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1.1 | star guitarmusic video synopsis

2.6 | space-time analysisvideo stills 02

2.16 | space-time analysisanimation 01

3.9 | impossible scenarioslondon city scape 04

3.10 | impossible scenariosmy version of bank

3.11 | impossible scenarioschronogram

3.12 | impossible scenariosvideo stills 01

3.13 | impossible scenariosvideo stills 02

3.14 | impossible scenariosvideo stills 03

3.15 | impossible scenariosvideo stills 04

3.16 | impossibvideo still

3.0 | impossible scenariosplaces of the dlr

3.1 | impossible scenariosplaces of events 01

3.2 | impossible scenariosplaces of events 02

3.3 | impossible scenariosintroduction

3.4 | impossible scenarioslocation plan_bank

3.5 | impossible scenariosplaces of the dlr

3.6 | impossiblondon cit

2.7 | space-time analysisvideo stills 03

2.8 | space-time analysisvideo stills 04

2.9 | space-time analysisvideo stills 05

2.10 | space-time analysisimage 01

2.11 | space-time analysischronogram 01

2.12 | space-time analysischronogram 02

2.13 | space-timchronogra

1.2 | star guitarvideo stills

1.3 | star guitarchronogram analysis

1.4 | star guitarchronogram

2.0 | space-time analysisdocklands light railway

2.1 | space-time analysisintroduction

2.2 | space-time analysislocation plan_poplar

2.3 | space-timanimation

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p o n t d u

r o b i n e t

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1 . 2 | s t a r g u i t a r

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2 . 0 | b r i e f

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2 . 1 | i n t r o d u c t i o n

TowerGateway

Bank

Shadwell

Limehouse East IndiaWestferry

All Saints

Langdon Park

Devons Road Stratford high Street

West Silvertown

Abbey Road

West Ham

Star Lane

RoyalVictoria

PrinceRegent

Be ckt on Pa rk Ga ll io nsReach

RoyalAlbert

Stratford International

Stratford

West India Quay

Canary Wharf

Heron Quays

South Quays

Crossharbour Greenwich Pontoon Dock London City Airport King George V WoolwichArsenal

ElversonRoad

IslandGardens

Mudshute

Bow Church Pudding Mill Lane

Blackwell

Canning Town Custom House Cyprus Beckton

Cutty SarkLewisham

DeptfordBridge

Poplar

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2 . 2 | l o c a t i o n p l a n

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2 . 3 | a n i m a t i o n 0 1

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2 . 5 | a n i m a t i o n 0 1

(0-00-00-00) (0-00-06-00) (0-00-07-00) (0-00-08-00)

(0-00-10-00) (0-00-11-00) (0-00-12-00) (0-00-13-00)

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(0-00-35-00) (0-00-36-00) (0-00-37-00) (0-00-38-00)

(0-00-40-00) (0-00-41-00) (0-00-42-00) (0-00-43-00)

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(0-00-50-00) (0-00-51-00) (0-00-52-00) (0-00-53-00)

(0-00-55-00) (0-00-56-00) (0-00-57-00) (0-00-58-00)

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(0-01-11-00) (0-01-12-00) (0-01-13-00) (0-01-14-00)

(0-01-16-00) (0-01-17-00) (0-01-18-00) (0-01-19-00)

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2 . 1 1 | c h r o n o g r a m

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2 . 1 2 | c h r o n o g r a m

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2 . 1 5 | c h r o n o g r a m

p l a t f o r m 3p l a t f o r m 4

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2 . 1 6 | a n i m a t i o n 0 1

...is embedded into the still images forming the background footage of the anima-

tion. Should the layers overlap, the false train sequence will appear ontop of an-other train, and the impossible scenario is revealled a fallacy.

Additional issues were raised after placing together the footage and realising that

there had been movement of the tripod during the shooting of footage. Due to addi-tional layers being overlaid onto the background footage, the false trains ended upin all places; above and below the tracks, off the tracks to the side, and oating in

mid air! To avert this issue, each layer of train stills had to be analysed across theirappearance and the x,y dimensions of the layer position altered.

