▶ Resina – Procession via
▶ Jack DeJohnette – Epilog (1974)
▶ Sangatsu / ”TOKYO”
▶ Tortoise – Find The One (Remix by Bundy K. Brown)
its kinda funny – I have vinyl of this song & have listened to & LOVED it for years… at the wrong speed! Have a quick listen to the ‘correct’ speed Youtube copy, then have a listen to this:
▶ Tortoise – Find The One (Remix by Bundy K. Brown) at the wrong speed…
so much more space… its hypnotic! And the drums sound so much deeper
I’ll continue listening at the wrong speed thanks!
If/when aliens ever arrive to this planet, these people should lead the official greeting party!
NSU Spartan Legion
▶ Peter Gabriel: “TV smash take 1… uh take 2… TAKE 3!”
▶ DIY Pearl SY-1 Syncussion second run is currently available – ordered the PCBs, will find someone to build it for me!
▶ infinite realtime composition for computer-controlled piano by Karlheinz Essl
▶ how Herbie Flowers got a double session fee for the bassline of Walk on the Wild Side
▶ public transport in NZ: 1974 versus 2018
▶ funny: xkcd on GDPR
All of the short films entered in the Super 8×8 Wellington Festival are available to screen online now, HERE
If ever you doubted how difficult it might be to shoot a 3 minute short film, with only one take per shot and all editing done in camera then I highly reccomend trying it! Aspirations and ego rapidly get crushed and soon become grateful that *anything* works in it! I kind of treated mine as a camera test, trying as many techniques as I could during the week of shooting including slow mo shooting at 48fps, some stop motion single frame shots, motion control tracking shot, zoom etc etc….
So below is a copy of my entry, as screened on the night i.e. with a soundtrack created without having ever seen any of the developed film… so despite my best efforts at the time, sync is a little blurry…
And below that is an updated copy with a revised soundtrack which is a lot more specific with sync, plus I fixed the offaxis titles and horizontal flipped one shot at the end, for continuity…
Full screen, good speakers please!
Screener: THROWING SHAPES
Updated Screener: THROWING SHAPES
The day has finally arrived – after 2 years on the Cirklon waiting list I at last made it to the top and today am placing an order for a Cirklon sequencer!
Funnily enough I had been reading an interesting thread on MW: How are you sequencing all of your voices? which is primarily people describing how they sequence their modular synth, but also how they integrate into their studio…
Time to start reading the manual while I wait for the Cirklon atoms to travel across the globe to me!
Two new libraries releasing soon at HISSandaROAR
▶ Altone – Small Soul
▶ Karlheinz Stockhausen – 2 pianos and ring modulation
▶ The Black Dog – Black Daisy Wheel
▶ Nightmares On Wax – Deep Shadows (Moodymann Remix)
▶ Second Woman – Apart I
oh yeah! 10 rolls of Super8 TriX and a new camera!
‘new’ being a relative term, but a mint Super8 camera for under $200
and not just any camera, a Nikon R10 Super 8….
perhaps the ultimate Super 8 camera!
Was motivated to hunt down & procure the R10 due to a couple of features,
first is that apparently it has the best registration of any Super 8 camera ever
(noticed the need when my Nizo defocused briefly, due to film moving away from the gate)
but the R10 can also shoot double exposures… and while reading how to do that
I discovered it can also shoot backwards ie backwards action!!
Might I add, it is fascinating times in the analog world
slowly Fujifilm abandons its film history…
Meanwhile Kodak embrace theirs…
and are progressing!
▶ In the studio with Nils Frahm
▶ Lost score composed by 18 year old Debussy is up for auction
(pre-sale estimate is 120,000 – 180,000 euros)
▶ Song Exploder: Jon Hopkins – Luminous Beings
▶ xkcd: how well something works after I decide to fix it
▶ Chris Carter Chemistry Lesson on Studio Hardware
▶ creativity, step 1: divergent thinking
▶ Peter Zinovieff: Synth Pioneer
Confused by all of the GDPR bizo? Mr Scruff clears it all up
Saturday night was the conclusion to the Wellington edition of the Super8x8 film festival – its been run in Auckland two times previously but this was the first time in Wellington and it was such a fun challenge to take part in! I’ll write a bit more below about it but here are a few stills from my entry, THROWING SHAPES which I managed to win second place! The winner was PINECONE by Tim Hope which was a really nicely conceived and executed short film, which also prompted a great audience reaction..
