# animate! › Films › Exposure by Peter Collis › all › synopses › direction & collaboration › full production credits › film stills › tools & processes › format & distribution › background material Canonical: https://animate.org.uk/films/exposure/all Discovery terms: 2000s animation, photographic animation, direct animation, optical printing, weather, erosion, material decay, experimental short film, filmmaker The following is the archived page text; discovery terms above are separately sourced metadata. Archive status: restored in 2026; historical calls, deadlines and services are closed. --- **Exposure** a film by Peter Collis 2003, 5 min 35 sec ![Exposure, still: XXX a: This and the next two images are from an evolving sequence toward the end of the film. A number of a particular type of plate have been merged into each other using simple dissolves – but in ‘framed’ areas of the image. These images all contain the strong feature of (actual) overlaid _scratched crosses_. Theses are used at the site to kick-start the processes of deterioration, but for me they suggest small signatures – little identity stamps.](https://animate.org.uk/stillslarge/exposure11.jpg) XXX a: This and the next two images are from an evolving sequence toward the end of the film. A number of a particular type of plate have been merged into each other using simple dissolves – but in ‘framed’ areas of the image. These images all contain the strong feature of (actual) overlaid _scratched crosses_. Theses are used at the site to kick-start the processes of deterioration, but for me they suggest small signatures – little identity stamps. ### animate! synopsis A curious coastal research site becomes a vibrantly graphic testament to impermanence. ### one sentence synopsis Vibrant and graphic erosion at a remote coastal research site. ### short synopsis Exposed to the elements on an isolated stretch of beach, an assembly of material fragments fizz with marks, crackle, flake, warp and decay over time. ### long synopsis Exposed to the elements on an isolated stretch of beach, an assembly of material fragments face seawards in a small commercial station, testing the rates of decay of an array of construction materials. The sample sized plates are bolted on Dexion ‘A’ frames, enduring the forces of weather. The film works with these raw materials to create its own study of exposure: both physical exposure to weather and photographic exposure to light and processing chemicals. ### key credits **director** Peter Collis ### Peter Collis #### filmography Peter studied at East London University and St. Martins School of Art. His films include: **Mo\[nu\]ment\[um**\] 35mm Colour 15mins 2000 Special prize of the Jury – Uppsala Short Film Festival 2001 **Staggerings** 35mm B/W 6mins 1997 Best Film at the Cutting Edge – British Animation Awards 1998 Most Innovative Design Award – Ottawa Animation Festival 1998 **Beyond Over Conclude** 16mm Colour 13mins 1996 **Immediate Spaces** 16mm Colour 10mins 1995 September 2003 ### a film by Peter Collis ### direction **director** Peter Collis ### support **primary funding** An animate! production through Finetake for Arts Council England and Channel 4 © Peter Collis 2003 [![Exposure, still: *Exposure* title card: This image is of an orange/brown rust-covered steel beam. In Photoshop I removed the colour from the central zone of the image and overlaid the titles and credit text. (Also see credit cards below).](https://animate.org.uk/stillslarge/exposure01.jpg)](https://animate.org.uk/stillsfull/exposure01.jpg) **Exposure** title card: This image is of an orange/brown rust-covered steel beam. In Photoshop I removed the colour from the central zone of the image and overlaid the titles and credit text. (Also see credit cards below). - *click on image for full size still* [![Exposure, still: Colour plates: This shot opens the film and introduces the vibrant colours of the coated plates at the site. It was taken as a 35mm still, the negative I processed myself, which I pushed to over-cook the colours. This was scanned to PC, printed up and re-filmed on my 35mm rostrum.](https://animate.org.uk/stillslarge/exposure02.jpg)](https://animate.org.uk/stillsfull/exposure02.jpg) Colour plates: This shot opens the film and introduces the vibrant colours of the coated plates at the site. It was taken as a 35mm still, the negative I processed