#experimental fim

[r0s3bu6]

On This Road - Juan Arango, Ft. Nia Marie

Directed and Edited by Kaylin Smida

Written, performed, produced, mixed, and mastered by Juan Arango

Director of Photography: Zury Lowell

Recorded at Flux Studios NYC

New York, NY 2024

I directed and edited this music video in 2024. Juan sent me the song and gave me a general concept, and from there we were able to get together and film it in just 2 days.

I already had a DV cam that I knew would give me the look I wanted, I just didn't want the pressure of shooting it lol. So then I got Zury to hop on and take care of that.

The editing was a fun process. It was challenging at times, I knew there was a look I was going for, and a vibe for the edit that I wanted, it was just the puzzle of figuring out where everything needed to go.

I think this video is such a fun slice of New York, both real and staged. We follow Juan and Nia Marie on their journey to meet each other at the studio, into making this song, into sharing it with friends, and their journey back home again.

Yeah it's a simple concept overall, but I think it's still very uniquely Juan, and what he wanted from this music video.

I really want to get back into making more stuff like this. I love a DV cam look, I think there's just so much that can be done with it.

[zurich-snows]

Dada & film 4: Hans Richter’s Dadascope

A poetic film in which Dada veterans bring old tricks back to life, without dusting them off.

In this 1961 film, Hans Richter is back on track with his poetic film shots of objects and movements, from sharply lit objects to abstract shots, of human figures with masks and costumes. Old-fashioned, as in his Film Study from 1926, with his experiments with form and tricks in varied, but mostly fast montages. In Dadascope there is special attention for some of Man Ray's objects, such as that iron with the row of nails on the ironing surface ( Gift ), and the metronome with the photo of a woman's eye ( Indestructible Object ).

[spaceintruderdetector]

Henry Jacobs and Jordan Belson at the Morrison Planetarium, 1959.

In 1957-59, Belson collaborated with sound artist Henry Jacobs on the Vortex Concerts, Together they produced a series of electronic music concerts accompanied by visual projections at the Planetarium, the Vortex Concerts. Belson as visual director programmed kinetic live visuals, and Jacobs programmed electronic music and audio experiments. This is a direct ancestor of the 60s light shows and the "Laserium"-style shows that were popular at planetaria later in the century. The Vortex shows involved projected imagery, specially prepared film excerpts and other optical projections. Not just an opportunity to develop new visual technologies and techniques, the sound system in the planetarium enabled Belson and Jacobs to create an immersive environment where imagery could move throughout the entire screen space, and sound could move around the perimeter of the room.

[spaceintruderdetector]

Craig Baldwin - Appropriating, Scratching and Decoding

[kylebeechey]

[kylebeechey]

[kylebeechey]