Thoughts welcome
Experimental filmmaking - David Lynch's Rabbits
Started by
EOSHD
, Jul 16 2012 04:57 PM
12 replies to this topic
#1
Posted 16 July 2012 - 04:57 PM
Thoughts welcome
#2
Posted 16 July 2012 - 07:12 PM
Wtf.
This probably has some David Lynch form of avant-garde justification for being so weird too right..
The media has been lying to you...
Nevertheless, he gets my vote for Silent Hill 2.
This probably has some David Lynch form of avant-garde justification for being so weird too right..
The media has been lying to you...
Nevertheless, he gets my vote for Silent Hill 2.
#3
Posted 16 July 2012 - 08:55 PM
This is what the Zacuto Shootout 2013 should be like. More rabbit heads please.
#4
Posted 16 July 2012 - 09:45 PM
well that's one way to fix the rolling shutter issue................................
#5
Posted 17 July 2012 - 03:23 PM
This reminds me of one of my favourite shorts. If you get past the cartoon intro I promise you won't be disappointed.
#6
Posted 17 July 2012 - 03:55 PM
The Rabbits shorts are linked to Lynch's epic Inland Empire, which I think is a masterpiece (but a lot of people have difficulty stomaching).
It should be of particular interest to readers of this site as a perfect illustration of how any piece of equipment can be the right tool for the job when paired with a great artistic mind who understands it. Lynch shot it on the Sony PD-150, lighting and operating himself. He constantly takes advantage of its great low light performance, but he also turns its considerable limitations into crucial parts of the aesthetic. The upscaled SD source, near infinite depth of field and poor dynamic range are harnessed to create some uniquely nightmarish imagery.
It's much more visually interesting and engaging than so many films shot by world class DOPs on top of the line digital cinema cameras and really proves how vision and intelligence come first. As an amateur filmmaker, I found it incredibly inspiring.
It should be of particular interest to readers of this site as a perfect illustration of how any piece of equipment can be the right tool for the job when paired with a great artistic mind who understands it. Lynch shot it on the Sony PD-150, lighting and operating himself. He constantly takes advantage of its great low light performance, but he also turns its considerable limitations into crucial parts of the aesthetic. The upscaled SD source, near infinite depth of field and poor dynamic range are harnessed to create some uniquely nightmarish imagery.
It's much more visually interesting and engaging than so many films shot by world class DOPs on top of the line digital cinema cameras and really proves how vision and intelligence come first. As an amateur filmmaker, I found it incredibly inspiring.
#7
Posted 17 July 2012 - 07:33 PM
Didn't realise it was shot on the PD-150. The lighting is fantastic.
#8
Posted 17 July 2012 - 11:33 PM
Be honest. Who watched it all the way to the end?
#9
Posted 18 July 2012 - 12:03 AM
I am 30 minutes through after 5 days now.
#10
Posted 18 July 2012 - 12:10 AM
Y'know... Today i actually kinda grew a little respect for it. I think it's the music. Right off the bat when the curtain draws, it's a brilliant contradiction.. Very creepy, vintage, lofi, etc
#11
Posted 18 July 2012 - 12:33 AM
Agree love the music. This whole thing is something which takes time to percolate in your mind.
Love Lynch's work.
Love Lynch's work.
#12
Posted 18 July 2012 - 12:58 AM
It had me mesmerized for the first fifteen minutes as I tried to figure it out. Then I surrendered to the abstract and was only able to keep watching for another five minutes or so. Hats off to Lynch for taking some risks.
#13
Posted 18 July 2012 - 11:20 AM
So I googled it. (yes. That happened.). Apparently these phrases are to be placed in their correct order by the viewer. That's 45 minutes however. Maybe with the proper amount of stimulants, and free time... One evening I will write down each line and interpret what "no one must find out about this" means.
Don't hold your breath. The whole drag-asstic approach of boredom within the ugliness of what lies beneath is probably all Lynch was trying to convey here... Esspecially with the crowd cheers, etc.
Something like that... More coffee.
Don't hold your breath. The whole drag-asstic approach of boredom within the ugliness of what lies beneath is probably all Lynch was trying to convey here... Esspecially with the crowd cheers, etc.
Something like that... More coffee.
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