Pieces of wood, love, knowledge and 299 hours of work, condensed in a 3 minute film.
The ‘Art of Making’ series aspires to display and highlight people who go against the spirit of today’s pessimism and desperation. They dare to dream and create with zeal and imagination. Armed with passion for knowledge and emotion, they attempt to combine the precision of science with the elegance and resourcefulness of art. We thank them wholeheartedly for their contribution.
Κομμάτια από ξύλο, αγάπη, μεράκι, τεχνογνωσία και 299 ώρες εργασίας συμπυκνωμένα σε κάτι περισσότερο από 3 λεπτά.
Η σειρά ‘The Art of Making’ φιλοδοξεί να αναδείξει και να προβάλλει τους συναναθρώπους μας, οι οποίοι πέραν από το πνεύμα του καιρού, την απαισιοδοξία και την μοιρολατρία, επιμένουν να ονειρεύονται και να δημιουργούν με πάθος και φαντασία. Αυτοί οι εραστές της γνώσης και της συγκίνησης επιχειρούν να συνδυάσουν την οργάνωση και την ακρίβεια της επιστήμης με την κομψότητα, την λεπτότητα και την επινοητικότητα της τέχνης. Η προσφορά τους ανεκτίμητη και τους ευχαριστούμε.
Pedazos de madera, amor, esmero, celo, conocimiento y 299 horas de trabajo, concentradas en una película de algo más de 3 minutos.
La serie “The Art of Making” pretende mostrar y promocionar a gente de nuestros días que, superando el fatalismo y el pesimismo del espíritu contemporáneo, se atreven, con pasión e imaginación, a seguir soñando y creando. Estos amantes del conocimiento y de la emoción, intentan combinar la organización y la precisión de la ciencia con la elegancia, la sutileza y el ingenio del arte. Su oferta es de un valor incalculable y se lo agradecemos profundamente.
Dirección y VFX: Spiros Rasidakis y Dimitris Ladópoulos
Dirección de fotografía: Níkos Mexis
Edición: Yiannis Kostavaras
Diseño Acústico: Nikos Tsines
Guitarrista y compositor: Edsart Udo de Haes edsartudodehaes.nl
Constructor de guitarras, luthier: Vassilis Lazarides lazaridesguitars.com
The ‘Art of Making’ series aspires to display and highlight certain people, which go against the spirit of today’s pessimism and desperation. They dare to dream and create with zeal and imagination. Armed with passion for knowledge and emotion, they attempt to combine the precision of science with the elegance and resourcefulness of art. We thank them wholeheartedly for their contribution.
Track: HECQ "Enceladus" (with Skyence)
Taken from HECQ's album "Enceladus" (adn149)
Originally released by Ad Noiseam
"Consumed" is another self-initiated personal project that I've written, designed and animated.
It's a 3D short film about a not so distant future, where extreme overpopulation has become a global crises. The population growth has reached a critical tipping point and there's food and water shortages all around the world. The story revolves around a "Food Replicator", or a so called molecular assembler, a device that can rearrange subatomic particles and guide chemical reactions with atomic precision. In an attempt to prevent mass starvation, this device is used to synthesize nutritions with the ability to self-replicate. But during the initial tests something goes wrong and out-of-control self-replicating compounds starts to spread, consuming all matter while building more copies of them selves.
This is very similar to a hypothetical end-of-the-world scenario called "Grey goo", a term coined by molecular nanotechnology pioneer Eric Drexler back in 1986. He illustrates exponential growth and the dangers of self-replication is his book "Engines of Creation":
"Imagine a replicator floating in a bottle of chemicals, making copies of itself…the first replicator assembles a copy in one thousand seconds, the two replicators then build two more in the next thousand seconds, the four build another four, and the eight build another eight. At the end of ten hours, there are not thirty-six new replicators, but over 68 billion. In less than a day, they would weigh a ton; in less than two days, they would outweigh the Earth; in another four hours, they would exceed the mass of the Sun and all the planets combined — if the bottle of chemicals hadn't run dry long before."
Well, obviously my scenario is all science fiction, since the required technologies to create this kind of self-replicating matter won't be invented until.. hmm.. no sooner than 2014?
Here at OneRiver Media we received the new Cinema Camera last month from Blackmagic Design for our own testing. We asked for permission to shoot with cast and crew, and in less than one day, assembled a story, crew, and actors.
The biggest reason for attempting this shoot, (“Texting is 'gefährlich'” or, “Texting is ‘dangerous’” translated from German) on such short notice was to really see how well the new Cinema Camera could hold up under a real production environment, and in the end, it worked very well for us. A few main factors I wanted to specifically test for in this production were the following:
- Low light abilities (among others, the opening shot only uses city lights).
- Dynamic range (we literally shot INTO headlights).
- Image sharpness
- Tonal range
- Narrow DOF
- Extreme wide angles
- RAW CinemaDNG image data quality
- Functionality and ease of use
In all regards, I feel the camera was able to accomplish all of these tasks with no problems and exceeded my expectations in many situations. In the end, I’m very happy with the results from the camera. The short film, which is currently getting funding as a PSA, isn’t the next Hollywood blockbuster, but it did allow us to test the camera in extreme situations, and on such short notice. In all accounts, this was truly a 24-hour film production and we had fun doing it. We will upload a 1080p24 version once funding is completed.
Note that we did not go for a gravy grade in post. Again, our main object was to really push this camera and go deep with it, not just do a typical beauty video. We really wanted to test this camera! We went for something something somewhat neutral with contrast that didn't stretch too far away from the source. We wanted to really *push* the camera and shoot something tough for it to handle, not a simple in-studio or daytime production. Our main objective was to push the camera in sever conditions. Had we shot on a DSLR or regular video camera, the highlights would have been blown out and the shadows would have turned to mud. So instead, we opted for a post-production neutral look with contrast. Again, a DSLR wouldn't have given us detail in both range and sharpness.
We used the following lenses on this production: Canon 24mm f/1.4L, Canon 50mm f/1.2L, Canon 135mm f/2, Sigma 8-16mm f/4.5-5.6 zoom. The Sigma lens ended up working perfectly for super wide shots, and ended up being used a lot. Surprisingly, we ended up using fewer lenses than we expected.
Did we learn anything on this production with the Cinema Camera? Absolutely. Are there things I may change in future productions using the Cinema Camera as a results of shooting this one? Absolutely. Stay tuned as we’re going to be presenting a lot more info on this production, including behind-the-scenes footage.
Be sure to follow us on Twitter @OneRiverMedia and at facebook.com/onerivermedia for the very latest scoop on this topic and many more.
Many thanks again to the entire cast and crew for being available on such short notice, staying through the night and giving your 100%. I love working with great crew!