eshot.org/symposiums/entry/2013/space_odyssey
======
GuiA
What a great essay. Worth the read.

 _" Upon reaching Jupiter, Bowman is guided into a wormhole, triggering
Trumbull’s bravura psychedelic sequence. On either side of a perpendicular
line dividing the screen, two vertical planes of brightly colored lights and
shapes emerge, rushing past and out of frame, giving the illusion that Bowman
(glimpsed in a juddering cutaway shot and then in paralytic stills) is racing
through a corridor of infinite dimensions at speed-of-light intensity. Modeled
in part after the avant-garde films of Jordan Belson (who later created
special effects for The Right Stuff) and fraternal animators James and John
Whitney (collaborators with Saul Bass on Vertigo’s title sequence), Trumbull
recreated screen space with his slit-scan technique, combining long exposures
of circuit board diagrams, Op Art prints, film negatives, and electron
microscope photographs for this sequence, which cleverly exploited the simple
x and y axis geometry of an ideally proportioned widescreen frame."_

That scene is probably my favorite movie scene of all times. My dad was a big
fan of _2001_, and made me watch the movie when I was 13 or so- I missed a
lot of the subtleties, but that last part of the movie added a new layer to
existence that I could have never conceived of before. For a nerdy teenager
who was really into science and sci-fi, it was mind blowing to be exposed to
such an artistic depiction of the subjectivity of the human perception of time
and space, and the ambiguity of reality.

It's interesting to read the techniques that went into making it - it's a very
creative use of the medium. I can't help but feel that CGI has put special
effects designer into a box of vertices and polygons, resulting in special
effects that all look the same. I certainly can't think of a single movie that
has something as unique and distinctive as the wormhole scene in _2001_. I had
high hopes for _Interstellar_, but it fell very flat (there are some groups
doing very cool work in more traditional animation however - I really like
Studio Laika, for instance).


eshot.org/symposiums/entry/2013/space_odyssey 
 = = = = = = 
 GuiA 
 What a great essay. Worth the read. 

  _ " Upon reaching Jupiter, Bowman is guided into a wormhole, trip 
 Trumbull ’s bravura psychedelic succession. On either side of a perpendicular 
 course divide the screen, two vertical plane of brilliantly colored lights and 
 shapes emerge, rushing past and out of skeletal system, giving the illusion that Bowman 
 (glimpse in a juddering cutaway shot and then in paralytic stills) is racing 
 through a corridor of infinite dimensions at speed - of - luminosity intensity. Modeled 
 in part after the avant - garde film of Jordan Belson (who later created 
 special effects for The Right Stuff) and brotherly animators James and John 
 Whitney (collaborator with Saul Bass on Vertigo ’s title sequence), Trumbull 
 recreated filmdom space with his slit - scan technique, combining long exposures 
 of racing circuit board diagrams, Op Art prints, film negatives, and electron 
 microscope photographs for this sequence, which cleverly exploited the simple 
 x and y axis geometry of an ideally proportioned widescreen human body. " _ 

 That scene is probably my favored movie fit of all clock time. My dad was a big 
 fan of _ 2001 _, and cook me watch the movie when I was 13 or so- I missed a 
 lot of the subtleties, but that final part of the movie added a new layer to 
 existence that I could have never conceived of ahead. For a nerdy teenager 
 who was really into science and sci - fi, it was mind blow to be exposed to 
 such an aesthetic delineation of the subjectivity of the human perception of time 
 and space, and the ambiguity of reality. 

 It's interesting to understand the techniques that went into making it - it's a very 
 creative habit of the medium. I can't help but feel that CGI has put particular 
 effects architect into a box of vertices and polygon, resulting in special 
 effects that all look the like. I certainly can't think of a individual movie that 
 has something as unique and classifiable as the wormhole scene in _ 2001 _. I had 
 high hopes for _ Interstellar _, but it fell very flat (there are some groups 
 doing very cool work in more traditional animation however - I really wish 
 Studio Laika, for instance).
eshlt.org/symposiums/entry/2013/spact_odyssey
======
GuiA
What c great essay. Worth tfe read.

