CINEMA ESSAY: SHALLOW FOCUS, DEEP FOCUS, TRACKING SHOT, ESTABLISHING SHOT
Majestic Micro Movies: Lloyd Fonvielle, James Lester, Kendra Elliot, Joe Griffin and Jae Song.
CONTRIBUTOR
Simon PerkinsSHARE
Technoetic Arts: a Journal of Speculative Research
"The journal aims to provide a forum for the presentation of new ideas, projects and practices arising from the confluence of art, science, technology and consciousness research. It has a special interest in matters of mind and the extension of the senses through technologies of cognition and perception. It will document accounts of transdisciplinary research, collabora- tion and innovation in the design, theory and production of new systems and structures for life in the twenty-first century, while inviting a re-evaluation of older world-views, esoteric knowledge and arcane cultural practices. Artificial life, the promise of nanotechnology, the ecology of mixed reality environments, the reach of telematic media, and the effect generally of a post-biological culture on human values and identity, are issues central to the journal’s focus. It welcomes speculative and anticipatory approaches to research, and the unorthodox expression of ideas whenever the topic justifies such innovation. It aims to communicate to an international non-specialist readership. "
(Roy Ascott)
Roy Ascott ed. (2008) Technoetic Arts: a Journal of Speculative Research, Volume 6, Issue 1. Intellect Ltd. [http://www.scribd.com/doc/18815754/Technoetic-Arts-a-Journal-of-Speculative-Research-Volume-6-Issue-1]
Fig.1 "Urban Digital Narratives"
CONTRIBUTOR
Simon PerkinsSHARE
DSLR Slate App for iPhone and iPad
"The DSLR Slate App (by Chris Bayol) is a digital slate specifically designed for use with HDDSLR productions and works with iPads and the iPhone/iTouch. The app operates as a traditional slate, providing you with all the standard information (see picture above), but it also goes a step further and provides information tailored to HDDSLR production, allowing you to log shutter speed, ISO, aperture, lens, and many other details (which can come in handy while shooting tests). All of this additional information is stored by the app, and then displayed for the camera in quick bursts so that each page of information is captured for only a few frames. This makes slating on set efficient, and ensures that you have all the information you need in post-production.
This app is already quite useful, but I've spoken to the developer and there are already plenty of future tweaks in the works. Personally, I'd love to see the app give us the ability to put in production notes, to auto-increment takes as you go, and of course to find a way to jam sync the iPad to your audio recording device - right now I still use my DENECKE, which is a fantastic but expensive proposition."
(Vincent Laforet, 2 June 2010)
Fig.1 'Alex Walker (28/06/2010). 'iPad DSLR Slate App + Canon 7D Video'
Fig.2 Vincent Laforet (2010). 'DSLR Slate'
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Simon PerkinsSHARE
Wisdom of the Masses' perception of the web, can in some cases promote content perceived to be useless over content perceived as useful
"According to the 'long tail' principle, ICT innovations in content creation and distribution such as virtual inventories, Internet Protocol Television (IPTV) and other types of video on demand, music self-publishing in social networking sites and digital printing challenge old rationales that justified the adoption of mass-market models for the production and publication of cultural goods. These technologies dissolve the spatial and physical constraints which limited the range of creative content goods available in the market and open the gates for a flood of new (and old) media. In doing so they have created a new problem, of a navigational nature: in principle, diversity enables access to content goods better suited to a customer's preferences, but it also makes finding them more difficult (194).
The main reason for the success of Google's search services has been its ability to address Internet users' need for relevant resources, by adopting a scalable algorithm that establishes a webpage's rank according to its reputation. However, its user interface is still too rigid and makes it difficult, for example, to fully specify the type of content a user is looking for. Additionally, this technique, based on a 'Wisdom of the Masses' perception of the web, can in some cases promote content perceived to be useless over content perceived as useful, and be tampered with through search optimisation techniques such as link farming (195)."
(Juan Mateos-Garcia, Aldo Geuna and W. Edward Steinmueller, 2008, p.85)
194: In a context where information is abundant, attention becomes the scarce resource (Simon, H. A. 1971, 'Designing Organizations for an Information-Rich World', in Martin Greenberger, Computers, Communication, and the Public Interest, Baltimore, MD: The Johns Hopkins Pres).
195: i.e. exchanging reciprocal links with web sites in order to increase search engine optimization, as search engines often rank sites according to, among other things, the quantity of sites that link to them.
Fig.1 Perry Ogden (2003). 'Bono with Louis Le Brocquy'.
2). Fabienne Abadie, Ioannis Maghiros, and Corina Pascu (editors) 2008 'The Future Evolution of the Creative Content Industries: Three Discussion Papers', Office for Official Publications of the European Communities, EUR 23633 EN - 2008
CONTRIBUTOR
Simon PerkinsSHARE
NZ on Screen: An Archive of Aotearoa New Zealand Screen Culture
"In 2007 NZ On Air initiated the NZ On Screen project as an integral part of its digital strategy. Since 1989 NZ On Air has funded over 15,000 hours of local television production. Much of this content, as well as thousands more hours supported by broadcasters, film investors and other funding sources, is not easily accessible to the public.
NZ On Screen is unlocking the treasure chest, providing access to the wealth of television, film, music video and new media produced in NZ, along with knowledgeable background information."
(New Zealand on Screen)
Fig.1 Murphy, G. (1981). Goodbye Pork Pie. Aotearoa New Zealand, NZ Film.
Fig.2 Tamahori, L. (1994). Once Were Warriors. Aotearoa New Zealand, New Zealand Film Commission
Fig.3 Ballantyne, A. (2009). The Strength of Water. Aotearoa New Zealand, NZ Film.
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Simon PerkinsSHARE
