top of page
.png)
.png)
INK
Films
IT'S SUCH A BEAUTIFUL DAY
Returning to theaters for the first time since 2012, It’s Such a Beautiful Day has been hailed by critics and audiences alike as one of the best animated films of all time.
Originally released as three short films over the course of six years, the picture was captured entirely in-camera on a 35mm rostrum animation stand. Built in the 1940s and used by Hertzfeldt on all of his animated films since 1999, it was one of the last surviving cameras of its kind still operating in the world, indispensable in creating the story’s unique images and visual effects. It’s Such a Beautiful Day painstakingly blended traditional hand-drawn animation and experimental optical effects with new digital hybrids, printed out one frame at time and placed under the camera. The film’s signature “split screen” effects were achieved by photographing the animation through small holes that were positioned just beneath the camera lens. One area of the film frame would be individually photographed, the film was then rewound, another section of the frame would be exposed through a different hole, and the process repeated until all elements of a scene were composited together. Towards the end of production, the old camera’s motor began to fail and could no longer advance the film properly, riddling the final reels with unintentional light leaks.
Originally released as three short films over the course of six years, the picture was captured entirely in-camera on a 35mm rostrum animation stand. Built in the 1940s and used by Hertzfeldt on all of his animated films since 1999, it was one of the last surviving cameras of its kind still operating in the world, indispensable in creating the story’s unique images and visual effects. It’s Such a Beautiful Day painstakingly blended traditional hand-drawn animation and experimental optical effects with new digital hybrids, printed out one frame at time and placed under the camera. The film’s signature “split screen” effects were achieved by photographing the animation through small holes that were positioned just beneath the camera lens. One area of the film frame would be individually photographed, the film was then rewound, another section of the frame would be exposed through a different hole, and the process repeated until all elements of a scene were composited together. Towards the end of production, the old camera’s motor began to fail and could no longer advance the film properly, riddling the final reels with unintentional light leaks.
WE ARE FUGAZI FROM WASHINGTON, D.C.
Created to commemorate the 20 years that have passed since DC-based post-hardcore band Fugazi’s last live appearance (November 4, 2002, at The Forum in London), We Are Fugazi from Washington, D.C. is a 96-minute movie comprising crowd sourced, fan recorded live shows and rare archive footage of Fugazi curated by Joe Gross, Joseph Pattisall and Jeff Krulik.
Explicitly billed as a nondocumentary (tHISiSNOTaFUGAZIdOCUMENTARY,) the film pays tribute to Fugazi’s prowess as a live act — for old fans to remember and for a new generation to discover what they missed. This unique archival assemblage celebrates the fans and their cameras, as much as the band itself — a collision/ collusion of the ephemeral moment on stage, and the moments captured on camera.
Explicitly billed as a nondocumentary (tHISiSNOTaFUGAZIdOCUMENTARY,) the film pays tribute to Fugazi’s prowess as a live act — for old fans to remember and for a new generation to discover what they missed. This unique archival assemblage celebrates the fans and their cameras, as much as the band itself — a collision/ collusion of the ephemeral moment on stage, and the moments captured on camera.
bottom of page