As a filmmaker, direct film manipulation is entirely relevant. Film students often mistake experimental film as something that is unique and completely separate from the rest of the world of filmmaking. However, the techniques that are started in Avant Garde filmmaking, in this case painting, inking and scratching directly on to film, often find their way into mainstream filmmaking. For example, the film Scott Pilgrim vs The World appears to use direct film manipulation to produce its title sequence. I could use these film manipulation techniques in a similar technique to create opening or ending credits or I could use them in the middle of the film as transitions. I could also use it to help tell the story. For example, a character could be on drugs or hallucinating and I could directly manipulate the film in order to fully realize the character’s trip through a different state of mind.  In a more philosophical sense, I think working on this direct film manipulation project has gained me an appreciation of just how many frames go into even one minute of film. When working with digital, it’s hard to appreciate that the video is made up of frames.  It’s interesting and often frustrating that something you did that looks really cool on one frame will only be around for 1/24^th of a second.  I think one example of this was with the rayogramming when I used a clear die to brand a logo into the film. It turned out really well and was one of my favorite things that I did for the rayogramming process and for all of the film manipulation project. However, when we actually played the film this really cool thing was reduced 1/24^th of a second. Mind you I was really excited the 1/24^th of a second when I saw the “Games” of Cape Fear Games projected on screen.