Monday, September 21, 2009

a couple of interesting toronto wrap-ups

this sent by paul rachman -
http://blogs.indiewire.com/thompsononhollywood/2009/09/19/toronto_film_festival_winners_and_losers/
anne thompson's one of the few real reporters on the film business, indie and otherwise. she says the festival sale paradigm is utterly over - but some comments are less despairing (see below)

from ed halter
http://www.artforum.com/film/id=23763
(ed being one of the few people who uses the word 'multi-channel' correctly :)
including the sideline - art/experimental film wrap up - and he - adn the festival, apparently - make this distinction between the 'art/installation' work, which he foudn weak, and the more traditional abstract 'experimental ' still-shooting-on-film work, as in the kind of thing i saw last night -

"Easy to miss beneath these several layers of hubbub is the fact that TIFF—unlike Cannes—also sustains a less flashy but undeniably healthy subculture devoted to experimental cinema. It’s six-show Wavelengths sidebar feels like its own festival-within-a-festival, consistently packing the Art Gallery of Ontario’s Jackman Hall with disciples of formally rigorous fare: Wavelengths-goers this year included programmers from simpatico events—like Toronto’s Images Festival; Windsor, Ontario’s Media City; and Sundance’s own experimental New Frontier section—and curators from MoMA and the Pacific Film Archive, in addition to numerous like-minded filmmakers. Though multi-format, 16 mm is the series’ ruling gauge, with most entries functioning well within the neo-structural-materialist aesthetic that seems to currently define so much of the celluloid-centric avant-garde: In addition to new work by heavyweights like Harun Farocki and Jean-Marie Straub, lesser-known standouts included Karl Kels’s 35-mm rhinoceros strobe Käfig (Cage, 2009); Coleen Fitzgibbon’s restored optical-printing palindrome FM/TRCS (1974); and Klaus Lutz’s Titan (2008), a marvelously designed silent triple-superimposition seemingly time-warped from the age of Tzara and Huelsenbeck. (Sadly Titan’s maker, a New York–based Swiss expat artist, died only days before the film’s premiere.)

Less cohesive was TIFF’s Future Projections slate, an uneven selection, scattered throughout the city, of moving-image work from the art world. Though there were some successes—notably Apichatpong Weerasethakul’s mysteriously quasi-allegorical Phantoms of Nabua, keenly black-boxed at the Museum of Contemporary Canadian Art, and Candice Breitz’s artist talk previewing her new multi-channel work Factum, which premiered at her solo exhibition at the Power Plant later in the week—elsewhere, there were oversights in execution. Cinematographer Christopher Doyle’s video from his installation Picture Start, an already-dubious best-of reel from his work with Wong Kar-wai and others, looped in a curtained corner of INDEXG gallery off of a defective DVD, its image streaked with horizontal distortions. To draw attention to Bell Lightbox, planned as future TIFF hub, artists’ videos were screened nightly on the construction site with weak and ill-placed projectors that rendered the minute details of Marco Brambilla’s intricate Civilization, for instance, all but impossible to discern."

from anne thompson comments:
"the paradigm needs an overhaul. how can you make non-commercial films for tens of millions (sometimes pushing 100 million) and expect to turn a profit?

have not seen it but would point out ‘creation’. here is what is certainly a beautifully made movie that couldn’t draw an audience if you gave the popcorn away free. it probably costs several millions (at the very least) and may never play. how can anyone have thought a movie about darwin and his wife would fill seats?

grab a digi-cam and some actors and make your movie for pocket change. if you can get some investors, great. otherwise, start with a good script, work for nothing, turn in a good movie that’s really truly scary, funny, moving, whatever it is you’re going for (as long as it’s commercial), and pull in an audience, with, hopefully, a modest profit in the end. repeat as necessary.
posted by Alan Green on September 20, 2009 at 8:44am PDT

and this is also true:
The problem is that none of these movies are actually “independent films.” Yes, they might have been funded independently, but they were created with sufficient budgets with the intent that a major corporation would distribute. Well, what exactly does that mean? It means that these are small-scale studio pictures that the studios didn’t have to take a funding risk on, that’s all.

Independent film got bloated. The budgets went too big. The movies became too commercial.

