This seven-minute film is the first in a projected series of ‘trippy’ films, which in various ways will celebrate aspects of the psychedelic experience. Actually it came about as a happy accident, an afterthought. The footage was shot as part of a more extensive project—an illustration of a reading of the first trip sequence in The Mad Artist—which would also involve some night shooting in other locations. I was unable to complete the night shooting in my available window, and now the trees have come into leaf, so it might all have to wait till next winter, as the trip takes place in December.

However, in playing about with the shot footage, I experimented with various visual effects and an idea sparked: to make a trippy film in its own right, independent of the text of the book, though guided by the experiences it describes. So ‘Tripped in the Woods’ evolved as a notional, subjective point-of-view trip film, involving no people and no words, only the wood itself, progressively metamorphosing by means of trippy visual effects and complementary sound design.

Trippy videos abound on YouTube, and in the main they feature randomly generated wormhole and fractal patterning, fast cutting of anything and everything weird, strobe and flash effects, and tend to be light on original content. The better ones are impressive, but this type of video can get boring and when compared to the fabulous, polymorphous sophistication of the actual trippy inscape, they come nowhere near. With ‘Tripped in the Woods’ I eschewed the oversubscribed inner world of tripping and concentrated instead on the outer dimension—how acid transforms the look, feel and sound of one’s environment, which is especially relevant if that setting is already ‘pretty’, as the Plymbridge Woods undoubtedly is. And that area has a special significance in being the real setting for my first acid trip, described at length in the opening chapters of The Mad Artist.

As a big fan of the surrealist photographer Man Ray, master of the solarization, I’ve been dabbling in creating such effects since college days. Back then it all had to be done in the darkroom, with the results hard to predict in advance, and little did we dream that one day computers would take over the task. With Final Cut Pro, I used many different solarization effects, including double and sandwiched solarizations, alongside other image manipulations and stylisations, such as saturation, motion blurring and posterization, to gradually rack up the impression of consolidating trippiness. In Final Cut Pro one can apply posterization to the red, green and blue channels independently, so the range of combination effects is almost endless. Soundtrack Pro also has an extensive library of effects and atmosphere/musical beds, and again used in combination the sometimes melodic, sometimes eerie and sometimes frenetic moods of a trip can be evoked.

More info about my first acid trip as described in The Mad Artist: ‘The Alphabet Wood’