#ciné cameras

[arphang]

SQUINTING CAT CINE : Un Voyage Hilarant dans le Monde de « Psychose » avec SQUINTING CAT TV"

[george-the-good]

The Duke of York with painter Philip de László at 3 Fitzjohn’s Avenue (de László’s London address), 1933.

Footage: The de László Archive Trust

‘In 1926 de László painted a portrait of George Eastman, who presented him with one of the first hand-held motion picture cameras, the Ciné-Kodak model B, introduced in 1925. From then until de László’s death in 1937, the artist, his sons and his studio assistant, Frederick Harwood, filmed a unique record of his life and work on 16mm film.’

[roo-bastmoon]

IMPORTANT INFO: issues around Jimin’s album

I have an ARMY friend (who shall remain safely anonymous) who works in film production for the music and entertainment industry here in the US. They offered me some valuable insights today into production limitations and possible issues related to Jimin’s solo album.

Below the cut is a transcript of their messages to me. I share this in the hopes it better informs our discussions around fair treatment of BTS members’ releases. It is by no means a definitive account of Jimin’s situation—simply an insider’s ideas on what likely happened around a few things.

I understand there are very big feelings about this topic, especially with the apparent differences around JK’s single, and I appreciate everyone’s viewpoints. However, if you choose to interact with this post, you will be respectful to others (including members) or you will be blocked. You are always welcome to DM me privately if you need to vent—we are all human and we all need a bit of grace, so you’ll always have that with me.

Sending you guys so much love, Roo

Anonymous Insider

Some “light reading” while you’re resting up and recovering, lol. This is all just based on what I’ve been watching and seen. Of course, I don’t have access to their production budget sheet and Korea works very differently than the US when it comes to production, but this what I’ve been seeing when it comes to their videos and particularly the promotions for FACE.

(I’m sending in sections, lol)

Alrighty - I’m still like deep in edit-land (still am two days later 😭) but I started typing this on the train between meetings, ha ha. (And am still on the train doing this, lol.) Also this rambles a bit I’m sorry! So the first thing I did was go back to the interview where Jimin talked about the music videos — it was a Japanese TV show and he’s talking with a host in Korean.

He’s talking about “wanting to do it all,” laughs and says, “I wanted all the music videos” and that “they” (the company assuming) said “무리다” which has its roots in the word 무리 which means a herd, a party, a group — basically “it’s too much,” “it’s unreasonable,” and “it’s impossible” are decent translations as it refers to something or an idea being “too much” — then the host and Jimin burst out laughing and the host goes “서리와 무리다” which I read as “sorry (in konglish) but we can’t” and they continue to laugh. So based on that ��it sounds very understandable.

We can imagine Jimin sitting down with his team and planning out SMFP2 and LC videos, with the 30 dancers and all the party scene extras, and then Jimin saying he wants to do the music shows with 6 different sets in rented locations so they could have total control. And if Jimin in that process went “what if we made official music videos for all of them?” the team would understandably go “that’s just not reasonable!” 1) because it would give Jimin a budget no other member had gotten and 2) there aren’t that many production houses in Korea. It’s a very small scene — it may just logistically not been possible. There aren’t enough DPs and crew and editors. Sometimes, as a producer, you have to tell your creative talent “I’m sorry, but no.” — I say it every week!

So what about the music videos? Well, here’s what I know from meticulously watching all the behind the scenes for BTS videos over the years. They work with a small team. They likely own a good deal of the gear — they shoot mainly on RED cameras and heavy expensive Cooke lenses (which you can’t get this stuff easily in Korea. I lost a lens cap for a Canon CINÉ Lens in Seoul and it was like this whole big deal because getting gear there is an import challenge but anyways) they use MOVI and Ronin gimbal stabilizers and Jimmy Rigs a lot.

Recently they’ve been using technocranes but I wonder how many technocranes there are in Seoul. As I said, they likely own a lot of this gear which can help with costs. But we’ve also been told — and I’ve heard through my industry friends — that Hybe PAYS. And in Korea there’s no unions in the entertainment world, and often the rates are shit (hence Netflix investing so much there - blerg) their standard work week is also already 12 hours longer than the US. It’s a whole thing. and they spend so much money on sets. It’s incredible.

