The murmur of the snarkmatrix…

August § The Common Test / 2016-02-16 21:04:46
Robin § Unforgotten / 2016-01-08 21:19:16
MsFitNZ § Towards A Theory of Secondary Literacy / 2015-11-03 21:23:21
Jon Schultz § Bless the toolmakers / 2015-05-04 18:39:56
Jon Schultz § Bless the toolmakers / 2015-05-04 16:32:50
Matt § A leaky rocketship / 2014-11-05 01:49:12
Greg Linch § A leaky rocketship / 2014-11-04 18:05:52
Robin § A leaky rocketship / 2014-11-04 05:11:02
P. Renaud § A leaky rocketship / 2014-11-04 04:13:09
Jay H § Matching cuts / 2014-10-02 02:41:13

Drawings in Time
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Ah, wow:

20090202_katja_mater_2.jpg

Katja Mater takes multiple exposure of her drawings as she creates them, so you sort of see them across three dimensions: width, height, and time.

Also, on her website, she has a gallery labeled “celebrating RGB color space” which I don’t fully understand, but love.

3 comments

Hilda says…

Hey Robin,

I suspect that celebrating RBG color space (which I just went and looked at) has to do with the way the color “art” in that gallery is seen on a computer or because of the way they have been captured, as in the way the colors look. I’m sure you know this already but just in case, RGB color space is specific to video and digital images and is the way we all see everything on our computers. It’s based on an 8-bit mode (so there is 16-bit, 24-bit and 32-bit depending on what you’re looking at). Film color space is much more complex and generally based on a 10-bit mode when translated for a digital medium (say by a post house), for example when a film is “converted” to digital cinema by scanning the negative and processing that information through look-up-tables specially designed for whichever digital projection you’re using so that your 10-bit information gets as accurate a representation as possible in 8-bit mode. That makes sense to me in terms of what I see her doing but it may not to you.

I knew about the differences in color models, but I definitely don’t have the eye for it that you do. So you think the stuff in her RGB gallery is saying, basically, “If you’re looking at this on a computer monitor, you’re seeing something very specifically different from a) what’s sitting here in the real world and b) what’s captured by film”?

If so — cool 🙂

Hilda says…

Exactly. I think I see it only because I worked as a digital intermediate post producer, so all I looked at all day long for weeks and months was the same raw film negative, then the scanned version, then the color corrections as they were being done, then the various film-outs as processed by the lab and how they matched up to the digital projection. You start to see things you never thought you would after a while like 1/4 stop differences.

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