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Frame by Frame

Archive for the ‘New Technology’ Category

The Future of Cinema?

Thursday, February 16th, 2012

As David S. Cohen writes in Variety, “Last week must have been surreal for Douglas Trumbull. On the one hand, he was showered with accolades — the George Melies Award from the Visual Effects Society, honoring his pioneering vfx work; and the Sawyer Award, an Oscar statuette, from the Academy for his work across a wide range of technological and creative fronts — but while he was being feted by the industry’s movers and shakers, he’s still seeking financial backing for those innovations.

Working on a stage on his property in Massachusetts, Trumbull is combining high frame rates and 3D on the production side with advanced projection tech and curved screens that get brightness up to 30 foot Lamberts — more than a full stop above the current standard of 14 foot Lamberts for standard 2D projection, and several stops above the typical brightness at multiplexes for 3D.

“No one in the industry has seen a 3D movie at 30 foot Lamberts at 120 frames per second,” he said. “What happens when you get into this hyper-real realm of a movie, that seems to be a window onto reality, is that the entire cinematic language begins to change.” He wants to make a movie using Hypercinema and move away from the master shots, two-shots, over-the-shoulder shots and close-ups we’ve all seen thousands of times, to create “an experience of tremendous participation in an alternate world, which I think people will crave and are ready to pay for.”

You can read the entire article here; fascinating stuff.

A Modest Proposal: Apple Should Buy Hollywood

Friday, January 27th, 2012

As Erick Schonfeld notes in TechCrunch, instead of constantly dealing with Hollywood for programming content, why doesn’t Apple just buy the studios, and take control of the entire process from top to bottom?

We’ve already had one example of this, when NBC bought Universal rather than pay the licensing fees for the Law and Order franchise; this is the next logical, if somewhat dispiriting, step in the process — and, of course, majority control of NBC/Universal was subsequently acquired by Comcast. And Apple certainly has pockets deep enough to do this: they have $96.7 billion in cash just lying around, piling up interest, waiting to be put to use.

As Schonfeld writes, “Apple wants to bring Hollywood into people’s homes in an entirely new way. Hence all the chatter lately of a real Apple TV in the works. However, before TVs can become more than a hobby for Apple, there is a major roadblock it must get past. The reluctance of Hollywood to license its best movies and TV shows at the price Apple wants to pay.

In that light, all the cash Apple has been hoarding and building up for years now becomes more intriguing. Its staggering piles of money now total $97.6 billion, to be precise. What are they going to do with all that cash?

One thing they could do is buy their way into Hollywood. Think about it for a second. Today, Apple could literally buy Time Warner ($38 billion market cap), Viacom ($29 billion), and Dreamworks ($1.6 billion) combined, and still have $30 billion left over. If it waits a few more quarters it could snap up News Corp ($49 billion) as well. Only Disney, which is worth $70 billion, would take a while longer to save up for.”

Well, this could certainly happen, but I shudder to think of the consequences if it does. Certainly, the conglomerization of the studios in the 21st century as mere ancillary arms to tech giants is nothing new, as Gwendolyn Audrey Foster and I documented in our new book, 21st Century Hollywood: Movies in the Era of Transformation, and the studios long ago ceased to be independent entities, run by creative despots who viewed the cinema as both a business and an art form.

The studios today are run by disinterested business people, make programming to order, prefer pre-sold projects to original ideas, and keep an eye relentlessly on the bottom line. The days when the legendary head of production Irving G. Thalberg of MGM could suggest that certain films should be done simply for art’s sake, as loss leaders for more commercial projects, are long gone.

A world in which only mainstream, multiplex movies exist would be death of individual thought, and the ultimate, hegemonic triumph of Adolph Zukor’s grand dream of vertical integration, where everything from production, to distribution, and exhibition, is controlled by a single entity, as Tim Wu details so trenchantly in his brilliant book The Master Switch.

But it seems the logical step for Apple. With that much money to fool around with, why not? From a business point of view, of course. As for a creative enterprise, well, that’s going to be left for the DIYers at the margin, as it always has been, and always will be — the people who effect real change, and create new work in the face of corporate control.

