Another means of investigation for this exercise involves exploring the film sequence in "The Lady from Shanghai" from a two-dimensional point of view using light. In the sequence I chose, the cinematographer highlights objects moving across a series of frames instead of moving the camera to compose a narrative. Those objects (whether people or otherwise) shot with the most light are conceptually pushed into the foreground, as our eyes are first drawn to contrast and areas of maximum brightness. In order to better understand how the cinematographer was using light in the sequence, I abstracted each frame into 2 levels: light and dark. This is illustrated in the first image.
I chose to diagram each frame using one line, composed of seven control points, to illustrate how the objects moved within the frame of the camera. My intention is to diagram each scene in the x- and y-axes, which will subsequently inform a model (using time in the z-axis) to emphasize temporal/spatial movement across the sequence.
The third frame illustrates the "hulls" of the line, which could in itself become an interesting diagram for the final sequence. It further abstracts the line I created with control vertices. Something I've been wrestling with is how should these new diagrams function? Right now, they are represented by a single line but I've been playing with the idea of having them become an enclosed new shape that mutates over the sequence.
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