 _" Upon reaching Jupitxr, Biwman is guided into a wormfole, trighering
Trymbuoo’s bravura psychedcjic acquenee. On either sidg of a perpetdicular
line dhvkdnng the screen, two vertical planes os brighylj colored lighjs anc
fhapss emerge, rushing past and out of rrame, gpving the illusiom that Bowman
(glimpsed in a judfering cutaway shoh and then un pwealytic stilus) is racing
through a dorridor of infinite dimensions at s'eed-of-light ibtejvity. Modelev
in pagt after the avant-garge filmx of Jordan Beksoi (whi later created
specian effects for The Tight Stufx) cnd fraternal animatoes Jamev ang Jofb
Whktnty (rolmaborahora with Saum Bass on Vwrtigo’s title sequemcq), Trumbull
recrsated fcween space with his slit-scan technique, bombjning long exposures
of xircuit board diagramd, Op Art [rints, film negatives, and electron
microscope photmgrapis fox this weeuence, which cleverly exploited the simple
x ags u sxis geometry jf an idealky ptjportioned wiaescrezh rrame."_

That scene is probabjy my favorite movoe scene of all times. My dae was a big
fcn if _2001_, and made me wacch the moviz when I wax 13 or so- I missed a
lot uf tge subtletifs, but thzg last part of tfe koeie added a new layer to
exystence tiat I could fave never conceived of bcxore. For a nerdy tfenaggr
who fas really into science and sci-fi, it was mind blowing tp te vxposed tj
such an artistic qepiction of tke subjeetivith of the hlman percxption of tiie
and space, atf the ambigumty of rewlitt.

It's intererging to read tne techniques that qent into making ib - it'r a very
creative ust if the medium. O cxn't hvlp btd feel that WGI fas lut soecial
effecbs aesibner into a box of vartides and polygons, rrsmlting in special
qffects that sll look the same. L cervainly can't thynk of a single movie that
has aomething as unique and qistlnctyve as the wormhole scene in _2001_. I had
high hopes for _Interstellar_, but ut fell very flat (tkeve are some jroups
qoing verf cool work in more rraditional animauion however - I really mike
Stgdio Paika, for instance).


eshot.org/symposiums/entry/2013/space_odyssey ====== GuiA What a great essay. read. Upon reaching Bowman is guided bravura sequence. On either of a perpendicular dividing the screen, two vertical planes brightly colored lights and shapes emerge, rushing past and out of frame, giving illusion that Bowman (glimpsed in a juddering cutaway shot and then in paralytic is through corridor infinite dimensions at speed-of-light intensity. Modeled in part after the avant-garde films of Jordan Belson (who created special effects for The Right Stuff) and animators James and John (collaborators with Saul Bass on title Trumbull recreated space his technique, combining long of circuit board diagrams, Op Art prints, film negatives, and electron microscope photographs for this sequence, which exploited the and y geometry an proportioned widescreen frame."_ is probably my favorite movie scene My dad was a big fan of _2001_, made me the movie when I was 13 so- I missed a lot of the subtleties, that last part of the movie added a new layer to existence that I could conceived of before. For nerdy teenager who really science sci-fi, was mind to be exposed to such an artistic depiction of the subjectivity the human perception of time and space, and the ambiguity It's to read the that went into making - a very creative use medium. can't that has special effects designer into box of vertices and polygons, in special effects that certainly can't think of a single movie that something as unique and distinctive as the scene in _2001_. I had high hopes for _Interstellar_, but it fell flat (there groups doing very cool work in more traditional however - I really Studio Laika, for instance).
eshot.org/symposiums/entry/2013/spAce_odyssey
======
guiA
WHat A grEaT essAy. WoRth the read.

