Archive for November, 2011

A+B=C, C=Infinity.

Let us propose something:

What if the proposition is that of a thesis, an anti-thesis, and a synthesis remaining the same; yet the conclusion is infinite. So shot A is always A, as shot B is always B, and shot C is always C. Then how can one derive different interpretations from the same repeating shots? So one minute A + B = C, (C has one definition). It entirely possible that the same A + B = C, (C contains now an entirely different definition), hence A + B = C, (C being infinite).

The answer is this:

What if shot A is always shot A, it never differs.
Shot B is always B, that never differs.
And shot C is always C, it never differs.

So we have three shots, and three shots alone, that never change. How then does definition change between these shots? The answer is quite simple. It is not a matter of changing the definitions of the stated shots, but a definition of changing the duration of the shots since in cinema, we are dealing with time and space.

Take for an example shot A stays the same, but it’s duration is not set. Same with shot B and C. Over the course of continuous montage of these three stated shots, where because duration changes between them, so does their stated definitions. They could exert a kind of cinematic intensity or paranoia if the shots montage quickly, or polar opposite, they could exert a type of realist harmony is montaged slowly.

If the stated shots stay the same, but their montage spatial duration changes. You can essentially make a film which creates a multitude of definitions based on its montage spatial duration.

An example of this:

Let’s think of an action sequence, because action takes place in three shots:

1. The Set-Up: Let’s say this shot is a person standing.
2. A Conflict: Let’s say this shot involves a man running toward the camera, (we’re going to edit and imply this person is running toward the person in shot one).
3. The Follow-Through, (Result): It is implied man in shot two has punched to the ground person in shot one.


If shot one has a longer duration than say shots two and three. The definition changes than say if we had a sequence where shot one and two was edited quickly and shot three had a longer duration.

So picture this:

If shot one has the longer duration than say shots two and three.

Shot one creates a realist tension, building to an abrupt, (and I say this because both shots two and three become brief of Conflict and Result) conclusion.


The definition changes than say if we had a sequence where shot one and two was edited quickly and shot three had a longer duration.

The beginning sequence becomes abrupt, and the Result, (person getting punched), becomes more impactful.

This is how C is infinite.


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Testuo: The Iron Man – Introduction, (Inspired by Craig Baldwin)

I used Craig Baldwin’s theory of making something out of preexisting footage, namely an introduction to the cyberpunk film Tetsuo: The Iron Man. This was the result.

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New York Film Academy Films

Explanations to come later.

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Experiment #1 – “Dream Loop”






“Dream Loop”

A nod to M.C. Escher:

Ascending and Decending.

Ascending and Decending.

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Day for Night (Unaltered and Altered)


In the unaltered video I wanted to capture the beauty of the sunset captured at five hundred times speed. This became day for night. But in the altered video, night becomes a white out, a faux-day. Each provide a State of Mind soundtrack alluding to their specific reference and intentions.

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Filming Multiverse Dimensions, (Subject to Update)

  • D-1, (Dimension 1): is a blank slate.
  • D-2, (Dimension 2): is a single stationary shot, unmoving.
  • D-3, (Dimension 3): is the edit between two single unmoving shots, juxtaposed.
  • D-4, (Dimension 4): is the spacial timeline that gives birth to the moving shot. (Say for example in D-3… a single unmoving stationary shot of a person sitting down, juxtaposed to a single unmoving shot of the same man standing, D-4 would play it out, so that the man once sitting it getting up in a spatial time frame).
  • D-5, (Dimension 5): is the Rashomon Effect, different spatial realities juxtaposed to one another.

D-6, (Dimension 6), theoretically would be the Rashomon Effect without juxtapositions. But how one gets there is something I’m uncertain of unless I have mathematical proof to back it up.

If cinema is a matter of time and space manipulation, therefore, it is equally probable that different forms of time and space exists. This is why multiverse theory, string theory, and quantum mechanics become so crucial. Since cinema is time and space manipulations, advanced physics, mathematics, and science is required for its advancement.

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