Movement of auto focus during shooting also meant that the lens automatically tried

to focus on the trains as they appeared in shot. Because of this setting, the camera

is not as still as I would have liked it to be. The saving grace however of fast speedimage motion is that it is relatively discrete across the entire lm. Many attempts

to track the camera motion were applied, but due to this movement taking placeacross the z axis, it had little or no affect on the overall improvement settings.

Improvements to the image stills includes a daylight fade in and out of the lm at

both dawn and dusk. Following the lighting is a sun path that is tracked at the sun

angle across the lm from left to right as it would move through the sky in reality.

Attached the the spot light used to imitate the sun path, is camera are with a105mm prime lens, providing subtle but realistic effects onto the raw footage.

Additional image improvements include Unsharp Maskto provide further clarity to

the 2000 image stills; B&Wcolour correction; Rotation at 0,08 degrees to straighet-

en the vertical alignment of buildings; Scale, set to 55%; Brightened & Contrast...

t i t l e : p o p l a r i n t e r c h a n g e 2 4 0 0 h r s

To construct a lm, with no prior knowledge of how to technically produce a motion

image, I took comfort in using a program I know well; Adobe Photoshop. Havingchosen a site (Poplar Interchange), and collecting still not motion footage (as de-

scribed in thematic analysis), I was confronted with 2000 image stills, at 25 framesper second, with a duration of 1 minute and 20 seconds to ll.

After analysing the footage and counting the number of trains to pass each platformduring the 1 hour duration of 1 second time lapse images, I calculated how many

more trains were required per track, to acumulate to the total number of trains thatwould pass each platform during the 24 hour period.

To construct an impossible scenario, in Adobe Photoshop, I tirelessly cut out every

train combination per track, which equated to 6 full trains, 1 per platform with 2

carriages, and 2 additional trains with 3 carriages for platforms 1 and 4, for a largercapacity of passengers.

Each full train image collection ranged from 31 stills to 54 stills, totalling 258 trains

to cut out individually using the polygonal lasso tool!

Once cut out and saved down with a transparent background, I was able to open

each of the 6 layer sequences into Adobe After Effects. An additional 374 trainswere required to construct the impossible scenario of the full 24 hours of trains to

pass through Poplar in a single hour worth of footage.

To construct the additional layers, the 6 sequences were duplicated and placed be-tween the appearences of those trains which actually appeared in reality. This alone

highlighted issues; no false trains were able to appear at the same time as another

train where the platforms of the two crossed. This is because the factual train...

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3 . 0 | b r i e f

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3 . 1 | p l a c e s o f e v e n t s

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i m p o s s i b l e s c e n a r i o s

3 . 3 | i n t r o d u c t i o n

TowerGateway

Bank

Shadwell

Limehouse East IndiaWestferry Poplar

All Saints

Langdon Park

Devons RoadStratford high Street

West Silvertown

Abbey Road

West Ham

Star Lane

RoyalVictoria

PrinceRegent

Be ckt on Pa rk Ga ll io nsReach

RoyalAlbert

Stratford International

Stratford

West India Quay

Canary Wharf

Heron Quays

South Quays

Crossharbour Greenwich Pontoon Dock London City Airport King George V WoolwichArsenal

ElversonRoad

IslandGardens

Mudshute

Bow Church Pudding Mill Lane

Blackwell

Canning Town Custom House Cyprus Beckton

Cutty SarkLewisham

DeptfordBridge

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b a n k

3 . 4 | l o c a t i o n p l a n

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i m p o s s i b l e s c e n a r i o s

3 . 5 | p l a c e s o f t h e d l r

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3 . 6 | l o n d o n c i t y s c a p e

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3 . 7 | l o n d o n c i t y s c a p e

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3 . 8 | l o n d o n c i t y s c a p e

