When I started working on animated sequences and 3D modeling (mid 90’s), the rendering process took usually the same amount of time as the creation work, a sequence of 120 frames was equivalent to half a day of render.
Apart from the possible meanings of the term render and its mystical links, its inevitable presence as a distressing blind wait in the middle of the workflow ordered my way of working, adding an uncomfortable and mysterious piece in the workflow, even in 100% analog projects , which do not require rendering I add some part that replaces what the render process does.
I think that the dull wait and the presence of possible unexpected error, are a valuable input of risk and unconsciousness in my process of creation, a way to control to some extent what happens, letting something that I do not know, and can surprise me appear in the result .. Sometimes I work for several hours without seeing what I am drawing, using carbon paper between the stroke and the result, then I remove the veil to see what happened, in other occasions the intermediate process before seeing the result implies inaccurate mechanisms and random images that actually involve not knowing what can happen when a sequence of frames begins to move.
I consider that expectation fueled by anxiety to see how an image magically materializes as an essential part of what I do, is a necessary obstacle, a process of faith, which helps me to believe that the result exceeds what I could foresee.
Mariano Ramis San Pedro Buenos Aires 1979, Designer of Image and Sound, teacher and researcher from FADU UBA Argentina. Visual artist interested in representation of the moving image it’s technologies and perceptive implications.