Instead of independent film being the incubator of new hungry talent and independent voices, it became a place for established talent to make smaller films that get them awards and “street cred.” In other words: it stopped working because it got its priorities mixed up.
posted by Edward Wilson on September 20, 2009 at 12:09pm PDT"

Sunday, September 6, 2009

tutorial for realtime 25-monitor workflow

Hi Julie!
Long time no write, sorry. But hey, I have no excuse other than the
drone of daily stuff. Pretty lame, but there it is.

Meanwhile, I just came across this tutorial which has some very cool
tricks that, for me, are extremely cool to have in the tool bag. Of
course as I watched it I could not help but think, wow, if Julie
doesn't already know about this, she will want to!

I guess this is based on me assuming you're always looking for ways to
simplify and powerize the complex multi-screen work flow. I'm also
assuming you're using Final Cut Pro, and you have the suite which
includes the program Apple Motion (version 3 or higher). If that is
the case, have a look at this short video:

http://www.blip.tv/file/1938873/

The guy explains how to quickly build a multi screen wall and move it
around in 3D space if you want to.

What is extra cool about this tutorial is that the guy takes into
account the problems of sluggish software with tons of video source
material running simultaneously and the need to render stuff. The
solutions to these problems are very clever and very cool to know
about, although the first time you see how it is done it seems like
there are a bunch of buttons to push and sliders to slide, which is
true, but it is all documented and clearly saves massive amounts of
time compared to doing things in a more pedestrian manner.

Consider this: This tutorial video runs 21 minutes, and everything
that needs to be done to move a wall of 25 video monitors through 3D
space with all of the window dressing that goes with it is done "real
time" as we're watching the video. Other than the time needed to
select the source material (which has to always be done anyway of
course), then you're looking at a major time save. AND the clever way
that the selected source material is compiled and added to the project
not only makes it very manageable, it also makes the render time of
the finished piece extremely fast!

So, if you're not already familiar with this video and the techniques
presented, I suggest just watching it through once to see how the work
flow goes and how the results are accomplished, and then watch it a
second time to take notes and start experimenting. Along the way it is
clear that one can make a number of changes to the work flow to
accommodate changes to the overall number of video sources one might
want, as well as any moves or changes to perspective one wants to
change. This tutorial shows a block of like sized "monitors", but with
a few tweaks one could also incorporate various size monitors, a
different background, etc.

Check it out!

More later,
- Archy

Thursday, August 27, 2009

Tuesday, August 11, 2009

Carmen Miranda

and we like this one, too - (trying to explain to isabel the origins of the fruit on the head and bunnies singing 'mama' on tierh side - as in carmen mrianda.
it also was also a real challenge to explain the bit of hair stuck in the gate of the projector!

Magical Maestro

Friday, August 7, 2009

500 days of summer - the brilliant 'longing'-type scene

here's the scene:
click on this


It's an odd sensation. i watched it and saw it work - and I was just so amazed to see even this one five-minute segment, and how beautifully it was working - that, even though i knew i'd not get the credit for this idea, ever, now, nor for all the ideas in the still-unmade-Longing, it worked so beautifully that i felt like: well, here it is, however it got here. It works. I knew it would work, and it works. And now someone else has done it - and so it doesn't matter that I didn't.

it's strange how it feels like it doesn't matter. It's almost like it's something I can cross off my list now. It shares some similarities with Longing: although about two single lovers, instead of married and single, Zoe Deschanel looks almost exactly the way I imagined my heroine to look. And it's a guy with a boring job, obsessed at the office, staring at her all day long.

actually, this clip doesn't give enough of an idea of how sustained the scene is, and how well-thought-out it is, the reality versus the expectations, how subtly it begins and then slams home the point. It's a different form that I've done - and its actually quite witty - and central to the entire - if rather slight - plot, which i don't want to ruin.

it's such a strange thing, though. How i just stopped doing this. and now it's arriving in bits and pieces... this film, that series, this ad. Perhaps i know these two writers, somehow, perhaps they knew Longing in some way - though it's more likely that this is just now in the zeitgeist.
i have no idea at all

It's a very odd sensation. Almost as if my thoughts on this were so strong that they somehow permeated to Tribeca Films, where these two writers first worked together.

and here's a little two-camera shoot someone put up from a dance scene that's single channel in the film
here's 2-cam dance http://tinyurl.com/l72cpu

i'm going to google and see who these guys are...

