"Writer–director Schiller is best known for his short films from the early days of SNL and in 1984, together with producer Lorne Michaels, concocted this imaginative fantasy–comedy about true love, bad art, magical hobos, Carnegie Hall and space travel. Sweet, absurd and crammed with an incredible cast and countless hilarious moments of inspired brilliance, it was never released and never found the cult–audience it so rightfully deserved."
(Zack Carlson, 16 December 2012)
"The Movieclips channel is the destination for all your favorite moments from all your favorite movies. Our Movieclips genome team has gone through every movie individually, picking out the best moments, scenes, and clips from all your favorite movies. Whether it is action, comedy, drama, western, a classic, or any other genre, Movieclips has it with the unforgettable moments that stay with you long after you leave the theater. All in one place, easy to find, and easier to get hooked, the Movieclips database is the largest collection of movie clips on the web."
"What you are about to see is a mix of unrelated YouTube videos/clips edited together to create ThruYou. In other words – what you see is what you hear. Check out the credits for each video – you might find yourself.."
(Ophir Kutiel, http://www.kutiman.com/)
1). Ophir Kutiel (Kutiman), ThruYOU Project, "Kutiman–Thru–you – 01 – Mother of All Funk Chords", uploaded on 7 Mar 2009.
2). Ophir Kutiel (Kutiman), ThruYOU Project, "Kutiman–Thru–you – 08 – About ", uploaded by kutiman on 7 Mar 2009.
3). website design by Baconoppenheim [http://www.bnop.co/projects/thru–you/], 2009.
"When [Marco Brambilla] asked us to work with him on Civilization, a vision he had of taking hundreds of stock footage, movie footage and original clips and combining them to create a moving landscape depicting the ascension from hell to heaven, we knew that it was going to be huge challenge but one we were very excited about....
The project had two huge challenges. Firstly we needed to figure out how to create content that could move with the elevator where it would ultimately be viewed. The idea was this, when you go up in the elevator the content goes down and when you go down it goes up. Not unlike a ride film this project was designed to be synced to the moving environment of the hotel elevators in New York. We wanted to synchronize the footage to the movement of the elevator as best as we could.
The second challenge was creative. What are we seeing through this 'elevator window'? We only really knew at the beginning that the canvas or environment would be very tall and skinny due to the physics of elevator travel and we wanted to go from a hellish landscape to a heavenly one.
We began with exploring the idea of using a game engine to house the project. Seemed easy, map footage onto planes in space, attach a PC to the elevator and we can move up and down in the game environment all day. Unfortunately, once we started to collage the clips together in the Flame we knew the game engine idea wouldn't fly. We approximated that we would have 250 looped HD clips in the environment and our Flame could barely handle it (in the end it was closer to 500 looping clips). We compromised by locking ourselves into the idea that we would create a huge vertical canvas that we would scan up and down on once the elevator was in motion. The final piece was approximately 1920 x 7500 pixels.
Another technical wrinkle was more human. Would we create motion sickness by subjecting riders on the elevator to the video art? To test this we shot some footage of a rising and falling landscape on a glass enclosed elevator and played back the footage on a 42inch plasma in a fully enclosed elevator. Not one person in the 30 we used in the test got sick so we knew our gut check was all right.
In parallel to the technical research, Marco and his studio staff began the process of researching and collecting a vast amount of footage sampled from both mainstream and more obscure film sources. Marco then assembled still grabs from each piece of sampled footage into photomontages, which we would review weekly while Marco's editor cut together a linear chronology of what the components in journey from hell to heaven may look like.
The logistical task of collecting and cataloguing all the clips involved a great deal of coordination between our producer and Marco's studio and stretched over a period of almost three months. Once the material was imported into Flame we would invariably make adjustments and receive more photo–collages that would polish to make the 'video mural' look as seamless as possible. The clips were used in much the same way the way a painter would use a colour or texture. We felt it was like audio sampling, using the clips as beats and timing them all to work together to create something new and original. Marco and our team experimented in the Flame and played with the clips for about six weeks, arranging and rearranging them on the 2d canvas over and over to find the right compositions. Most of this work was done at night because we couldn't afford to do it during prime time hours.
Not only were we playing with where on this huge canvas the clips should go, we had to consider the looping aspect of this project. We wanted the canvas to loop once it got to the top of heaven and come right back around to hell again. Once the canvas looped, each of the 500 clips had to be looped individually as well. Along with colour correction, each clip required careful vari–speeding and stabilization to allow all the pieces fit together. We ping–ponged most of the clips as to avoid any cutting on the loop points. With all the clips treated and placed into the canvas we color corrected the entire thing as one big piece of wallpaper. We had over a hundred 'power windows' on the piece to isolate sections and make each station gel together. We ended up with six main stations on the canvas. Hell, lower purgatory, middle purgatory, upper purgatory, heaven and upper heave/lower hell which was the loop point.
After all this was done we set out to redo the entire piece in 3d space! We took each station, rendered it out as a static 2.5 minute plates and then projected those onto geometry modeled to match the stations layout. We then had to go in and render the stations with and without most of their elements so we could achieve the proper parallax. Essentially it was like recreating the entire project over again but with most of the guesswork taken away with the 2d final as our road map."
Credits: Title: Civilization (MEGAPLEX), 2008 By: Marco Brambilla; Client: The Standard Hotel, New York; Editor/Research Assistant: Beau Dickson; Assistant: Swapna Tamhane; Production Company: Crush, Toronto; Representation/Images Courtesy of: Christopher Grimes Gallery, Santa Monica; Marco Brambilla Directorial Representation: The Ebeling Group; Ebeling Group U.S.A.