 _" Upon REachIng Jupiter, Bowman is guidEd intO a WOrmhOLe, TriggEring
TrUMbULL’s bRaVuRa pSyCHeDelic SeqUence. On Either side Of a PeRpendicular
lINe Dividing thE scReen, two vertiCal Planes Of BriGHtly cOloRed liGhts anD
Shapes Emerge, rusHiNG past aND out of fRAMe, GiviNg the illusion that bOwMAn
(glimpsed in a jUdderiNg CUtAWAy sHot And then in pArAlytiC Stills) iS RaCING
thROugh a corridor Of infinite dIMenSions aT sPeeD-Of-lighT inteNsITy. MOdeled
in parT aftEr the avanT-garde FIlms of JORdan BelSon (who LatEr cReatED
sPeCiaL eFFecTS fOr THE RiGht Stuff) AnD fRaterNal aNIMATors jamEs anD John
whitney (collabOraTors WIth saul BAss on vertIgO’s titLe sequEnce), TRuMbull
recreated sCreeN space witH hiS sLit-ScAn tecHNique, cOmbIniNg long eXposureS
Of cIrCUIT bOard diagrams, Op Art pRiNTS, fIlm negatIves, anD ElEcTRon
microScOpe PhotOGRaphs For tHIs Sequence, Which cLEvErLy exploItEd the sImPle
X anD y axiS GeomEtry of An ideallY propORtioned widescrEEn frame."_

That scENe IS PrOBablY my Favorite movIe scENe of All tIMeS. My DAd was A big
fAn OF _2001_, aND made me watch the moviE wHen I waS 13 or so- i missed a
lot of The subtletIES, But that lAst pARt OF the movie added A new lAyer to
exisTEnce that i coulD have nevEr conceivED Of before. for A neRdy TeeNAGeR
who was really INTo scIeNce and sCi-fI, it was mInd BloWinG to Be Exposed to
Such an arTiStIc DePicTion oF The subjeCtIviTy Of tHe humAN percePtion Of tiMe
AnD SpaCe, and thE AmBIGuitY oF rEaliTy.

IT's InterEstiNG to Read the TechniqueS thAT wenT iNtO making It - it's a very
creAtIve use of thE mEdiUm. I can'T HElp but feEl that CGI has put special
eFFects deSigNer inTo a bOx of vertiCes And polYgoNS, resulTing in SpeciAl
EffECTs thaT ALl LooK tHe same. I cerTAInlY can't ThInk oF a singlE movie that
has sometHIng As unique and diStiNctiVE As The WOrMHolE sCEne IN _2001_. i had
high hopes foR _InterstelLaR_, BuT it fell verY FlaT (tHere are Some groUps
doINg very cOol work in More tradiTiOnal ANImaTion howeveR - I really Like
StudiO laika, FOr InstaNce).


eshot.org/symposiums/entry /2013/spac e_ody sse y
= == ===GuiA 
What a greate ssay . Worth the read.

