rizomer

With the release of version 1.0 of Popcorn Maker, cinemakers...

Fri, 21 Dec 2012 04:34:00 -0500

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.

—- Continue.

My understanding of interactive media grows with my...

Wed, 27 Jul 2011 04:07:00 -0400

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...

Wed, 22 Jun 2011 09:16:00 -0400

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...

Sat, 30 Apr 2011 07:24:00 -0400

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 -...

Fri, 18 Feb 2011 03:20:00 -0500

“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...

Fri, 31 Dec 2010 12:03:00 -0500

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...

Thu, 25 Nov 2010 17:35:00 -0500

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...

Thu, 25 Nov 2010 17:26:49 -0500

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...

Wed, 03 Nov 2010 17:05:00 -0400

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.

«Communication methods supporting design processes» over...

Fri, 15 Oct 2010 21:39:00 -0400

«Communication methods supporting design processes» over cinematic streams. How can we mix design methods to initiate new applications, new forms from «film» flows ?

This idea means much when design happens at a frontier between...

Fri, 01 Oct 2010 16:41:00 -0400

This idea means much when design happens at a frontier between web and cinema.

Aux cinéastes qui se révoltent face aux politiques de...

Thu, 22 Apr 2010 19:07:00 -0400

Aux cinéastes qui se révoltent face aux politiques de financement du cinéma, j’ai envie de rappeler que notre médium se transforme. Que les gestionnaires et investisseurs s’illusionnent encore du mirage de Star Wars n’empêche pas que des conversations se cultivent entre créateurs du web et ceux des images en mouvement. Vous avez raison, le mythe du blockbuster tient du dogme. Mais, le cinéma bouge. Nos plans se compressent et s’articulent, en source ouverte, à travers le réseau. Là, pour l’instant, le défi en est moins un de capitaux que de connaissances. Les logiciels pour le montage de nos séquences figent le cinéma dans sa logique d’hier. Le cinéma bouge. Il se communique maintenant en codes, en , en styles {, en , en bits, en expériences, en mobilité, en interactions. À travers les écrans.

War Games by John Badham, 1983. cinebits @ 01h47m56s

Mon, 15 Mar 2010 11:02:00 -0400

War Games by John Badham, 1983. cinebits @ 01h47m56s

Alexandre le bienheureux de Yves Robert, 1967. cinebits @...

Mon, 15 Mar 2010 10:14:00 -0400

Alexandre le bienheureux de Yves Robert, 1967. cinebits @ 01h21m36s

Codename Condor collage through Codename Condor playlist

Mon, 14 Dec 2009 22:50:00 -0500

Codename Condor collage through Codename Condor playlist

Ballast, Lance Hammer, 2008,«James wanders behind house» clip

Mon, 23 Nov 2009 18:10:00 -0500

Ballast, Lance Hammer, 2008,
«James wanders behind house» clip

Codes and Cinema: Moving away from the length-based mold :...

Sat, 21 Nov 2009 23:17:00 -0500

Codes and Cinema: Moving away from the length-based mold : How long will cinema keep its reference to a time where cinematic imagery was deployed onto physical film? Will the length-based mold simply copy-paste to the web? If filmmakers such as Griffith or Eisenstein explored (on celluloid) the cinematic montage that led to the feature lenght standard of the 20th century, can we still measure experiments of Actionscripters such as Neave (Neave’s TV) or Quasimondo (Flickeur) in terms that are reminiscence of the length (in feet!) of a number of film reels? We go to their sites and the experience lasts as “long” as their internet scripts are not removed from their servers. No reels, no feet there.

Codes and Cinema : Could cinema regenerate through the...

Thu, 19 Nov 2009 15:51:00 -0500

Codes and Cinema : Could cinema regenerate through the exploration, by cinemakers and creative coders, of emerging audiovisual scripting languages? Could the editing and compositing suites progressively make room for Processing-like environment? And if so, what changes?

Le Mépris de Jean-Luc Godard, 1963 via Movies in Frames....

Thu, 12 Nov 2009 14:44:00 -0500

Le Mépris de Jean-Luc Godard, 1963 via Movies in Frames. cinebits @ 00h39m27s

Three Days of the Condor by Sydney Pollack, 1975 via Movies in...

Tue, 10 Nov 2009 20:48:00 -0500

Three Days of the Condor by Sydney Pollack, 1975 via Movies in Frames. cinebits @ 01h35m03s