They rent these huge spaces outside Seoul and BUILD — I mean the build out for SMFP2 was astounding. They easily dropped 1million on that video. The rigging, the build-out, the custom set and the custom camera rigs to achieve the 360 shots - the drone shots. They’re astounding videos. No US label is spending that money on videos these day. Absolutely none of them are — my friend recently produced a video for John Legend. They were trying to pull the whole thing off for $100K which is ridiculous. It’s really almost impossible.  

But on the Big videos they spend a lot of money, but they also produce a lot of other stuff too (and these are often looked at as Performance Videos vs all-caps MUSIC VIDEOS) -— like RM’s video shoot at DIA Beacon… that was a much smaller, fairly single camera shoot — all shot on drones or a MOVI handheld rig. No set, they also didn’t like pay for the set because DIA: Beacon is an art museum — and similar a little bit to Letter for Jimin, which was much smaller set and easy in-house gear.

(And it was also released on Bangtan TV channel vs Hybe Labels Channel, which is a good indicator of how they categorize these shoots.) But the big videos, they go for broke. I mean they spend so much money and again they may own a lot of the equipment but there’s still so much people-power and labor involved. Take the dancers’ rehearsals. You have to pay people for all that — you have to pay them for the weeks of rehearsal, you have to pay them to be in a video. It is so expensive — like, I would not be able to budget that video for under 1 million, that’s how much it costs.  

So then Jimin wanted to do music shows —- and so because he’s Jimin and it’s BTS, Hybe rented larger venues and locations for all of the shoots. None of them use the actual Broadcast spaces or were provided by the broadcast studios. The smaller companies do though — remember when BTS first started out they went to SBS to film on the day? — but they don’t do that anymore. They rent huge facilities so that they could be a mini concerts for ARMYs to visit with Jimin and see him.

They also have to do this kind of outside of the city and they built huge sets because they’re going to want to show off if they’re gonna be on TV but that is so expensive. (I don’t think you were an ARMY then, but when ON was released, at the time it was the “biggest broadcast performance ever” and they keep upping that ante for sure!) It’s possible the broadcast companies spend some money but what BTS is doing is so outside the usual budget and given the tension with the broadcasters and HYBE — they (Hybe) wants control of their products, and so I think they pay for that control.

I can’t imagine they got out of any of those days for under $500K; I mean, there were two different sets, all the crew; they’re paying for all of it. We add it up and they probably spent close to $3-5 million between Jimin’s music videos and his music show performances, and I would be understandably like: “That’s it!” Like, that’s the budget for an EP, you know.

I don’t think Jimin could have it all because that wasn’t the case for the other members. RM got to lead videos and J Hope had pyrotechnics, which definitely costs money and safety and insurance. You know he had visual effects his first video (a lotta visual effects) and again a lot of challenging technocrane work, but I haven’t really seen them build something on the scale of what they built for SMFP2 in a very long time (or ever?).

We heard from the Art Dept that Jimin did not want to shoot on blue screen, so they built the set for him. This cannot be the same label that is shafting him — that allows him to spend that amount of money just because the artist said “I want to shoot in a real space!” because I’m gonna be completely honest— he could’ve done that on a blue screen — I’m glad they built a real world because BTS almost always shoots on Blue/Green Screen. They build him a huge set like that. It’s absolutely incredible.

I was also reminded this morning that people are talking about radio for Like Crazy and not supporting the song — and I just keep thinking that they did exact rollout for Butter, Dynamite, and Permission to Dance. They released Like Crazy. It had both a Korean version and English version. (Obviously that wasn’t the case for the English BTS songs.) They released two additional remixes. Then they kept releasing, like, alternate cover versions — alternate covers of the main remix, alternate cover the other remix. They were trying to maximize the direct-to-consumer store and exact same way they had tried to maximize it with Dynamite and Butter and Permission to Dance.

The way you were buying Like Crazy was the same process I took on Dynamite. They did the exact same playbook. So the fact that they were unable to get the kind of radio play they wanted or maybe they weren’t prioritizing radio because they knew that they were gonna have a better chance at direct to consumer sales... Maybe they didn’t want to fight radio. Maybe Geffen was like “We don’t have the right ‘Ins’ yet!” — I’m not sure, but the fact that they got completely screwed over by Billboard doesn’t mean that they weren’t actually rolling it out in that way, because as soon as they started doing the whole alternate cover thing, I was like: “Well, they clearly want us to try to go for number one!” You know, “They clearly think that they are going to be able to get number one on the hot 100 and we’re gonna use these sales to do that!” And clearly that’s all changed now.

