“Well, it’s a bit flat in areas and it could do with more movement if you’re looking to get more energy from the drawings”
Not exactly word for word but enough to make considerations. The comment was from a friend who is also a film maker when giving his two-pence worth on my project. I took his comment(s) on board. This prompted me to have a look at experimental animation, other animators that draw directly on film and a few title sequencers.
I’ve noted some inspiring stuff from Len Lye , Norman McLaren, Dylan Kendle, Saul Bass and Maurice Binder . However, it’s Oskar Fischinger ’s sensory animation, Optical Poem (1938) that has given me the most inspiration. I’ve paid a lot of attention to his ‘dancing’ shapes in total sync with Franz Liszt’s Second Hungarian Rhapsody. Also, what is more remarkable is that the animated imagery is done with paper and fishing line then each frame was photographed individually. That must have been mind-numbing!
Selected frames have been cropped, adding circular and square forms provide more frenetic movement, highlighting abstract forms. Overall, the visuals are a more engaging spectacle but will it be too much on the eye when animated? At this stage I prefer the isolated sequential frames
SEQUENCE 1 FRAME 1
SEQUENCE 5 FRAME 129
SEQUENCE 11 FRAME 357