Most displays are looking to play things faster. We’ve got movies at 60 frames per second, and gaming displays that run at 144 fps. But what about moving in the other direction? [Bryan Boyer] wanted to try this out, so he built the VSMP, or Very Slow Movie Player. It’s a neat device that plays back a movie at about 24 fph (frames per hour) on an e-ink display to demonstrate something that [Bryan] calls Slow Seeing, which, he says “helps you see yourself against the smear of time.” A traditional epic-length movie is now going to run you greater than 8,000 hours of viewing.
“Most displays are looking to play things faster. We’ve got movies at 60 frames per second, and gaming displays that run at 144 fps. But what about moving in the other direction? [Bryan Boyer] wanted to try this out, so he built the VSMP, or Very Slow Movie Player. It’s a neat device that plays back a movie at about 24 fph (frames per hour) on an e-ink display to demonstrate something that [Bryan] calls Slow Seeing, which, he says “helps you see yourself against the smear of time.” A traditional epic-length movie is now going to run you greater than 8,000 hours of viewing.“
Chinese filmmaker stuns Cannes Film Festival with documentary revealing horrors of Mao’s gulags
Clocking in at more than eight hours, Wang Bing’s latest outing, Dead Souls, is probably one of the longest films to have taken a bow at the Cannes Film Festival, where it premiered on Wednesday, in two parts, with an hour-long intermission in between. The work’s length is, in a way, a reflection of Wang’s own odyssey in completing the documentary. Based on interviews and footage he gathered over 13 years, Dead Souls reconstructs the pain and suffering of those condemned to “re-education” – a euphemism for hard labour – in a gulag in northwestern China at the start of Mao Zedong’s Anti-Rightist Campaign, in 1957.
Why isn’t VR as good as music videos were in the 80s? This week people went wild over an AR recreation of A-ha’s “Take on me.” It’s a technical achievement but not a creative one. A creative achievement would be to this moment what “Take on me” was in 1984. Something doesn’t need to be technically advanced to capture people’s imaginations as that video did, but I don’t see any entry points in the industry or attempts to nurture that kind of talent. VR/AR is ad-tech. Everything built in studios (except for experimental projects from independent artists) is advertising something. That empathy stuff? That’s advertising for nonprofits. But mostly VR is advertising itself. While MTV was advertising musicians, the scale and creative freedom meant that it launched careers for people like Michel Gondry, Antoine Fuqua, David Fincher, Spike Jonze, Jonathan Dayton and Valerie Faris, etc. A band from a town like Louisville or Tampa could get in touch with a local filmmaker and collaborate on a project and hope that 120 Minutes picks it up. There were entry points like that. And the audience was eager to see something experimental. But a VR audience is primed to have something like a rollercoaster experience, rather than an encounter with the unexpected. The same slimy shapeshifter entrepreneurs that could just as well build martech or chatbots went and colonized the VR space because they have a built in excuse that it took film “fifty years before Orson Wells.” Imagine that. A blank check and a deadline in fifty years.
“The U.S. conducted 210 atmospheric nuclear tests between 1945 and 1962, with multiple cameras capturing each event at around 2,400 frames per second. These are the declassified films of tests conducted by Lawrence Livermore National Laboratory.
The U.S. conducted 210 atmospheric nuclear tests between 1945 and 1962, with multiple cameras capturing each event at around 2,400 frames per second. These are the declassified films of tests conducted by Lawrence Livermore National Laboratory.“
In the Robot Skies: A drone Love Story Join us for an expanded cinema performance and film premiere of In the Robot Skies at the London Film Festival on October 8th, with live music accompaniment from acclaimed electronic producer Forest Swords. Buy tickets here http://ift.tt/2d51yFJ Directed by speculative architect Liam Young and written by fiction author Tim Maughan, In the Robot Skies is the world’s first narrative shot entirely through autonomous pre programmed drones. In collaboration with the Embedded and Artificially intelligent Vision Lab in Belgium the film is captured by a specially developed flock of camera drones each with their own set of cinematic rules and behaviours. The film explores the drone as a cultural object, not just as a new instrument of visual story telling but also as the catalyst for a new collection of urban sub cultures. In the way the New York subway car of the 80’s gave birth to a youth culture of wild style graffiti and hip hop the age of ubiquitous drones as smart city infrastructure will create a new network of surveillance activists and drone hackers. From the eyes of the drones we see two teenagers each held by police order within the digital confines of their own council estate tower block in London. A network of drones survey the council estates, as a roving flock off cctv cameras and our two characters are kept apart by this autonomous aerial infrastructure. We watch as they pass notes to each other via their own hacked and decorated drone, like kids in an old fashioned classroom, scribbling messages with biro on paper, balling it up and stowing it in their drones.. In this near future city drones form both agents of state surveillance but also become co-opted as the aerial vehicles through which two teens fall in love. Directed by Liam Young Written By Tim Maughan Starring Maia Watkins and Moe Bargahi Produced by Dani Admiss Music by Forest Swords Director of Photography Vini Curtis Drone Costumes by Jennifer Chen Human Costumes by Maharishi Camera Drone pilot Liam Young Tethered Character Drone Pilot Denis Stretton Special Thanks Alexey Marfin Commissioned by Channel 4 Random Acts and STUK, Belgium. IN THE ROBOT SKIES TEASER liam young
Mohamed Abdi Hassan is seen as the leader of a group of pirates responsible for hi-jacking countless vessels off the coast of Somalia. Belgian prosecutors are taking him to court for the hi-jacking of the Pompei, a vessel operated by the Belgian dredging company Jan De Nul. The crew of the vessel was only released after a ransom of two million euros was paid. Abdi Hassan was enticed to come to Belgium in 2013 after he was convinced that a film was to be made about his life as a pirate. The chief defendant was also active in Somali politics and when he was detained a high-ranking Somali official who was accompanying him was also arrested. Both men now face charges in Bruges.
