rizomer

With the release of version 1.0 of Popcorn Maker, cinemakers welcome the first tool that has the potential to turn them into webmakers. The goal of Popcorn is shared across all the project’s channels since mid-2011: to bring video out of the box.

One question for cinema makers now become: how to turn web processes into cinematic compositions? For a time, softwares from Apple Final Cut Pro to Adobe Premiere and After Effects have helped computerize cinematic techniques. Techniques that were once crafted on film stock by film makers. Computer codes confined cinematic imagery from a certain era.

Now, with the web, cinema is bound to expand.

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My understanding of interactive media grows with my understanding of cinema. I have my historical and aesthetical reference points towards which I turn to grasp a bit of what’s ahead. I feel those were 20th century preludes to 21st century patterns. Interactions with the moving image have had a progressive evolution that now turn exponential. For my comprehension of interactive documentaries, I like to recall how the first moving images captured were documentaries.

wireframes, a set on Flickr.

wireframes and conceptual framework for an approach to mobile cinematic interactions

Le temps d’un torrent, je me demande qui sont les pairs qui contribuent les pièces  du fichier de cinéma qui se construit sur ma machine. Les pairs vont et viennent dans un onglet de l’interface mais, qu’est ce qui nous connecte autour de ce cinéma? Quels morceaux chaque pair a-t-il chargé? Au delà de la consommation culturelle, qu’y a-t-il en commun dans ce que nous cherchons dans cette vision cinématographique? Surtout, je me demande: comment son créateur peut connecter avec nous, sa communauté? Et, si le film et le cinéaste appartiennent à l’Histoire, comment des cinéphiles et des diffuseurs poursuivent-ils la conversation?

“Hackers and filmmakers can fix this by working together - New open video tools and standards like HTML5 can help unlock video’s 21st century potential. We need to bring innovative hackers and filmmakers together to exploit this creative power and give the world a taste of what’s possible. This is what WebMadeMovies will do, connecting independent filmmakers, CSS hackers, cross-media scriptwriters, JavaScript wizards, PHP developers and graphic designers. All working to create web experiences that showcase what open video can deliver that “TV in a web page” can’t.”

Pour percevoir des interactions possibles avec l’image en mouvement, les idées de séquence d’images et d’interface informatique s’influencent. Leurs rôles se croisent. La séquence d’images devient un véhicule pour transmettre les données d’un espace, d’un temps, d’une action mais aussi celles d’un système, d’un réseau. L’interface devient un véhicule pour communiquer une culture, une création, un angle sur le monde.

Should those relationships articulate through camera shots or through mobile web designs, what particles express our “sympathy for context”? 

Dithering is fascinating ! I am exploring the process using the Dither Lite Android application developed by Weasel Labs www.facebook.com/weasel.labs. Could “the process of converting an image to true black and white (not gray scale) ” be applied to cinematic streams ?

Can practical applications of “open video” lie within the technology of “Diminished Reality“ ? The possibility to open video spaces. Dig for cinematic channels. Regenerate canvas for new compositions. «Removing objects from video» to create ground for new connexions.