At the end of the nineties, Reinhart and Widrich invented the “tx-transform” process that inverts the cinematic axis of time and space. Now they filmed in a cinema in Berlin, with 135 actors, using a OmniCam-360. The result is something never seen before.
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Virgil Widrich’s films are conceptual epics (more difficult to explain than to watch). After “Copy Shop” converted each frame into photocopies, “Fast Film” applied the same technique to the history of cinema in origami and “Black Track” returned to that spatialization in a translucent 3D version, “TX-Reverse” resumes the technique of inversion of the space-time axes of “TX-Transform”, now with a 360º 10K camera, in a cinema room where the film itself is being projected. A succession of dancing deformations that, through the most advanced technology, reduce cinema to an art of shadows. (Ricardo Vieira Lisboa)
Virgil Widrich’s films are conceptual epics (more difficult to explain than to watch). After “Copy Shop” converted each frame into photocopies, “Fast Film” applied the same technique to the history of cinema in origami and “Black Track” returned to that spatialization in a translucent 3D version, “TX-Reverse” resumes the technique of inversion of the space-time axes of “TX-Transform”, now with a 360º 10K camera, in a cinema room where the film itself is being projected. A succession of dancing deformations that, through the most advanced technology, reduce cinema to an art of shadows. (Ricardo Vieira Lisboa)
