technology
With the rise of streaming services like Netflix getting in to the movie business, will cinemas be able to survive the competition?
With sci-fi short Caleb, Amanda Mesaikos and Susanne Aichele have brought us a unique and interesting piece that keeps the viewer engaged.
Though its feel-good sentiments are hard to resist, there are simply too many tonal and structural issues that hold LION back from greatness.
Times are changing in the way of television as the bond between cinema and television screens are getting stronger. An observation of current trends.
Anonymous is a film based on computer hacking, yet, with a less than subtle focus, it feels much like a tamer version of the show Mr. Robot.
In the fifties, Tex Avery made a series of shorts for MGM collectively called “The World of Tomorrow” in which the animator imagined what wonders the kitchen appliances, automobiles and society of the future will offer. The cartoons present with one fantastical gadget after another, all quite utilitarian, but with tongue firmly planted in cheek. The message is clear, technology may be our salvation, but left in the hands of man there will always be something to muck up.
With technology rapidly advancing as the solution to even the most basic human tasks, director Ariel Martin’s sci-fi short The iMom takes “what if” to a chillingly stark place. Modern Parenting Set in a not-too-distant future, robotics has evolved to the point of public consumption. Realistic in both appearance and reaction, the affordable iMom (Matilda Brown) is the latest innovation in aiding new parents with the daunting task of child rearing.
Elliot Grove’s life should be made into a film, virtual reality’s going to be the next big thing and Sacha Baron Cohen hasn’t always been funny. Those are just three of the things I discovered when I went along to interview Grove, founder of the Raindance Film Festival and the British Independent Film Awards. Discovering Raindance I grabbed the chance to ask Grove for an interview at a recent Raindance Open House event, held to introduce filmmakers to Raindance and what it can do for them.
Every year, it is easier for audiences to grow more cynical as awards season comes ever-closer, with the plethora of middle-of-the-road “prestige pictures” being dumped by the truckload at multiplexes worldwide, to indifferent audiences who would prefer to watch a star war. For the standard movie fan, prestige season should be an embarrassment of riches, the best films of the year being released all at once like a smorgasbord of cinematic delights. But with each passing year, audiences have wised up to the cynical nature of these movies:
With technological developments taking hold in Hollywood, perhaps the most prominent has been the use of motion capture. Motion capture is a technology that syndicates computer-generated effects with human performance. The idea, particularly within the science fiction and fantasy genres, is to produce further realism on part of an actor’s approach to a role and how they portray it.
It sounds so easy on paper. Take a successful creative work that already has a large following and put it on the big screen, what could possibly go wrong? A lot it seems, as it can be rather difficult to find any game film released that has been received positively, and with the recent travesty released being in the form of Pixels there seems to be no hope in sight.
“My approach to 3D is in a way quite conservative … I want it to be comfortable. I want you to forget after a few minutes that you are really watching 3D and just have it operate at a subliminal, subconscious level. That’s the key to great 3D and it makes the audience feel like real participants in what’s going on.