Scott Barltett

The opening scene that focuses on a close-up of an eye has such a great sense of depth. First there is the initial layer with the eye on it, but behind a menagerie of colors and pattern swirls hypnoticly. With the eye open wide, you can feel how extremely excited the mood is.

The rythmatic use of positive and negative colors reverberating created for me a mood and a sense of anxiety. The mood was further enforced by pairing the footage with sounds that changed organically along with the imagery. At one point this feeling of uneasiness was especially evident when a close-up o

I'm definately interested in checking out other films that Scott has created, just because they can be inspirational for visual artists of all trades. I would like to know what exactly he did to create his effects. I tried looking on the web, but there wasn’t any information that I could immediately find. And I wonder what shooting a computer’s screen versus a television screen could create. I know the pixelation is different on a computer screen. It’d be interesting to try with a zoom lens I think. You could really break down the individual pixels, and make the images more imbiguous.

I’m really starting to see the benefits of experimentle films through taking this class, I think. I didn’t really understand them much before. I’m now understanding how they are such a great opportunity to work on and develope new visuals of cinema, without the confines of a narrative. And in doing so, it doesn’t make it any less of a film. We just have to look at Scott’s work to see proof

Some topics in this essay:
Scott Bartlett’s, Especially I’ve, Canyon Cinema, black positive image, white black, white black positive, television screen, positive image, black positive,