Light, Noise, Smoke, and Light, Noise, Smoke (2023)

At a Japanese summer festival, fireworks were filmed with a Super 16 camera, capturing images directly onto the strip’s optical soundtrack zone. In a 16mm projector, the reader for that audio track sits 26 frames ahead of the lens showing the picture. Footage from two rolls was sliced into 26-frame segments, then intercut between reels. This technique pushed sound and image further apart, while forging a unique, rhythmic pulse that drives the entire film.