The theme for this festival was INVERSION which could be interpreted in any way that you like, and while shooting 3 minutes of film over the course of a week might sound fairly easy this was a really excellent creative challenge as all editing had to be achieved in camera – no post production was allowed & the first time we all saw our films was at the screening… Accordingly everyone was a little nervous at the screening, so the laughter was somewhat cathartic as one by one each team was hugely relieved to see their film!
My approach was to start with the soundtrack, and attempt to work backwards – making timed notes on how long shots should be to keep some form of sync… But after carefully shooting frame by frame a leader (so sound could be easily synced live) and the titles, and then a motion control tracking shot, the next location blew my sync as I got caught up in shooting without accurately timing how long my shots were! But all was not totally lost – each shot I did I shot on video first as a test of framing & timing, but also so that I could slowly assemble a video version of my film to rework the soundtrack as necessary… So I guesstimated how much extra I might have shot at location 2, and updated my soundtrack accordingly…
While I am used to shooting film as stills, and try to be conscious of shooting digital & not just shooting excessively, the discipline required to edit in camera felt like an enormous challenge and it was a really invaluable learning experience to attempt it and to then see the results with my own attempt and with everyone elses.
One of my aims was also to attempt a number of different shooting methods, so apart from motion controlled tracking (using my SYRP Genie and slider) I also did one rotating 720 shot with camera on SYRP Genie, a stop motion shot (6 seconds at 18fps = 108 x shoot a frame & move props!) and some slow motion shooting at 54fps… I had planned to also do a timelapse shot, and a macro motion control shot but the weather turned to shite on the last two days and I had to drop those shots…
So did my film work? Kind of… It was sure fun to see it and while I never aimed to have a clear linear narrative over the course of shooting, improvising some shots and adjusting aspirations to reality my ideas evolved into something I will continue to work on – I plan to shoot another 3 or 4 rolls of Super 8 and then edit picture as well as sound & score, partly to try & make my short a little more fully realised, but also because it was such fun shooting and as I feel a lot more confident shooting on my Nizo 801 camera I want to carry on and do more with it! So you can expect an online screening in a month or so!
hands up: who has stayed up way past bed time, to insure you win an auction for an obscure bit of audio gear for sale in a different time zone? (maybe) worth it for a one off – I can find no other instance of this dual resonator, anywhere…. except soon here!
a tape echo that uses 8 track cartidges?
sure… hate to think what my next stop will be…
stalking 8 track cartridges to erase with dubbed out space cadetship…
if you hear a bit of some dreadful 70s band in the feedback then consider it unintentional
of course every mixer should include an analog drum machine… and a spring reverb!
the museum of repurposed technology grows…
▶ Brainwaltzera – muddy puddle trot
▶ Oneohtrix Point Never – Black Snow
▶ Hexstatic – Perfect Bird remix
▶ Perfect Bird – Guitar Vader – パーフェクト・バード
Having recently got a lot of rolls of film back from the lab its been interesting revisiting shots I took, in some cases months ago… And the differences in approach, to the same shot, at this location I especially found interesting, so I thought I would share the details…
Note: all photos have had no post production work done at all – these are all displayed as they came out of the camera…
The location is the river mouth at the South Coast from Wainuiomata – it was a sunny day & I arrived mid afternoon… & I lugged a fair amount of gear along the beach to the river mouth: my Canon 5D3 and lenses, Lee filters & tripod… plus my Fuji TX2/XPAN2 and lenses & Lee filters… and my field recording gear…
I shot a bunch of test shots as I walked alongside the river but it was the final curve of the river as it approached the sea that caught my eye so I dropped all my gear, set up my tripod & started shooting…
So those first two photos above, were shot with my iPhone 6s, auto-exposure auto-focus so essentially a snapshot and in such bright light the EXIF data says the exposure was 1/1522! As snapshots they capture that it was a sunny day with blue sky but as far as the water goes they are to my eyes ugly photos. Fine for documenting my setup but harsh to the eyes….
