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neegeh
now - the only word for a definite point in time in the language of the
Micmac-Indians, who otherwise see time as an indefinite circle.

the movie
script, producers, directors, postproduction: Andreas Gessl, David Zuderstorfer
shooting (Studio Brains & Pictures, Tullnerbach / Vienna): 14.-16.April 2004
production: DigiBeta, 16:9
Motion Control: Mark Roberts Milo
finished: Oktober 2004
length: 4min50s

background
'neegeh' is the practical part of the diploma thesis of Andreas Gessl and David Zuderstorfer (graduating from the University of Applied Sciences Hagenberg in 2004, course of studies: media technology and design).
'neegeh' is an animated shortmovie, combining greenbox-shots of the actress Aysegül Yüksel with an animated environment using a motion control system. Georg Riha (head of Brains & Pictures) did let us use his studio, his motion control unit 'Milo' (Mark Roberts) and his cameras, Light & Grip Dopplinger supported us with light equipment and the artists of Noisia created the music for 'neegeh' - thanks a lot!

intention
The intention was to to dissociate from a side-taking coverage as some media do (this is "black", this is "white"), so we planed to show both sides of one person (in the case of 'neegeh' it's a victim and a commiter) at the same time (using multipassing-shots we show both sides (for / after the metamorphosis) of the only role in 'neegeh').

title
The language of the Micmac, an ancient Native American tribe, doesn't know time as we do. Just as day and night or the seasons of the year everything is recurring which makes a linear perspective on time obsolete. A before or an after simply doesn't exist. Still, there is a word for now: neegeh. The movie shows a situation without escape. The story takes place "now" (not before, not after).

story line
The movie starts in the middle of the plot and shows 1 actress in 1 role 2 times at the same time when the movie tells the story forward and reverse and the role interacts with her other self (using the motion control system we could use multipassing shots with a moving camera).
Furthermore the whole plot is a loop (the flying grain) - there are always consequences, action and reaction.



The camera-moves of the motion control unit where shot twice (multipassing, once forward and once reverse), afterwards the shots of our actress where composited with an animated environment. Due to this complex story line and technical work we did put lots of energy and work in this movie (starting with a detailed production plan - preproduction is everything) and hope you enjoy 'neegeh'.

We appreciate your opinion and feedback in the guestbook!

Andreas Gessl and David Zuderstorfer, 2004

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