myself, which I pushed to over-cook the colours. This was scanned to PC, printed up and re-filmed on my 35mm rostrum. - *click on image for full size still* [![Exposure, still: Blue bucket: This shot was originally filmed as a series of zoom/wipes toward the bucket. However at the editing stage of the film it became obvious that this was too grand and a slightly unnecessary gesture at this point in the film, so it became a simple jump cut.](https://animate.org.uk/stillslarge/exposure03.jpg)](https://animate.org.uk/stillsfull/exposure03.jpg) Blue bucket: This shot was originally filmed as a series of zoom/wipes toward the bucket. However at the editing stage of the film it became obvious that this was too grand and a slightly unnecessary gesture at this point in the film, so it became a simple jump cut. - *click on image for full size still* [![Exposure, still: Wide of site: To get this shot I raised my stills camera up an approximately 25ft pole, to be able to have a view looking down on the site as something of a whole.](https://animate.org.uk/stillslarge/exposure04.jpg)](https://animate.org.uk/stillsfull/exposure04.jpg) Wide of site: To get this shot I raised my stills camera up an approximately 25ft pole, to be able to have a view looking down on the site as something of a whole. - *click on image for full size still* [![Exposure, still: Line on yellow plates: This shot is one of a number in the film where I mixed scratching marks made directly on to unprocessed celluloid and scanned on to my PC, with stills images of the site. In this case the scratch was a longish wavy line, scanned in reverse (dark scratch on light background) & laid over images of the line on the series of yellow plates. The next step was to rub out, on PC using a software package called AURA, the points where the scratches extended beyond the plates.](https://animate.org.uk/stillslarge/exposure05.jpg)](https://animate.org.uk/stillsfull/exposure05.jpg) Line on yellow plates: This shot is one of a number in the film where I mixed scratching marks made directly on to unprocessed celluloid and scanned on to my PC, with stills images of the site. In this case the scratch was a longish wavy line, scanned in reverse (dark scratch on light background) & laid over images of the line on the series of yellow plates. The next step was to rub out, on PC using a software package called AURA, the points where the scratches extended beyond the plates. - *click on image for full size still* [![Exposure, still: Clouds on plates: This image mixes time-lapse segments of passing cloud with a particular still of the site. This site image was shot using a ‘shift and tilt’ lens which sets the film focus plane at an angle to the actual film plane. This essentially gives a mix of soft and sharp points of focus across the image.](https://animate.org.uk/stillslarge/exposure06.jpg)](https://animate.org.uk/stillsfull/exposure06.jpg) Clouds on plates: This image mixes time-lapse segments of passing cloud with a particular still of the site. This site image was shot using a ‘shift and tilt’ lens which sets the film focus plane at an angle to the actual film plane. This essentially gives a mix of soft and sharp points of focus across the image. - *click on image for full size still* [![Exposure, still: Slippage: This tracking sequence was constructed at the site on my Nikon stills camera using a number of 36exp. 35mm rolls. These rolls of film were hand-processed at different temperatures, dilutions and timings – giving a varied mix of under/over exposure and high/low contrast & saturation levels. The results were scanned, mixed and printed up for shooting on my rostrum.](https://animate.org.uk/stillslarge/exposure07.jpg)](https://animate.org.uk/stillsfull/exposure07.jpg) Slippage: This tracking sequence was constructed at the site on my Nikon stills camera using a number of 36exp. 35mm rolls. These rolls of film were hand-processed at different temperatures, dilutions and timings – giving a varied mix of under/over exposure and high/low contrast & saturation levels. The results were scanned, mixed and printed up for shooting on my rostrum. - *click on image for full size still* [![Exposure, still: Cracks in the sun: This and the sequences in the next two stills again mix celluloid scratches ‘fitted’ onto the plate surfaces in the