You can read Erick Schonfeld’s entire essay by clicking here, or on the image at the top of this page.

Now Your Television Will Watch You

Monday, January 16th, 2012

Click here for a demo of this new system; note the camera, watching you, prominently displayed on the top of the television.

The gentleman above is giving an audience demonstration at the Consumer Electronics Show in Las Vegas a few days ago of a new device that he thinks you’ll want in your home very soon; a television that watches you.

As Nick Hide in CNet writes, “In the kind of dystopian insanity that would have George Orwell banging his head on his keyboard, Samsung’s newest Smart TVs watch you . . . the Korean manufacturer’s latest tellies recognise your voice and gestures with a built-in camera and mic.

The camera can interpret simple gestures — move your hand around to control a cursor and clench your fist to ‘click’ — and even the different faces of your family members. You can associate permissions with various faces, so if your wee one turns on the telly they’ll only be able to watch CBeebies.

Voice recognition means you can tell your TV which channel you want to watch and change volume, among other functions, which sounds like a really useful feature for people with disabilities, those who’ve lost their remote . . .”

And as Michael Learmonth notes in Advertising Age, “front-facing cameras are everywhere on laptops, tablets and phones. If the Consumer Electronics Show in Las Vegas was any indication, [which ran from January 10-13, 2012] they’re about to become ubiquitous on TVs as well.

New TVs from Samsung and Lenovo used the show to introduce TVs that recognize you and others in the room, automatically logging you into Facebook and pulling up your favorite channels or websites [emphasis added]. Lenovo’s TV lets you use the camera as an ID service that blocks access to certain content or channels if a child is in the room. For Samsung’s 7500 and 8000 series TVs, all you have to do is say ‘Hi, TV,’ when you walk into a room for the TV to turn on and know who’s there.

As one can imagine, this is all very exciting to the world’s biggest advertisers, many of whom saw these new applications for the first time this week when they toured the show floor. These are the execs who spend billions on TV advertising but really don’t know who’s in the room when their ads air — or whether their intended audience is busy with a mobile phone or tablet anyway.

‘Is anyone watching? This is why advertisers are so excited about front-facing cameras,’ Frank Barbieri, exec VP of emerging platforms at Yume, told a group of ad agency execs and clients during a tour. Yume powers advertising on smart TVs from Samsung and LG.

Many people in the living room are multitasking with other devices. ‘We’re paying for that,’ said Rex Harris, innovations supervisor at SMGX, a unit of ad agency holding company Publicis Groupe. ‘If you’re looking at other screens, then you’re not paying attention. We would like to know if we’re getting accurate impressions.’

Consumers stand to gain too, according to Mr. Harris [emphasis added]. ‘The idea is, if the ad is more targeted to you, you will get more value out of it,’ he said. ‘When your device knows where you are and knows what you like, it will be a more valuable experience for you.’”

Right. Just imagine when this becomes the new default television system; Orwellian beyond anyone’s possible dreams. Automatically logs you into Facebook via facial recognition, watches you watching the television, and keeps tabs on you if your attention strays to something like reading a book.

The scariest thing for me is that I predict that most people will simply fall in line with this, convinced that it’s the next big thing, and convinced that it makes them part of a virtual community. Nonsense – this is simply advertising and data mining at its most intrusive, and anyone who agrees to this system becomes a target for a totalitarian regime.

3,000+ Issues of Boxoffice Magazine Online — Free as Pdfs

Sunday, October 30th, 2011

Boxoffice is one of the film industry’s most respected business journals, and they’ve recently put more than 3,000 back issues of the magazine online, free, as pdfs. Better still, they post five new back issues of the journal every week. It’s a fascinating look back at film history, and right now covers the years 1925 -2010, with a few years missing in the middle, but nothing major.

As the site says: “Welcome to the home for nearly 3000 back issues of Boxoffice Magazine, the theatrical film business’ premier trade publication since 1920. Each week we post five issues from our vast archive which covers everyone from John Barrymore to Drew Barrymore. (Before 1933, Boxoffice was published under different names in various parts of the U.S.)

