The re-edit of Parallel has resulted in a fundamentally new film, Carriage.
This film is constructed entirely out of the train windows extracted from the footage used for Parallel. The footage was slowed to 10% of real time (or a temporal scale of 10:1), using the After Effects pixel-motion frame blending. At time this generates strange artefacts, which only add to the uncanny quality of the film. As the extracted windows were enlarged by around 500%, the resulting loss of image quality was combatted by using an AE noise generator filter.
The film builds slowly, from individual windows, to a jumbled overlay where windows have transformed to screens, where the spaces seen through each window/screen become layered, individual ‘characters’ recognised, their journey across the screen, and through the night, repeated.
The film concludes with a coda, showing the original footage of the whole train (with its surrounding space masked), from which the screens of individual windows in the previous section were extracted. The separate views though each window are connected, the train carriage presenting the unified space in which all of the unknown, but now familiar, characters reside.
The film draws out the uncanny nature of the experience of passing another train on parallel tracks at night, where the windows into the space of that other carriage are pools of light in a black void, offering portals into another world. Image and sound are slowed to 10% of “real” time (a temporal scale of 10:1), preserving and amplifying the uncanny quality of the fleeting experience. The soundtrack to that “other” space, is produced from the space of the carriage from which the camera, filmmaker, and viewer are located – snippets of conversation, rattles of the train, and automated announcements become an abstract roar. Without any provided narrative structure the half-formed images of the inhabitants of that other carriage take on their own narrative interpretation, and then are lost, into the night.