Onedotzero : Motion blur, 2005


Onedotzero : Motion blur, 2005

Introduction: print to video

Shane RJ Walter / Matt Hanson

The last decade ha seen an incredible change in the way moving image can be created. This continuing process is producing a coruscating variety of visual exploration, notably within the areas of animation, motion graphics and digital effects.

The digital process has empowered individual forms of visual expression and this has resulted in a myriad of mutating moving-image forms. These forms rapidly propagate and are increasingly being assimilated by other areas and creators, contributing to the drive for innovation.

They could never be described as traditional filmmakers. .. The flowering of time-based work around digital media has created opportunities for a generation of digital creators to move seamlessly between creative disciplines and the chance for their artistic output to range across an unprecedented assortment of media and delivery platforms. They approach the medium from different standpoint, from the areas of architecture, animation, computer game design, new media, fine art and club visuals, but mainly from graphic design.

the rise and ubiquity of non-linear editing tools and compositing software gave the means of production to a new type of visual artists. It shaped the exploded filmmaker, one who shatters the conventional boundaries of creative disciplines to create moving-image forms. This has resulted in a spectrum of styles that break away from easy classification. The boundaries between animation, motion graphics and digital effects, and their relation to the filmed image are essentially meaningless. The pure film has given way to hybrids of moving image that have influenced other more traditional animation areas and have colonized areas from broadcast design to music videos. Live action is fused with graphic-fuelled stylings to create fresh visual approaches and forms of storytelling.

The demarcation between art and commerce has become blurred along with the lines between traditional artistic disciplines. The notion of pigeon-holing your creativity if coming to an end with the convergence in production, application and consumption.

In a historical context, much of what this book explores has come from a reinvention of graphic pioneers and experiments in early cinema: a necessary investigation to examine the possibilities of the tools. But this learning curve from the infancy of digital filmmaking to a maturing visual landscape has been phenomenally steep. The new developments examined in Notion Blur has come about as a direct break away from the conventional constraints of a mainstream Hollywood cinema.

Onedotzero was created at the advent of desktop digital filmmaking, an event signalising the end of celluloid. But rather than the demise of ‘film’ this moment resulted in the birth of a whole new spectrum of moving-image exploration to complement and also chanllege the more established medium.



The seduction of moving images

Shane RJ Walter

for the first time a whole new range of artists could embrace moving image as a medim. 과연 그런가? 비디오아트 1세대 중에서도 비디오 전공했던 사람은 거의 없었다.

onedotzero explored the grey area between art and commerce, client-driven and personal projects.

It is particularly rewarding to see the cross fertilization of creative disciplines happening more organically and from a wider area than it did when we first started. .. what happens after they have blended. There is a thrill of the collision, but the resulting fragments forge even more engaging trajectories to follow.



The end of Celluloid

Matt Hanson

The end of celluloid has long been predicted. a Sea change is taking place in moviemaking with the advent of digital video tape and computer post production.

new genres and sub-genres, desktop digital filmmaking has the potential to kickstart independent filmmaking worldwide.

현재 초기의 digital filmmaking은 아무래도 narrative가 결여되어 있다. .. by their nature they are rarely accompanied by a complex narrative context. The inspirational and ambitious way in which cinema of the late 60s and70s experimented with opticals, combining and clashing images on the screen, is a route that can be returned to as the expense necessary to do this becomes negligible, and the tools come within the reach of anyone who can master a PC.

digital democracy에 대해서 이야기한다. 결국 이 같은 문화적 차이로 인해서 content and originality then become king, and we consubers of image and information start taking command.

digital video allows no excuse for poor quality production and bring the creation of broadcast images within everyone’s reach. ..

We are left with that pure and random play of signifiers that we call postmodern, which no longer produces monumental works of modernist type but ceaselessly reshuffles the fragments of pre-existent text, the building blocks of older cultural and social production.


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