![]() When assembled into GIF montages, the interval does double-duty as the movement between shots across a space, creating new rhythms and new visual connections. By turning the shots into GIFs and reconfiguring them spatially within a frame, the shot is looped and the interval now becomes the simultaneous moment of the shot's beginning and end. To Vertov, the interval is the movement between shots and is determined by careful attention to the visual correlation of one shot to another. ![]() Vertov's theory of the interval, a driving force in the original film, is the primary logic used to construct Lear's GIF montages. Svilova's editing not only anticipates the animated GIF with her quick edits that see one action through to its completion, but also turns it on its head, pushing the GIF into that which it is typically not: a cinematic shot only one or two frames long. The 1929 film is famously a silent, black and white, montage-style documentary of "a day in the life" in the Soviet Union, employing every known and unknown shot relationship from graphic and temporal to associational and metaphoric. Lear's impetus for this project comes from observing the virtuosic and future-proofed editing style of the film's editor, Elizaveta Svilova (commonly known as "Dziga Vertov's wife", but arguably one of the most prolific and important editors in the history of cinema). One complete viewing of the GIF montages runs well over three hours-far exceeding the length of its source-contains every shot in the film, edit for edit, offering viewers an alternate way to experience this revolutionary film. The Animated GIF Asset Properties window.Ĭlick the Play button at the bottom left of the window to preview the animation.In Every Shot from Dziga Vertov's Man with a Movie Camera as an Animated GIF, Vertov's pioneering film Man with a Movie Camera is meticulously reorganized and reconfigured spatially as a series of animated GIF montages, projected large scale. The Animated GIF Asset Properties window opens, displaying the same properties that were displayed on the Animated GIF tab in the Property Inspector ( Figure 10.30 ). If you want to preview the GIF animation, click the More button. (See "To set a video cast member's properties" earlier in this chapter for more information.) Animated GIF files are typically small and not especially processor- intensive, so selecting DTS usually isn't necessary. Playing the animation Direct to Stage reduces the load on the computer's processor, but it has significant drawbacks. If you want the animated GIF file to be played Direct to Stage, select the DTS option. If you want to specify a different frame rate, choose Fixed, and enter the desired frame rate in the FPS box below the menu. The Lock-Step option plays the animation at the same rate as your Director movie. Normal, the default, plays the GIF animation at its original frame rate. The Animated GIF tab in the Property Inspector lets you adjust the frame rate and other properties for an animated GIF.Ĭhoose an option from the Rate pop-up menu. Select the Animated GIF tab in the Property Inspector ( Figure 10.29 ). Select an animated GIF cast member in the Cast window. To set an animated GIF file's properties: ![]() If you select Bitmap Image instead of Animated GIF, Director imports the first frame of the animated GIF file as a standard bitmapped cast member.
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