Next camera: Canon 5D3 with Zeiss 21mm lens fitted with Lee Super Stopper. Now when using such dark ND filters the sensible method would be to check your exposure without the filter and then either calculate the exposure time, or refer to the handy card of typical exposure times included with the Super Stopper (eg 1/1000 = 30 seconds, 1/500 = 1 minute) or refer to the handy app that Lee Filters make freely available…
But I quite like taking a more experimental approach that doesn’t require anything other than shooting test photos, as I sometimes capture happy accidents this way…. So after composing & focusing my shot and setting f stop and iso for typical non-ND conditions, I then crank the iso and fit the Super Stopper ND15 filter and simply start shooting bulb exposures, increasing the exposure time with each shot until I am in the zone of what I imagined/pre-visualized (nothing is more boring than shooting a 3 minute exposure and finding it is way under exposed!)
exposure time = 1/5 second iso 1250
exposure time = 3.1 seconds iso 1250
exposure time = 7 seconds iso 1250
OK so by now I have quickly shot 4 photos within a minute and am now in the ballpark of what I am after in terms of approach… So now it is time to decrease iso which allows me to extend the exposure time…
exposure time = 33 seconds iso 400
better but I want the water to be like glass
exposure time = 180 seconds iso 100
this is it, I could stop now & be happy with this result from a 3 minute exposure… but as they say, you can never know if you went far enough unless you also go too far, so…
exposure time = 248 seconds iso 100
Checking the image in the LCD display I think I am into the territory of diminishing returns, so I call this shot done, put away my 5D3 and get out the XPAN…
Now I tend to keep my XPAN2 loaded with either Fuji Velvia 100 or Kodak TMax 100, mainly due to the issue of reciprocity failure, which varies with every film stock but I know from basic research & testing that these two stocks cope well with long exposures…
This day I was loaded with Velvia 100 as I figured there might be potential for a beautiful sunset, so first as with my 5D3 I set the XPAN2 on my tripod and framed/composed and focused the shot and for reference took a shot on auto exposure:
And having shot on iso 100 with my 5D3 I know if I put the Super Stopper on my XPAN a 3 minute exposure is going to be approximately right, but to allow for some reciprocity I will leave the shutter open a bit longer…
exposure time = approx 210 seconds Velvia iso 100
You can draw your own conclusions about which shot you prefer… Velvia 100 does tend to get a slight purple cast with extended exposure times, so for example a slight tweak in Photoshop balances that out:
There is a great saying, which applies to sound as much as photography:
The best camera (recorder/mic) is the one you have with you! So while like most people I take a lot of snapshots with my iPhone I dont really consider that photography per se, it is just taking snapshots. Why? Well, I consider a photograph requires composition and control of the medium. Composing means more than just framing, composition also occurs through control of focus and exposure, both of which do not tend to occur when using an iPhone. But a photo taken with an iPhone is definitely better than no photo at all.. And if nothing else can be a useful reminder to revisit a location to shoot it ‘properly’ as is evidenced by the ugly iPhone photos at the start of this post, and the gorgeous silky tones of the long exposures…
One of the reasons long exposure photography has such appeal to me is that as with shooting film it slows the process down, so rather than bang bang bang shooting snapshots with little thought or investment in thought, process or feeling.. the photograph becomes more akin to field recording where three minutes is a bare minimum to capture an ambience, and it therefore requires you to be present and quiet for at least that long.
Lastly, I love this quote by Ansel Adams and have adapted it for field recording
The next HISSandaROAR library due for release soon is a byproduct of the Doppler Truck Horn recording sessions = literally hundreds of clean open road car passes…..
▶ “The video is by John James Haynie of North Texas State University, he invented it to study & teach trumpet”
▶ reading & listening to David Burrastons recent arts fellowship travels has been fascinating! What an excellent initiative.. #soundart
▶ fascinating interview with Andre Cymone – Princes bassplayer amongst other things…
▶ not enough physical space for a modular synth? think again (but, BUT a noticeable lack of speakers in these small setups, which presumably means monitoring on headphones = a scary prospect for the longevity of your hearing given how dynamic modular experimentation can be!!)
▶ Synthesizer Manuals Collection (thanks Nigel)
▶ I’d never seen this Making Of for the classic Gondry/Daft Punk music vid… such great ideas & brilliant choreography by Blanca Li
▶ If you use facebook & also use bhphoto, open & close this bhphoto page for the Linhof 4×5 Master Technika 3000 Metal Field Camera and see how long it is before bhphoto ads start appearing in your timeline… :/
▶ This is what happens when you sneak a hip flask on to your lunar mission…
survived day 1 of shoot for @Super8x8
stayed up until 1am finishing a draft of my soundtrack…
then shot titles & first shot = motion controlled weird perspective
Nizo 801 Super 8 camera + @Kodak TriX + @Syrp Motion Control
This is fun!
