Want to learn how to pull off graphics? Make it work with optical and real for real first. Tron may have been a pioneering moment in computer graphics, but a lot of its unique look came from unique optical effects on a scale not seen before or after. The glowing screen was an actual lighting effect, which is why CG artists have taken such a liking to the film’s aesthetic, even if it was ultimately too labor-intensive to apply to the whole movie. There’s even an analog in the music: Wendy Carlos’ adept blend of big orchestral, choral, and organ textures with synths.

Of course, the makers of Tron didn’t leave out computer graphics entirely. And that makes this fan remake — no CG, and no optical effects trickery, either — adorable and inspiring.

Via Kotaku.

You’re also aware of just how much of this sequence is sound and editing. Erm, not that motion isn’t important — if I were to say that, I should say it on, you know, the other blog. Think synthesis of the two.

For those of you who didn’t make the awesome CDM Party last Friday night after NAMM, I’m pleased to bring you a recording of the live AV Remix that I performed with Acid&Bass.

Karate Kid AV Remix from momo_the_monster on Vimeo.

Performed live at the Unofficial NAMM After-Party using 3 MIDI-synced machines:

Video Machine:
Operated by Momo the Monster
Software: Isadora (custom patch for show)
Hardware: MacBook Pro, Monome 128, UC-33e, E-MU 0404

Audio 1:
Operated by Shane Hazelton
Software: Max/MSP With custom software IMPS (Improvisational Media Performance System), Lucifer
Hardware: Receptor VST plugin Player with Zounds of VSTs, Novation Remote 25, BCR 2000

Audio 2:
Operated by Stephan Vankov
Software: Ableton Live, Lucifer Plug-in (sending MIDI to Video Station)
Hardware: Mac, BCR2000, MPD16, Remote25LE, AirFX, NuVJ

Artist Caveats: This version was cut from the original 25+minute length to a more internet-friendly 7-1/2 minutes. Also, this is version one of the performance - we rehearsed only twice before this show, this is really our first run-through with everything (mostly) working. Comments welcome as we continue to develop the idea.

Karate Kid live remixing music performance from Create Digital Media on Vimeo.

What has type got to do with motion? Plenty, if you listen to Erik Spiekermann. Type is rhythm, and rhythm is how you read meaning. As you first start to watch clips from the documentary Helvetica, you’re initially unaware that its ubiquitous star is staring you in the face. Then, it’s everywhere, generic yet insistent, “neutral” yet almost embarrassingly modern.

Helvetica: A Documentary

Sponsor Veer.com may regret bringing you Helvetica, because in a way the dominance of Helvetica created the modern disease that makes designers jump from face to face in search of independence. (Veer, for their part, sends regular newsletters with fonts screaming “Buy me, buy me!”) Something to ponder, as visualists making constant design choices in the moment.

Deeper meaning aside, of course, what better brain (and eye) candy for lovers of type and design than a movie about fonts? As Spiekermann says, some people like to look at bottoms. Some like to looks at type. Visualist word lovers, rejoice!

Making movies is, economically, a matter of scale: time, manpower, money. In the early days of cinema, movies were compressed into tiny lengths, often without cuts. Now, “microfilms” are exploding again. You could look for deeper cultural meaning to short-form production, but for those of us with limited resources, shorter lengths can mean more elegant finished products and more practical production.

The big question, though: can these be any good? Bookshorts has produced a tight, witty adaptation of Douglas Coupland’s novel JPod that makes the miniaturization feel necessary. And it makes the movie feel independent from the book. Of course, I’m fairly certain your office and your coworkers aren’t as attractive to look at / polished / tidy as the ones in this semi-escapist production. (If I’m wrong, congrats!)

(Warning: a couple little spoilers in here if you haven’t read the book. Then again, maybe 4-minute films will prevent you from having to read books ever again.)

Aside from indie moviemakers, I think this format has real promise for visualists wanting to make miniature productions. (It gets my head turning, anyway, in a way “yet another music video” doesn’t necessarily.)

Interestingly, it’s coming to movie theaters, but micro-distribution of micro-films seems even more likely … maybe even on giveaway DVDs. (Speaking of which, notice the encoding problems? Interlacing issues? I have to spend some time uploading to blip.tv and see if I can sort these.)

http://www.bookshorts.com

Via Todd Jatras at Wired’s Listening Post:
I Want My Book-based Film Shorts

Has it really been 2 months since episode 1 of Steven Watkins‘ Backspace podcast was released?

Episode 2 came out on Friday. It doesn’t quite recapture the ethereal feel and technical polish of that first episode, but it’s still very impressive work for a one-man band (showreel here).

Previously:
Interview with Stephen Watkins.
Backspace Episode 1.

Fantastical video blog No Fat Clips has just concluded Floria’s Day, showcasing 3 videos from Italian director Floria Sigismondi. She of muted colours, blown out highlights, unstable camera and obsessive cutting.

DeK has hooked up 3 videos I hadn’t encountered before, but left out the more obvious ones, which you should definitely check out for the full Floria Day experience.

Old Stuff:

Sigur Ros’ untitled #1 [a.k.a. vaka] (a.k.a The Best Music Video Ever Made)

Filter and the Crystal Method: (Can’t you) trip like I do

Marylin Manson: The Beautiful People

Interpol: Obstacle 1

The Cure: End of the World

Newer Stuff:

Muse: Supermassive Black Hole

Billy Talent: Red Flag

The White Stripes: Blue Orchid

Backspace is the Honors project of Melbourne Communication Design student Stephen Watkins.

… a Stimulating video podcast showcasing experimental short films to provoke your imagination.

I’ll be interviewing Stephen soon about his project, but for now: Watch that wonderful video again, and subscribe to the podcast.

via Wooster Collective.

I admit to being an incurable retro junkie. With that in mind, it’s worth making Super 8 part of your digital image arsenal. Even though few Super 8 cameras have been manufactured since the early 1980s, Kodak still offers a solid lineup of color and black & white film for as little as $14 per 50 foot cartridge (which lasts 2 minutes and 30 seconds). Once you start shooting motion picture film, there’s no turning back — there’s something addictive about the sight of genuine film grain and the way film responds to light.

Cameras are inexpensive and plentiful on eBay. You should expect to pay under $100 for a well-equipped device that can shoot at a “professional” speed of 24 frames per second and offers useful options such as slow-motion and timelapse. In fact, the ability to shoot film at a variety of speeds is one of its strongest benefits.

Once you’ve captured images on film, there’s no need to haul out a clunky old projector. Many companies offer pro-quality film to video transfers, starting at around $20 per reel. You can even purchase excellent video transfer equipment for under $1400. Once your film has been copied to miniDV tape you can manipulate it using all of your favorite video editing software.

Filmshooting.com: the most active online Super 8 film forum
Kodak’s Super 8 film lineup
OnSuper8.org: one of the most up-to-date Super 8 resources on the web

Among the many “best of” lists spontaneously appearing on the CDM forums, contributors and readers have compiled a fantastic list of inspirational music videos from a variety of acts. One thing that strikes me is the breadth of aesthetics; whereas once electronica had very strong connotations (and the videos with it), these are really high-art experimental filmmaking with a range of styles. And they’re a pleasure to watch, too, like the fanciful Sigur Rós video pictured here. (Thanks, Jaymis!)