Have a question? Looking for something specific? Just write us at thevault@boxoffice.com

Once, you had to go to a library and spend days digging through the stacks to find what you wanted; now, here it is, all at your fingertips, the complete commercial history of American film in the 20th century, and the start of the 21st. This is what the web was made for; free access, no ads, a complete and unabridged historical record. Essential reading, and lively browsing, as well.

Social Media Model for the 21st Century?

Wednesday, October 12th, 2011

Click on the image for a related video.

This cheerful image comes from Despair.com, a site that offers a useful if somewhat mordant critique of the current rush to be on every social media site at once. I’ve been working on a piece for the journal Flow on this, which will come out sometime this November — entitled I’m Not Here — but in the meantime, here’s a brief taste of how I feel about the whole “social media” mania. If it’s the latest, is it the greatest? Not necessarily.

As Chennai Social Media notes, “Social networking has become inevitable in the modern life, with many people using it, to stay in touch and companies using them to market themselves. However, the negative aspects of social media are:

Loss of Productivity
Individuals who spend a lot of time on social networking lose valuable time that can be devoted in doing something creative and useful.

Lack of Prioritizing
Checking other’s comments, messages and statuses can result in not focusing on one’s own task, which can lead to poor performance in office.

Diminishing Social Skills
Communicating solely with virtual friends can result in people not finding enough time to socialize with people around them.

Social Media Overkill
Social media, being viral and possessing the potential of reaching out to millions, instantly carries the risk of being abused. Any negative information or content about anyone or anything can be circulated faster through social networking platforms.”

Could this be you? Me? Anyone you know?

Free Streaming Feature Films on The Web

Friday, October 7th, 2011

Here’s a selection of Public Domain feature films that anyone can view or download legally – an important point here — free of copyright restriction.

Currently the Internet Archive has 2,822 feature films available for viewing — a lot of it is junk, but there are numerous gems, such as And Then There Were None, Scrooge, The Joe Louis Story, Night of the Living Dead, The Fast and The Furious, The Inspector General, His Girl Friday, The Jungle Book (the Korda version, of course), The Lost World (1925 version), Ida Lupino’s The Hitch-Hiker, The Big Combo, F.W. Murnau’s Nosferatu (1922), as well as the deeply idiosyncratic films of German auteur Lutz Mommartz.

All free, for download or instant viewing. An amazing resource; check it out.

Special Effects Masters — Frame by Frame Videos

Wednesday, October 5th, 2011

Harry Hamlin in the original Clash of the Titans, with effects by Ray Harryhausen

For the past two years, Curt Bright and I have been doing a series of short videos also entitled Frame by Frame, and it seemed to me that it’s only right to break these out in a more public fashion by highlighting some of them in my text blog.

This 3 minute video, covering the work of special effects masters Willis O’Brien (King Kong), Ray Harryhausen (Jason and the Argonauts) and Phil Tippett, who made the jump from stop motion animation to CGI visuals, most notably in Paul Verhoeven’s Starship Troopers (1997), is one of the best yet, and I really felt Curt’s hard work on the piece deserved a mention.

You can see it by clicking here, or on the image at the top of this page.

You can also see all the Frame by Frame videos by clicking here.

Word Lens – The Future is Now

Wednesday, October 5th, 2011

At this point, it only translates Spanish to English, and back again, but it’s only a matter of time before French, Italian, German, etc. are added to the mix — it’s more than a gadget; it opens up a whole new frontier of human communication across cultural boundaries.

As Charle Sorrel wrote in Wired:

“Word Lens looks at any printed text through the iPhone’s camera, reads it, translates between Spanish and English. That’s pretty impressive already — it does it in real time — but it also matches the color, font and perspective of the text, and remaps it onto the image. It’s as if the world itself has been translated [. . .] Word Lens is a taste of science fiction, something like a visual version of the universal translator or the Babelfish. Only instead of being a convenient device to avoid movie subtitles, it’s a real, functioning tool.”

You can see a demo by clicking here, or on the image above.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of numerous books and more than 70 articles on film and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu.

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In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/