Thursday, August 6, 2009

angels with the names of rivers


barb is struggling with an article, so i wrote her that i'm sending her some very positive writing angels i happen to know here in new york. With the publishing and newspaper industry being what it is these days, they're just hovering around manhattan, flapping their wings & doing nothing - so they're going to zip over to china right now and they're actually incredibly excited to help the great barbara demick with her work - so here they come! Their names are Mississippi and Hudson (it's a little known fact that writing angels are all named after rivers; no one knows why - )

I'm thinking of giving two other writing angels to Margaret – these would be, i think, the Thames and Amazon –
Though perhaps there is some Indonesian river that might be better, but i don't know any offhand and if i did, i wouldn't be able to pronounce or spell them.

The Thames is always very picky about people remembering to put the ‘The” there- he hates to be called Thames, and even more- hey thamesy, get you angelic butt over here – which Mississippi has been known to call out on a slow day.

And he REALLY hates being called Thames to rhyme with james. It’s Tems, he says – THE tems.

Oh yeah – the tems they are a changin’ – Miss. mocks him.

Actually I think it’s a bit of a crush… she really ought to know better, and she does, but this is guarenteed to get The Thames’s attention. He gets all focused on La Seine, who, of course, wants nothing to do with him.

That’s why they call me the MIGHTY Mississippi, Miss. has often been heard to utter after a particularly difficult project finally ends, like David Foster Wallace's Infinite Jest.

"And then He just KILLED him," Miss. will still mumble from time to time. "1079 friggin' pages - and then He just KILLED him. why didn't he tell me he was just going to KILL him?"

He killed himself, Amazon points out.

same diff, mutters Miss.

"Hey, at least he lived long enough to know he was a famous successful writer," said Amazon, who was still smarting over losing the writer of Confederacy of Dunces to suicide, before his book was even published. "you didn't have to trudge all over manhattan with that fucked-up, obsessed, depressing mother for eleven goddamn years."

"well, i don't understand why you got him in the first place, he's from new orleans, he should have been mine, i was right there in the first chapter,' Miss. complained for the thousandth time, though it was true, one suicidal writer was more than enough, and in fact they all had so many of them.

'it was a scheduling thing - you were off doing something else at the time, dear,' murmured Amazon, who thought better than to point out that Miss. had always tried to claim every southern writer in america, and half the northern ones too. Miss. did have mark twain after all, and there was no living with her after that -she took full credit for his name, not to mention all of huckleberry Finn, a book which Amazon and Nile privately hated.

They finally had come up with a lottery scheduling system which actually was an agreed-upon fiction that the other writing angels used so they could occasionally get gifted american writers who were so dispropotionately from the south or clustered around the mississippi. "F. scott Fitzgerlad, for god's sake? who knew the mississippi ran through the Twin Cities?" Volga had complained more than once, though with all those Russians ("oh, you think American writers are depressed? don't get me started!") he really had nothing to complain about.

I suppose Yangzte was rather hurt i hadn't sent him, Barb being in China and all, but this nation-blind casting sometimes had all the logic of busing in Boston. ("and there was another one - HUGE amount of effort and Boom! down he goes," Nile remembered, when this discussion was going on the other day. Of course no one remembered what she was talking about. "Common GROUND," Nile almost yelled "pathbreaking book about race in New England? by that guy - anthony - anthony "

"See? You can't even remember his name - Those high-profile political books are always the first forgotten, i've never understood why," someone said - i think it was Ganges, who is known to speak about once a semester; he's worn to exhaustion with keeping Salmon Rushdie alive and in wives.

"Anthony Burgess - "

He's mine, said The Thames; he probably didn't mean to sound haughty. "Clockwork Orange." (The angels whose writers had had their books made into films by Stanley Kubrick had screenings once a month with wine and cheese.)

"or - well, some name like that. anthony, something -- gardner? and then he died. Killed himself. "

"Darling, they all die eventually," said Amazon mildly, lighting up another cigarette. "Goes with the territory."

They were all silent a moment, contemplating The Great Design Flaw, as Miss. always called it. What could they do? The master had his off days.

