Synchromy

Norman McLaren and Grant Munro use three different animation techniques to provide visual representations of canons in a film designed to teach viewers about this ancient musical form. The soundtrack combines both recorded classical music and sounds produced by a synthesizer.

In this three-part experiment in geometric abstraction, spheres with metallic reflections float and are propelled through space. René Jodoin and Norman McLaren completed the animation in 1946, but it wasn't until 1968 that McLaren chose Glenn Gould's interpretation of passages from Bach's Well-Tempered Clavier for the soundtrack.

Une expérience rigoureuse sur le synchronisme entre le son et l'image: des cartes de sons synthétiques sont photographiées sur la pellicule, tandis que les mêmes cartes de sons synthétiques sont photographiées sur la piste sonore. Norman McLaren obtient ainsi un synchronisme absolu.