The Banff New Media Institute, ZER01: The Art and Technology Network, and Sundance Institute’s New Frontier initiative announces The Locative Cinema Commission, a joint venture to stimulate and showcase the creation of a locative cinema project.
The Commission is presently soliciting proposals until August 3. The chosen artist or artists will realize their proposed project during a residency at The Banff Centre, to be completed by July 2010. They will also receive a $4,500 commissioning fee, related production funds, and will present their work at the 2010 01SJ Biennial from September 15 – 19, the 2011 edition of New Frontier at the Sundance Film Festival from January 20-30, and the 2011 Banff Summer Arts Festival.
Click here for information & application information
Just recently we released the first version of our iPhone App called CineSlots. It had been in development for several months with the coding ninja skills of Hunter Hillegas who took our pie in the sky idea and made it into a reality (more info on the app here). What follows is in an interview with him about iPhone Apps, CineSlots and this wondrous city we call Las Vegas. read all »
Yesterday, after scouring for parking at the Las Vegas Convention Center for nearly 30 minutes, I was lucky enough to make it into the NAB Show 2009 Super Session with stop-motion animator and director Henry Selick. After playing some clips from his films THE NIGHTMARE BEFORE CHRISTMAS, JAMES AND THE GIANT PEACH and the recent CORALINE, he was joined onstage by Variety blogger Anne Thompson for a quick, but rather in-depth discussion about his work and the future of filmmaking technology. What follows is a compendium of the notes I tweeted during the conversation. Enjoy! read all »
ShoWest, the annual motion picture industry convention held in Las Vegas, just ended on Thursday. It used to be a very insider industry affair, but in recent years the technology debuted there is becoming cooler and more accessible (like this thing called 3-D); and the celebrity aspect is getting larger. In a way it’s turning into the film industry’s CES. For those that missed the flurry of daily news and debuts coming out of the Bally’s & Paris ballrooms I’ve compiled a list of the stories to check out. I’m especially fond of the Nacho Cheese Wars and the bickering between Fox and Regal on who’s going to cover the cost of 3-D glasses.
If there’s one person knowledgeable enough to write a book on harnessing the power of new media in the entertainment industry it’s Scott Kirsner. Between putting on some amazing conferences like The Conversation and Future Forward; moderating panels at SXSW and Sundance; and writing a weekly tech column for the Boston Globe; Scott has been conducting dozens of interviews with artists and creators for his newest book Fans, Friends & Followers: Building an Audience and a Creative Career in the Digital Age. He was kind enough to take part in an e-mail interview with the CineVegas Blog where he discusses some of the insight he gained while writing the book. read all »
A compilation of my tweets during the 2009 SXSW Film panel “The Future of the DVD and Digital Distribution” moderated by Scott Kirsner, Editor, CinemaTech with panelists Matt Dentler, Cinetic Media; Gary Hustwit, Director, OBJECTIFIED; Steve Savage, President, New Video; Morgan Spurlock, Filmmaker, Warrior-Poets and C Richard Allen, CEO, SnagFilms. It was a “lively” panel to say the least. read all »
With James Cameron’s decade in the making comeback film AVATAR due out late next year, a lot of speculation has been spent on the technological bleeding edge he’s inventing to bring his futuristic vision to screen. Vague references to CG, 3-D and motion capture are the only things to have leaked from Cameron’s secretive NASA-like lab, until now. The Underwire has a sneak peek at the “virtual camera” technology being used for his sc-fi epic via the cinematic cut-scenes in the upcoming Resident Evil 5 videogame.
The new virtual camera software offers filmmakers seemingly unlimited freedom in computer-generated storytelling. It allows a director to move within a computer-generated 3-D environment, in and around CG actors whose infinitely looping performances have been created using standard motion-capture technology, taking shot after shot to his or her satisfaction.
Sounds like your standard motion capture workflow and result, but it’s this extra bit of information that truly transforms the current tools into something brand new.
Though actors only need to perform a scene once, it may be shot and reshot afterward hundreds of times in hundreds of ways. The Resident Evil 5 cut-scenes represent the first use of the new, boundary-shattering technology. The technology gives the cut scenes in Sony’s upcoming game a freedom of movement – the use of visual angles and cinematic perspectives during action sequences – that wouldn’t have been possible with old methods.
Essentially, not only are the options of environment and camera angles endless, but now also the performance of the actor. A baseline is created by shooting with mocap, but from there all elements are modifiable to the nth degree. It’s literally a control freak filmmaker’s dream come true.
Actor and motion capture performer Reuben Langdon:
“You have to become a mix of an actor, a stuntman, a dancer – creating an entirely new kind of performer. You have to don the light-ball suit and know how to move your body to fit the virtual character you’re playing. And, once your body movements are down, you have the light points applied to your face so they can capture your performance. Finally, you stand back and watch the director and the crew experiment and reshape all of it into the scene.”
Whether this future of filmmaking technology is successful remains to be seen, but for now you can experience it at home while you kill zombies.
In what sounds like a direct anti-thesis to our Green Film Series, The Disposable Film Festival is actually a showcase for making movies by recycling technologies such as one-time use digital video cameras, webcams, point and shoot digital cameras, cell phones and screen capture software.
In recent years a new kind of film has emerged: The Disposable Film. It has been made possible by new media and the rise of online distribution (YouTube, Google, MySpace, etc.). These films are often made quickly, casually, and sometimes even unintentionally.
Everyone has become a Disposable Filmmaker: directors of Saturday night cell phone videos, actors under the eyes of security cameras, and narrators before their webcams. Let’s face it – we live in an age of disposable film. Now it’s time to do something creative with it.
The weekend-long festival, art directed by interactive visual designer extraordinaire Rebecca Bortman, will include selections from the hundreds of submissions shot with non-professional video capturing equipment and will end with a panel about this new filmmaking phenomenon. See their website for all the details.
Our 2005 Vanguard Director honoree, Wim Wenders, speaks about and captures his love for the Leica camera which started in childhood with the original model and continues today with the digital M8. Call it a commercial, call it a short film, call it what you will, one thing you can’t deny is that it’s a heartfelt love letter on one artist’s life changing instrument.