"Lukas!" Niles abruptly sang out. Huh? said the others.

"Lukacs? he's mine! and he never killed himself. he was quite a survivor, all things considered -- all those purges and the Hungarian Revolution," said Volga indignantly. "don't get him started on Marxist theory!" said Hudson in a loud whisper. Nile glared at Volga. "J. Anthony Lukas and his book isn't forgotten, you can order it on amazon and it became a classic --"

But with that she quickly stop speaking. Discussions on just what was and what wasn't a classic had caused so much disruption that it had been banned as a topic, then finally as even a spoken word - and, of course, Amazon.com as the source of selling books was something Amazon didn't really lay claim to, but she couldn't help being proud of, even a little smug. This particularly galled Mississippi - she and Amazon had never gotten along (perhaps because their namesakes might have once been the same river? though each heatedly denied this -) and it was something like sibling rivalry. Nile had more than once pointed out to Miss. that no website could use her full name as a business, it was just too long and hard to spell.

Though why the booksellers hadn't chosen "Nile" - which was even shorter, was a mystery Nile pondered quietly to herself.

"Everyone knows I have all the good writers," Miss. pointed out. 'Oh, let's not start that again," said Nile. "Mais oui, c'est vrais" La Seine chimed in - she was a great fan of American writers.

Nile doesn't require this 'the' business that The Thames (and La Seine) insists on. Though it has always baffled her that she's called "The River Nile" in all the literature. "I mean, no one says "The River Mississipppi, no one says the River Amazon, no one says the River Hudson - -so why am I always 'the River Nile"? i don't get it," she complained one slow night over Christmas break, when no one needed them because all the writers with children couldn't write with the kids home on school vacation and all the writers who didn't have children were too depressed to write -- except for The Thames' mystery ladies, they wrote every day like clockwork, but then they hardly needed him at all, by this point - pd james and ruth rendall and the other British masters, mistresses rather - and The Thames privately wondered if sometimes they weren't getting a little extra help from the other direction, especially that Rendall, man, was she dark.

"I think it's because you're in the Bible" said Hudson helpfully. He has a great appreciation for biblical exigesis, given all the seekers after truth who had made their way up his wide passages to found new spiritual colonies in America. Hudson is a very versatile angel - for awhile there, he also had several painters under his wing, but the painting faded, quietly breaking his heart, while writing in his neck of the woods got COMPLETELY out of control. he had so many geniuses on his list that he could be gracious and modest at all times. It was just a fluke, really, that there was no writing angel named "East" -- it was an untenable name for an angel, though unquestionably a very important river in its own right - (just not 'write') (:) Also, Hudson had endured so many centuries of snobbery from The Thames that he never got an attitude with anyone.

Some days, for all his brilliant writers in Manhattan and Connecticut and Brooklyn and even New Jersey, he just missed his painters. He'd get very quiet, and go watch sunsets over his valleys. Sometimes Nile would join him, just for company. His shores were so unlike her namesake's that she found them thrilling. Hudson appreciated her company more than he could ever tell her. He was extremely shy with ladies, espcially long, dark, mysterious ones like Nile, who ebbed and flowed her banks all the time and had five-thousand year old sculptures buried inside her. "when it comes to losing art," hudson thought, "i really should take a tip from Nile. She's never mentioned it once."

So they would sit there, looking at vistas of gold and pink and not say a word. This went on for centuries.

"It comes and it goes," was Hudson's motto, though privately i've heard it said that he never quite recovered from washington irving's sleepy hollow tales, practically having to dictate them by hand, and others have commented that he was coasting - literally - on all those seemingly new york writers who had actually only come to NYC from many other places -- though no one would ever have said this to his face, not even The Thames, and certainly not La Seine, who actually envied Hudson - and Miss., too - more than she could ever admit, and was constantly baffled by the French writers who managed to make it in translation into english, something she could never get over feeling was a complete waste of time for everyone concerned. if you couldn't read it in french, why read it? was her thinking - and it wasn't thinking she did in english, it was in french.


But now suddenly it seems to me that there’s someone else who did this, angels named after rivers- I think I read that somewhere once, but I don’ t know where- cs lewis or something like that? I can’t recall.

oh well, this is just some silliness i did with my day, inspired by an email to barb.