And quite possibly the most difficult work I have ever done!
Shot a camera test today with my Nizo 801 macro Super 8 camera, even did some long exposure test shots with my Lee Filters Big Stopper as the Nizo has a bulb mode… And shot some 54fps slow mo, and some double exposures…
Testing it all works prior to shooting a short film (of some kind) with a single roll of Super 8 film (all edits are done in camera) as part of the Super 8×8 Festival which my friend Ian is running in Wellington this week! For all of the people who entered, the first time they see their film is with everyone else at the screening!! I’m trying to plan my shooting so I can also make a soundtrack of some kind that is slightly coherent…
love this bathymetric image of the underwater landscape surrounding New Zealand!
courtesy of NIWA
found a very lethargic bee in my lounge, so I put him on a bit of kauri gum…
mainly so i could shoot some #macro photos…
then i remembered reading of how bees & bumble bees can become exhausted if they are away from food source for too long… so i put a tiny bit of honey on the kauri gum…
nom nom… starting to feel better!
i left the room for 5 minutes & came back to find him buzzing at a window, wanting to be let out…
off you go little bee! keep up the good work…
Thanks to #TePunaFoundation I just bought my first photo print, a 1:1 print off a R P Moore negative, shot w Cirkut panoramic camera in 1920s – neg/print is 1.3m wide!! Exquisite detail – Milford Sound #NZ, I posted the original back in February 2017, and never would have predicted one day I would have an actual print to admire & inspire!!
▶ Akira Kurosawa’s great advice to aspiring filmmakers – full interview here
▶ 2001: A SPACE ODYSSEY – All 611 shots
▶ great interview with Philip Glass (the audiobook of his autobiography is highly reccomended too)
▶ The Terror is a great new TV series – period drama, ships stuck in ice… interesting article on sound for the series: Capturing, creating historical sounds for AMC’s The Terror By Jennifer Walden
▶ hee hee
Shooting long exposures is usually impossible with boats as the subtle movement with the sea and tide means they are never in focus.. but my last night of this 3 week road trip was incredibly still – no wind & almost no waves… So I went out late last night and shot some ghostly boats…
The reason the last photo is upside down, is that i started thinking about audio processes – spectral as well as reverb, delay, filtering etc… And was wondering, if the boat was a sound what process/es would you use to create that smeared, eroded reflection?
Sometimes the tide just does not line up with your plans!
I have had to abandon a couple of shoots I had planned, simply due to low tide/s never coinciding with favourable light/time of day/access… This being one – I have shot these rocks before and at very low tide could walk right up to them… ditto for revisiting Quail Island… not this time… c’est la vie!
Careful how far off the beaten track you wander…
Five metres from where I am standing in this photo is a deadly fall into the ocean…
I shot some video (which I will upload when i have net access faster than ‘glacial’) which starts with camera pointing straight down, from taking off beside my car… and then off the cliff, rotates and shows just how high & how treacherous that cliff is… and also how far underneath the track the sea has eroded!?!
Made me nervous driving back out of there….
carefully does it!
Film by Páraic McGloughlin
A brief look at the earth from above, based on the shapes we make, the game of life, our playing ground – Arena.
Created using Google Earth imagery.
Pearse McGloughlin and I collaborated on the audio resulting in something between music and a soundtrack.
Audio mastered by TJ LippleHear
Of all the places I have visited in New Zealand, the West Coast and specifically Haast
is one place where if a dinosaur stomped out onto the road, it would be no surprise!
After visiting Jacksons Bay I headed back inland and then headed further South on a gravel road
which followed the Jackson River, through forests that have remained untouched for centuries
fck ‘Treebeard’ & the hobbits… these forests are the real deal!
ps: nice to arrive to Punakaiki and a house with decent wifi!
Had a 5 hour drive, mostly in rain, over Haast Pass to stay in the Haast township,
one of the few places in New Zealand to have no cell phone coverage at all!
Did a great drive, as far South as it is possible to go on the West Coast to Jackson Bay…
Showers of rain would come & go… and the quality of light was magic!!
Had some delicious blue cod for lunch in a tiny cafe here,
while I waited for another rain shower to pass…
Thanks to Rakiura for being an awesome driver/pilot – we had a lot of fun doing these!
actually Vaila Voe Bay