DEAD ON

Shot in Belfast, Northern Ireland by the Next Generation of Great American Storytellers.

World Premiere February 28, 2011 in NYC

As I flipped through all the Art Basel parties and exhibits I wouldn’t be seeing this weekend, I came across a party on Friday night hosted by Marina Abramovic at the Standard Hotel Miami.  Here is where Marco Brambilla will be premiering his large-scale 3-D video collage called “Evolution.”

Now if you’ve seen Kanye West’s “Power” video, than you’ve see some of Marco’s greatest work.  Kanye tapped Marco to direct “Power” after seeing his permanent exhibit at the New York Standard’s Boom Boom Room. Brambilla says of Kanye, “Very interesting. He draws from art, fashion and usually pushes people to create something that is richer than it would have been without him. The video really came from the song. I thought it would be really great to do a portrait of him using that technique and putting him in a crazy neo classical setting.”

Brambilla comes from a rich past of film directing (“Demolition Man” & “Excess Baggage”- Alicia Silverstone classic) and many other notable and experimental video and photography projects.

He is currently working on “Evolution,” his first video collage in 3-D.  He will be illustrating the history of humankind as a “vast side-scrolling video mural depicting the spectacle of human conflict across time through the lens of cinema.”  Using samples from his extensive film archives, Brambilla first composes the entire canvas as a photo collage, works with a special effects company to place film loops on top and then projects it on a 3D landscape.

If you’re in Miami GO SEE HIM!!

http://marcobrambilla.com/

-Ashlye Vaughan

In October, Sony’s Crackle the multiscreen video-on-demand (VOD) content network featuring Sony film and TV titles, and Crackle original productions, launched its first mobile application on the Android mobile platform and additionally. released an optimized version for Google TV. Crackle is conspicuously absent from Apple products though they claim a partnership is in the works.

Until now, you could only access Crackle on their home site, Playstation, and on Crackle’s branded channels syndicated on bigger VOD players such as Hulu and Youtube.

While Hulu, Youtube, Netflix, and the studios’ online homes have quickly captured users as the major destinations for online video, Crackle has had a relatively snail-like uptake since acquired by Sony in 2006 (known then as “Grouper”). In hindsight, it looks as though Crackle has been quietly watching and crafting a competitive platform strategy while these other destinations’ picked their dance partners and have enjoyed larger audiences.

Other competing content networks, such as Joost, have not had the luxury to wait and watch. Crackle owes its resilience to its plum position as the default new media extension of Sony Pictures- it was a long-term investment by Sony who could afford a few years of underperformance.

With these latest moves, Crackle is coming-out in a big way. They brokered a larger overall partnership with Google, beginning with the Android application. As the first subscription video application on the platform, Crackle has chosen the “freemium” model, like Hulu Plus, to attract subs: the basic download is free and allows for basic content access, hopefully enticing an upgrade to monthly subscription. This model has momentum- in fact, as Gigaom reports, one-third of top-grossing iPhone applications are Freemium.

Crackle position on Google’s Android allows for better positioning. On the Android, in contrast to the iPhone, Crackle does not have Hulu or Netflix to compete with- for now. This will lead to expected increased traffic and consumer awareness of Crackle- now that it is accessible on more screens and prominently, at least on Android phones.

From a consumer perspective, Crackle’s launch on mobile and Google TV is great news because it opens increased viewing options. It will be interesting to watch where we find Crackle next and how it fairs in competition with other VOD content options, considering increasing competitive coexistence on all platforms in the future.

-Russell Kummer

The Slate article debates – what are these… films?  Commercials, short-films, advertising films, mini-films?  No matter how you slice it – these have been going on for quite some time.  For example, David Lynch directed Benecio Del Toro and Heather Graham (he’s aged/she hasn’t) in 1988 for Calvin Klein’s Obsession. 

Why do we watch these films?  What’s there importance?  Are they important?   As Sasha Watson said in her article we watch because of the vagaries of these projects. 

Vagary – an erratic, unpredictable, or extravagant manifestation, action, or notion. 

Very well put Sasha. 

That – it seems – is art.  Even if the art is intended for us to consider the brand and their products – it’s still enough to make us see life within a new context and that is what art is supposed to do.  The other truth beneath the surface is perhaps major film directors need the work from fashion houses more than ever before and fashion houses need to diversify their brand platform so they invest in some high-profile visual stimulation.  A little of both perhaps?

Enjoy Lagerfeld’s Chanel short-film where everyone from Coco, Bardot, and other famous fashion legends/luminaries in the background and the foreground as Lagerfled pays homage to the 70s and beyond.

@MitchKapler

Some of the recent digital SLR cameras that have been hitting the market shoot 1080p full HD at 24 frames-per-second, have extra low-light performance, and huge range of compatible 35mm lenses. This new breed of cameras allows the average student, accomplished artist or professional, and everyone in between to shoot cinematic quality with a simple, low budget approach!

My favorite new camera is the Canon 1D Mark IV, used to shoot the below video maybesomesunwilldomegood. Believe it or not, the video is shot using almost exclusively natural light.

So go shoot that western horror musical you always wanted to.

Thrillist.com brings great content to a desirable demographic (young guys)but content companies can no longer be in one medium.  Here they are developing a visual style to their editorial content.  Video is not an option anymore – if you want to be relevant, you need to have at least the option of video.  The hardest part for places unaccustomed to making video is changing mediums and creating something cool.  The expectation for someone who has dominated one mode of communication is much higher.  Thrillist.com cannot afford to put out sub standard videos because they already have a great written content.  Excited to see how these guys manage that transition.

Really cool video.  Clever…and hopefully true.

Funny and clever.

Spike Jonze Spends Saturdays is unique because Spike’s insight into the creative process comes from a personal place.  Credibility is the most important aspect – and Spike’s natural curiosity drives the interview.  It’s not polished, it’s not snazzy – but it’s fascinating – and isn’t that all that matters?  Young people making it happen.  Make your story.