images.](https://animate.org.uk/stillslarge/exposure08.jpg)](https://animate.org.uk/stillsfull/exposure08.jpg) Cracks in the sun: This and the sequences in the next two stills again mix celluloid scratches ‘fitted’ onto the plate surfaces in the images. - *click on image for full size still* [![Exposure, still: Etching 7 spring](https://animate.org.uk/stillslarge/exposure09.jpg)](https://animate.org.uk/stillsfull/exposure09.jpg) Etching 7 spring - *click on image for full size still* [![Exposure, still: Light splurge](https://animate.org.uk/stillslarge/exposure10.jpg)](https://animate.org.uk/stillsfull/exposure10.jpg) Light splurge - *click on image for full size still* [![Exposure, still: XXX a: This and the next two images are from an evolving sequence toward the end of the film. A number of a particular type of plate have been merged into each other using simple dissolves – but in ‘framed’ areas of the image. These images all contain the strong feature of (actual) overlaid _scratched crosses_. Theses are used at the site to kick-start the processes of deterioration, but for me they suggest small signatures – little identity stamps.](https://animate.org.uk/stillslarge/exposure11.jpg)](https://animate.org.uk/stillsfull/exposure11.jpg) XXX a: This and the next two images are from an evolving sequence toward the end of the film. A number of a particular type of plate have been merged into each other using simple dissolves – but in ‘framed’ areas of the image. These images all contain the strong feature of (actual) overlaid *scratched crosses*. Theses are used at the site to kick-start the processes of deterioration, but for me they suggest small signatures – little identity stamps. - *click on image for full size still* [![Exposure, still: XXX b](https://animate.org.uk/stillslarge/exposure12.jpg)](https://animate.org.uk/stillsfull/exposure12.jpg) XXX b - *click on image for full size still* [![Exposure, still: XXX c](https://animate.org.uk/stillslarge/exposure13.jpg)](https://animate.org.uk/stillsfull/exposure13.jpg) XXX c - *click on image for full size still* [![Exposure, still: Dexion glow: This image was taken about twenty minutes after sunrise, when the light of the sun is at its most acute angle. The strength and direction of the warm light has really pushed & emphasized the residual colours of the old & not so old metal construction.](https://animate.org.uk/stillslarge/exposure14.jpg)](https://animate.org.uk/stillsfull/exposure14.jpg) Dexion glow: This image was taken about twenty minutes after sunrise, when the light of the sun is at its most acute angle. The strength and direction of the warm light has really pushed & emphasized the residual colours of the old & not so old metal construction. - *click on image for full size still* [![Exposure, still: End credits background: see first caption](https://animate.org.uk/stillslarge/exposure15.jpg)](https://animate.org.uk/stillsfull/exposure15.jpg) End credits background: see first caption - *click on image for full size still* [![Exposure, still: End credits: a film by PC](https://animate.org.uk/stillslarge/exposure16.jpg)](https://animate.org.uk/stillsfull/exposure16.jpg) End credits: a film by PC - *click on image for full size still* [![Exposure, still: End credits: an animate! production](https://animate.org.uk/stillslarge/exposure17.jpg)](https://animate.org.uk/stillsfull/exposure17.jpg) End credits: an animate! production - *click on image for full size still* ### technical #### process summary 35mm photographic still & cine documentation of the site was re-worked on computer image manipulation software (Aura & Photoshop), mixing marks and images scratched directly onto raw film celluloid. The results were re-photographed on a reclaimed & rebuilt 35mm optical printer/rostrum camera. Audio fragments & music were recorded separately on computer & DAT and mixed into a soundtrack on computer & overlaid onto DigiBeta. ### master copy format **format** DigiBeta **colour or black & white** colour ### video distribution format **video format** DigiBeta **screen aspect ratio** 16:9 **video standard** PAL **sound type** stereo ### film distribution format **film format** 35mm **screen aspect ratio** 1:1.85 **sound type** Dolby SR Surround ### distributor LUX [info@lux.org.uk](mailto:info@lux.org.uk) +44 (0)20 7503 3980 [www.lux.org.uk](http://www.lux.org.uk/) **Exposure** film, stills and other materials © Peter Collis 2003