3 9 | l d i

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3 . 9 | l o n d o n c i t y s c a p e

3 1 0 | l d i t

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3 . 1 0 | l o n d o n c i t y s c a p e

3 1 2 | a n i m a t i o n 0 2

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3 . 1 2 | a n i m a t i o n 0 2

(0-00-05-00) (0-00-11-00) (0-00-12-00) (0-00-13-00)

(0-00-15-00) (0-00-16-00) (0-00-17-00) (0-00-18-00)

(0-00-20-00) (0-00-23-00) (0-00-24-00) (0-00-26-00)

3 1 3 | a n i m a t i o n 0 2

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3 . 1 3 | a n i m a t i o n 0 2

(0-00-28-00) (0-00-29-00) (0-00-30-00) (0-00-31-00)

(0-00-33-00) (0-00-34-00) (0-00-35-00) (0-00-37-00)

(0-00-45-00) (0-00-46-00)

exposed sensor exposed senso

(0-00-47-00) (0-00-48-00)

3 . 1 4 | a n i m a t i o n 0 2

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(0-00-50-00) (0-00-51-00) (0-00-52-00) (0-00-53-00)

(0-00-54-10) (0-00-54-15) (0-00-54-20) (0-00-55-00)

(0-00-55-10) (0-00-55-15) (0-00-55-20) (0-00-56-00)

exposed sensorexposed sensor

3 . 1 5 | a n i m a t i o n 0 2

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|

(0-00-56-10) (0-00-56-15) (0-00-56-20) (0-00-57-00)

(0-00-59-00) (0-01-00-00) (0-01-01-00) (0-01-02-00)

(0-01-04-00) (0-01-05-00) (0-01-06-00) (0-01-07-00)

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(0-01-09-00) (0-01-10-00) (0-01-11-00) (0-01-12-00)

(0-01-16-00) (0-01-17-00) (0-01-18-00) (0-01-19-00)

(0-01-21-00) (0-01-22-00) (0-01-23-00) (0-01-24-00)

5 . 0 | b i b l i o g r a p h y

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0 1

5.1 | Allen, Stan | Practice:Architecture Technique &Representation (2008)

5.11 | Mulvey, Laura | Visual Pleasure & Narrative

Cinema (2008)

5.12 | Jameson, Fredric | The Geopolitical Aesthetic

(1996)

5.21 | Vertov, Dziga |Man with AMovie Camera(1929)

5.31 | Roman, Alex | The Third & The Seventh

(2009)

5.13 | McCabe, Colin |Preface In: The GeopoliticalAesthetic (1996)

5.22 | Gordon, Douglas | 24-Hour Psycho (1993)

5.32 | Linklater, Richard |Waking Life (2001)

5.14 | Mannoni, Laurent | Eyes, Lies and Illusions

(2004)

5.23 | Linklater, Richard | AScanner Darkly (2006)

5.15 | Manovich, Lev | What is Digital Cinema

(1996)

5.24 | Antonioni,Michelangelo | Blow-Up(1966)

5.16 | Mulvey, Laura | Death 24x a Second (2011)

5.25 | Chandon, Alex |Borderline (2009)

5.17 | Sontag, Susan | On Photography (1979)

5.26 | Marker, Chris |La Jete (1962)

5.18 | Virillio, Pa The Aesthe

Disappeara

5.27 | Godard, Jean-Luc |Passion (1982)

5.28 | HitchcockPsycho (1

5.2 | Barthes, Roland |Camera Lucida; Reectionson Photography (1993)

5.3 | Barthes, Roland | Image Music Text (1993)

5.4 | Banjamin, Walter | (2008) The Work in the Art of

Mechanical Reproduction

5.5 | Burch, Nol | Life to Those Shadows

(1990)

5.6 | Crary, Jonathan | Visionary Events (1997)

5.7 | Crary, Jonathan |Suspensions of Perception(2001)

5.8 | Marey, EtAPassion fo(1993)

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