgeous aerial photos of arctic
▶ I have huge respect for the editors who put together film trailers – to distil a film into a compelling and unique two minutes is a huge challenge… but it seems the sound design for trailers is heading in the opposite direction by becoming more & more generic. Even the trailer for a quiet drama nowadays seems to require huge bass hits and stings as though us, the captive audience, might not pay attention… give it a rest! And give that fckng bass drop a rest too…
AVA TEASER / Particle Physics_360 Outer Geodesic Dom
Direction_Design_Animation: Ouchhh (ouchhh.tv)
Sound Design: Audiofil
Ava; is the surface-volume shape coefficient. The main inspiration comes from monumental experimentations which focused on particle physics. AVA’s design originate from the Buckminster Fuller’s iconic dome structure. It has 360 traceable area from the exterior surface of the dome. Cosmic rays reinterpreted within the concept of AVA and the first version of the performance screened at Paris. AVA is a Commisioned Artwork and designed as a portable installation which can be transportable and positionable at any place.
click image to see larger version/slideshow…
shot with Fuji TX2/XPAN2 in Kansai, Japan 2016
▶ earrings that look like ears?
▶ SOUND + PROCESS podcast
▶ Six ways the film business is changing – interesting re the shift of balance to post
▶ The lost sounds of Stonehenge
▶ 6 things to discuss with your composer before a project
▶ “None of my music, or only an extremely small amount of it, is written in a timeline.” – guess the artist
▶ Build a Programmable Mechanical Music Box
▶ Scientists explain how happiness makes us less creative
▶ 20 great photos captured by drones in 2016
▶ Bending the universe
▶ VFX before CGI
▶ How I got my attention back
▶ Lost British birdsong discovered in New Zealand!
beautiful timelapse by Mike Olbinski
I have a project where I need to have a robot speak text,
what options/approaches are there?
– mac text to speech still exists so I could record it
– record a human reading the lines, direct them & then process their voice
– what else?
I’ll collect up all the replies (Twitter/FB/DS/etc) and post them
Not for this robot…
A recording of their current english voices (& me, trying to make it easy for the voice recognition)
Maciej Janasik was kind enough to send me a version of one the one HISSandaROAR Xmas present tracks – the kamikaze cicada, on which he had staged a really great minimalist intervention – have a listen:
If you’ve made something interesting with the HISSandaROAR Xmas present, email me a link