DIRECTORS TREATMENT
TAME IMPALA
MIND MISCHIEF 02
CARA STRICKER
The idea is simple – Open, spacious dreamlike scenes are filled with idealised, surreal visions of youth. The concept captures vignettes of environments tumbling, and falling, lead by the actions of the subject and terrain. Open natural landscapes and spatially surreal footage are hypnotic as the sensation of slow moving scenes, rolling camera movements with strong colour injections allow each scene to seamlessly move into the next, the nondescript landscapes suggesting a weightless endlessness.
50 Go Pro cameras will be used to capture the physical journey of the camera alongside the actions of the youth from several perspectives. The resulting video is dictated through the movement, the edit rolling out as naturally as the footage is recorded.
Technically, the cameras will all be released simultaneously from various locations, i.e. from the top of a building, released down a hill, thrown off canyons, bouncing between individuals, underwater dropping slowly through a body of water as naked people swim by, etc. By dropping a multitude of cameras at once through these environments, the edit cuts through a rolling notion of experiential imagery creating hypnotic slice-of-life scenes pushing the film into surreal scenarios.
Fundamentally, what I liked about this technique is that the rolling cameras seemed to sit really well alongside the flow of the track. In a mesmerizing way, the disorientation allows the hypnotic camera movements to carry the subject material through an unfolding world into one mesmerizing film.
Similar to that of my most recent film, which uses 15 Go Pro cameras to explore 4 landscapes with basic elemental intrusions, this technique instead places importance on the motion of the individual camera rather than the camera man and a constrained rig. The resulting footage is weightless, unrestricted, and effortless.
Aesthetically, the film will sit somewhere between Ryan McGinley’s photography, the rolling camera technique of Tree of Life, Enter the Void and Aaron Young’s Untitled (piazza San Marco) 01 02 03 , and the film installations captured in Wilfredo Prieto’s Lemon Green .
+ Opening
- We watch one camera lays on the ground disguised as fruit. A multitude of people walk past in a busy street. It sits their untouched. As it gets kicked by a passerby, we cut to the motion of the camera. The video begins.
AESTHETIC MOOD BOARD
AARON YOUNG + WILFRED PRIETO’S CAMERA PERSPECTIVE
ROLLING CAMERA TECHNIQUE
- copyright Stricker 2012
TAME IMPALA
MIND MISCHIEF 02
CARA STRICKER
The idea is simple – Open, spacious dreamlike scenes are filled with idealised, surreal visions of youth. The concept captures vignettes of environments tumbling, and falling, lead by the actions of the subject and terrain. Open natural landscapes and spatially surreal footage are hypnotic as the sensation of slow moving scenes, rolling camera movements with strong colour injections allow each scene to seamlessly move into the next, the nondescript landscapes suggesting a weightless endlessness.
50 Go Pro cameras will be used to capture the physical journey of the camera alongside the actions of the youth from several perspectives. The resulting video is dictated through the movement, the edit rolling out as naturally as the footage is recorded.
Technically, the cameras will all be released simultaneously from various locations, i.e. from the top of a building, released down a hill, thrown off canyons, bouncing between individuals, underwater dropping slowly through a body of water as naked people swim by, etc. By dropping a multitude of cameras at once through these environments, the edit cuts through a rolling notion of experiential imagery creating hypnotic slice-of-life scenes pushing the film into surreal scenarios.
Fundamentally, what I liked about this technique is that the rolling cameras seemed to sit really well alongside the flow of the track. In a mesmerizing way, the disorientation allows the hypnotic camera movements to carry the subject material through an unfolding world into one mesmerizing film.
Similar to that of my most recent film, which uses 15 Go Pro cameras to explore 4 landscapes with basic elemental intrusions, this technique instead places importance on the motion of the individual camera rather than the camera man and a constrained rig. The resulting footage is weightless, unrestricted, and effortless.
Aesthetically, the film will sit somewhere between Ryan McGinley’s photography, the rolling camera technique of Tree of Life, Enter the Void and Aaron Young’s Untitled (piazza San Marco) 01 02 03 , and the film installations captured in Wilfredo Prieto’s Lemon Green .
+ Opening
- We watch one camera lays on the ground disguised as fruit. A multitude of people walk past in a busy street. It sits their untouched. As it gets kicked by a passerby, we cut to the motion of the camera. The video begins.
AESTHETIC MOOD BOARD
AARON YOUNG + WILFRED PRIETO’S CAMERA PERSPECTIVE
ROLLING CAMERA TECHNIQUE
- copyright Stricker 2012