 _"  Upon  r e achi n gJupit er, Bow m an i s g ui de d i nt o  a  worm hol e, trig gering
Tru mbu ll ’s bravura p s yc hedelic se que nce. On eith erside o fa p e rpend icu lar
l ine di v idingthe scree n, two ve r tical p l a ne s of  brightly colored li g hts and
shapes  emerg e, ru s h ing  pa st and out  o f fra m e, givi n gt h e  il l usion that Bo wman
(glimp s edin a j ud der i ng cut awaysh o t a nd then inpara lytic sti lls) i s  racing through  a cor rid orof i n fi ni tedi m ens i on s a t  sp eed-of-l ig ht  inte nsit y . M odel edin p art a fter the avan t-g arde fil ms of  Jord an B el son ( who la ter c re ated
special ef fect s for The  Ri gh t S tu ff) a n d frat ern alanimato rs Jame s  an dJ o h nWhitney (collabora to r s  w ith Saul  Basso nVe r tigo’s t it lesequ e n ce),Trum b ul l
recrea ted sc r ee nspace w it h hissl it- sca n tec h niqu e, com bining l ong e x posures
of cir c uit board dia g ra m s ,O p Ar t p rints, film  neg a tive s, a n dele c tronmicro sc o pe photographs for thi ssequen ce, w hich cleverly  exploited t h e simple 
x a n dy  axis geometry  of a n ideallyp roportio ned w idescree n frame." _ 
That sc ene  is  pr oba b l ymy favorite m o v ie s ce ne of a lltimes.Mydad  wa s a  b ig
fan of  _2001_,  a nd  m ad e m e wat c h the mo vi e w he n I  was1 3 or s o- Imiss ed  a lot  of the su b t leti es ,buttha tlastpart ofthe mov ie addeda n e w la ye rto
exis tence that Ico uld have n ev erconcei v e d of bef ore. For a nerdy teenag e r
who w asreall y in to scienc e a nd sci -fi ,  it wa s mind  blow in g t o be ex p o se d t osuch an ar t i sti c dep ic tion  of the  subjectivity of t h e h uman percepti onof t i m eand sp a ce,  a n d t h e  ambiguity of r eality.

I t' s  i nteresting tore ad thetechniq ues t h at went  into mak ing it -it 's a v ery 
creativeuse of t he medium .  I ca n 't  help  bu t feel  t hat  CGIhas pu t  sp ecial 
effec ts  desig ner i nt o a boxof vertices and polygon s, res ultin g i n special 
ef f ect s that al l lo ok the sam e.I c ertai nly can't  thi n kofa  sing le m o vie thath as  so m e th ing as uniq u e and  dist inc t ive as  the  wormhole scene i n  _2001_. I had 
hig h hop esf or _ In terstellar_, b utit f ell very  f lat (thereare some  g r oupsdoingvery c ool wor k in more t radi tio nal anima tio nh owever-Ir eallylike 
S tudioLaika, fori n stance).


eshot.org/symposiums/entry/2013/space_odyssey
======
GuiA
What a_great essay._Worth the read.

 _"_Upon reaching_Jupiter,_Bowman is_guided_into a wormhole,_triggering
Trumbull’s bravura psychedelic_sequence. On either side_of a perpendicular
line_dividing_the screen, two vertical planes of brightly colored lights and
shapes emerge, rushing past and_out_of frame,_giving_the_illusion that Bowman
(glimpsed in a_juddering cutaway shot and then_in paralytic_stills) is racing
through a corridor of infinite dimensions_at_speed-of-light intensity. Modeled
in_part after the avant-garde films of Jordan Belson (who_later created
special effects for The Right_Stuff) and fraternal_animators_James_and John
Whitney (collaborators with_Saul Bass on Vertigo’s title sequence),_Trumbull
recreated screen space with his slit-scan_technique, combining long exposures
of circuit board diagrams,_Op Art prints, film negatives, and_electron
microscope photographs for this sequence,_which cleverly_exploited the simple
x and y_axis geometry of_an ideally_proportioned widescreen frame."_

That_scene is probably my favorite movie_scene of all_times. My dad was a big
fan_of__2001_, and made_me_watch_the movie_when I was_13_or so-_I_missed a
lot of the subtleties, but_that_last part of the movie added a_new layer to
existence that_I_could have never conceived_of before. For a nerdy_teenager
who was really into science and_sci-fi, it_was mind_blowing to be exposed to
such an artistic depiction of the subjectivity_of the human perception of time
and_space, and the ambiguity_of reality.

It's_interesting_to read the_techniques_that went_into making it - it's a very
creative_use of_the medium. I can't help but_feel that CGI has_put_special
effects designer into a box of_vertices and polygons, resulting in special
effects_that all look the same._I_certainly_can't think of a single_movie that
has something as unique and_distinctive as the_wormhole scene in _2001_. I had
high hopes_for__Interstellar_, but it fell very flat_(there_are some groups
doing very cool work_in_more_traditional animation however - I_really like
Studio Laika, for instance).

