Moving Image, Film & Digital Media

In this workshop, participants will explore movement by transforming  still photographic sequences into a collective analog animation. The focus is on generating motion from static images through gesture, repetition, and rhythm. Working  with burst shots or frames extracted from short video clips,  participants will print and manually intervene each image using hand  coloring, texture, and layered materials. Each frame becomes a physical site of transformation before being re digitized and assembled into a shared film. The workshop operates as a collective laboratory where collaboration shapes both process and outcome. The final result is a collective animation that reflects shared experimentation and authorship.

Outline

1. Introduction  and inspiration: presentation of the workshop concept and structure,  screening of short experimental references, and group discussion

2. on photography, gesture, and motion

3. Building  sequences: definition of an action or gesture, capture of short image  bursts or extracted frames, and selection and printing of images

4. Frame  by frame intervention: manual intervention on prints using wet and dry  media with focus on rhythm, continuity, and variation across frames

5. Scanning  and re digitization: scanning or re photographing altered prints,  preparation of digital files, and introduction to simple sequence  assembly

6. Collective montage and projection: contribution of each  sequence to the collective film, final assembly, optional sound  experiment, projection, and group reflection on process and  collaboration

In this workshop, participants will explore the intersection between chemigram processes and animation, combining darkroom based image making with digital sequencing. The session begins with an introduction to chemigrams, working directly on photographic paper through chemical application and resist techniques to generate abstract forms.

The first phase emphasizes collective production, as the group creates a shared series of chemigram images based on a predefined abstract theme. The intention is to understand how a sequence can emerge from variations of a simple visual idea.

These chemigram pages will then be scanned and prepared for animation, allowing participants to see how still, hand made images can be translated into motion. In the second phase, each participant develops their own animation project, applying the same workflow independently and moving from image production to sequencing. The goal is to connect material experimentation with temporal construction.

Outline

1. Introduction to chemigrams and basic animation principles

2. Collective chemigram production based on a shared theme

3. Scanning and preparation of chemigram images for animation

4. Introduction to animation workflow using scanned images

5. Individual production of original chemigram animations

6. Group viewing and discussion of results

In this workshop, participants will explore a practical introduction to photogrammetry, LIDAR, and Gaussian Splatting as tools for creating three dimensional models. The session combines theoretical context, accessible capture technologies, and hands on experimentation to understand how these techniques translate real spaces into digital forms.

The workshop begins with an academic overview explaining the principles behind each method and how they are used to generate three dimensional data. It then introduces free smartphone capture tools and software, focusing on accessible workflows that allow participants to produce their own scans.

Participants will move into a practical capture session, working collectively to create models that will later be uploaded and manipulated. The final stage centers on using TouchDesigner to interact with mesh files and transform the captured data in a digital environment.

Outline

1. Academic overview of photogrammetry, LIDAR, and Gaussian Splatting: definitions and basic principles

2. Introduction to free smartphone capture tools and apps, and software for manipulating the output

3. Hands-on session: collective capture of models

4. Uploading and manipulation of mesh files using TouchDesigner

En  este taller se propone una aproximación teórico práctica al cine  analógico experimental entendiendo el dispositivo como parte activa del  proceso creativo. La propuesta sostiene que las posibilidades  del cine fotoquímico dependen tanto de sus limitaciones técnicas como de  la actitud del cineasta frente al acto de filmar y revelar. Se trabajará con cámara Bolex de 16 mm, explorando sus modos de filmación y la escritura de imágenes en tiempo real. El foco está en asumir el error, el azar y la improvisación como parte constitutiva del lenguaje cinematográfico. El  laboratorio se plantea como un espacio de creación donde el revelado  experimental se convierte en una extensión de la filmación, dentro de  una dinámica colectiva. El objetivo final es realizar una  película colectiva en 16 mm basada en improvisación y escritura  automática dentro de una estructura acordada.

Cronograma

1. Introducción al dispositivo cinematográfico y a la imagen fotoquímica

2. Control y azar en el cine experimental: conceptos, límites y posibilidades

3. Visionado y análisis de obras de referencia

4. La cámara Bolex 16 mm y la escritura de imágenes

5. Guion, Partitura: estructura e improvisación

6. El laboratorio como espacio de creación y experimentación

7. Introducción a recetas y métodos de revelado experimental

8. Ejercicio colectivo de filmación y escritura automática en película 16 mm reversible color

9. Proyección final en 16 mm: puesta en común y planteamiento de la película colectiva final

In this workshop, participants will explore a digital image making workflow based on 3D scanning and virtual photography, moving from capture to final rendered print. The session guides the complete process of constructing a photographic image that does not depend on a physical camera.

Using a 3D scanner app on the iPhone, participants will create multiple scans of objects and spaces, export them as OBJ files, and import them into Adobe 3D Stager. Inside the software, they will arrange elements, define artificial lighting, and control the virtual camera, focusing on how perspective, focal length, and viewpoint operate in a simulated environment.

The emphasis is on understanding how decisions made during scanning, composition, and rendering shape the final outcome. The workshop concludes with rendering and inkjet printing, completing the full cycle from digital capture to physical output.

Outline

1. Introduction and briefing

2. 3D scanning session around the festival using an iPhone and 3D scanner app

3. File organization and export of scans as OBJ files, transfer to computer

4. Demonstration of Adobe 3D Stager

5. Hands-on construction and arrangement of scans in Adobe 3D Stager

6. Introduction to artificial lighting and virtual camera controls

7. Practical work with lighting position and camera settings

8. Image rendering and export

9. Inkjet printing of the final work