I have the intervalometer in hand & ready to snap away in earnest. Scratch that, let's make it automatic. Let the camera do its thing, with parameters of choice, shutter, aperture, etc. What's sure is to train it at flows of water, aqueducts, stagnancies & suchlike, & see how we can stitch this together in lightroom or some other application. Finally, let's slap on it something highfalutin. I have a novel to finish.
Wonderful cinematography and skillful editing, but that was all I got. I know a grander narrative was being told through the animation, a story of how water flows from mountains to aqueducts to cities and finally to the sea. This film does not do for water supply what Koyaanisqatsi did for humanity's relationship with nature and technology. Or perhaps it does, but the former just isn't as compelling a narrative.
Many times I was almost overwhelmed by the sheer beauty of the images – I loved the natural landscapes, and the abstract ones. And don't understimate the work behind the motion, the editing and above all, the sound design: it has a musicality of its own, capturing the spirit of the landscapes way deeper than photography alone ever could. Maybe I'd have cut off something – but still, it's so close to perfection.
This film ia a natural mirror held up to the 'stationary static' that is the dichotomy of greater Los Angeles. Seeing so much movement, and hearing so many wave variants, this gem carries the frequencies of industry and nature, reminding us how perception, timing and longevity play out in the human imposition of bending nature. The last shot, of backwards rolling ocean waves, is a return to the imminent source.