They keep changing the rules on us, so — with JK, they’re obviously trying to, you know, use whatever tools they have available to them at this point.

Finally, when it comes to restocking the digital single CD. There are still albums available in the store. So why would they manufacture and ship more (likely thrown away) plastic that’s just for one song, when those CD singles only serve to raise sales for the charts? All of the other member’s CD singles are out of stock except The Astronaut, which they treated more like a proper album a bit (kinda like the Butter CD releases). Because they still have both versions of his full albums in stock, so if I were Hybe, I’d be like “No,you need to buy the album, we still have albums, we’re not going to sell you a single song when you can buy the album!” That makes more sense to me. The albums cost more.

TL:DR, haha — so I feel like this narrative around Jimin’s release has been ramped up because, from my professional opinion, he’s had the most expensive release so far (by far) and if we want to compare him to, say, Beyoncé — well she owns her own production company (Parkwood Entertainment), so she can funnel her own money into a Visual Album, I don’t know if Jimin has considered that at this point in his career, but in the future, he might!

((Not including costs for Suga’s tour because that’s a whole other thing, and the tour probably made money I would expect to balance out the cost of the tour itself))

Anonymous Insider

This isn’t to say that the other things, the part where he didn’t get the cake celebration, or the posts, the issues with the linking and this general feeling that Jimin was short-changed in these things isn’t valid and understandable. I think Hybe relied too much on D2C sales and I don’t think they leveraged their might as much as could have for JM. They could have risked more for him.

{This is an end of Anonymous Insider’s messages to me. They noted that they are an intermediate non-native Korean speaker so please excuse any translation errors. They translated things themselves using Naver tools that aligned with the video subtitles.}

So, listen, I still don’t think Like Crazy was sent/promoted to radio (which was a mistake and still is a mistake) and I am furious at the shady articles and lack of celebration for Jimin…

But after reading the way the members approach their work in the Beyond the Story book and now hearing from someone who produces these works for a living, I have to wonder if the company was doing everything they knew how to do for Jimin, but the second it didn’t work out because of the western music industry culling streams and sales, they pulled back all their resources and pivoted for Yoongi and JK. (I also wonder if leadership shut up about it all due to liability issues, or not to cause bad blood with the music industry for future releases.)

Again, I’ll never forgive the lack of celebration and the split streams (not without a great explanation), but at least now I think there’s a good chance no one was actively trying to sabotage Jimin on purpose. They seemed to have wanted that #1 and then it all went to shit because Billboard and radio want to get paid. Maybe leadership decided not to put any more resources into Face but instead pivot for all the future music coming out (including PJM2.)

Perhaps I'm a cockeyed optimist. I’m just hoping like hell they never engage in payola. I want all our boys to win, but I want us to win fairly. And even if everyone cannot have the same investment every time on every project, I hope when they come back together in 2025 that everyone feels good about their solo works and each other. This is my prayer. Love, Roo

[spiritundaunted]

…the King seized his ciné-camera and ran down to the extreme forecastle head of the ship, where he stood alongside the two look-out men, filming the prow of the ship as she sliced through the ice. As soon as he had finished doing this he ran to the ship's stern and climbed up a perilous companion-way to the top of the stern deck-house, from which he filmed the two cruisers following us. “He’s as energetic as a press photographer,” commented photographer Horton admiringly.

Gordon Young, Voyage of State, 1939

[lensman-arms-race]

Do you think that the Camera/Speaker/TV people have like code names besides their clothing appearance? I sorta gave them nicknames/codes like the Titans being Film (Titan Camera Man), Head DJ (Titan Speaker Man) and Cinema (Titan TV Man). I don't know if I'm the only one who gave characters nicknames

Probably! They appear to have code numbers at least (in episode 56, the tablet that displays 'TANK DESTROYED' has an ID number on it, presumably indicating that it belongs to that camera-head).

The camera-heads and speaker-heads (especially the latter) appear to be loosely based on mod fashion, and TV-heads loosely based on goth. There's some nickname potential in there, but I never bothered to look further into that.

For the camera-woman, speaker-woman, and TV-woman, I prefer not to refer to them as 'women' (or the other ones as 'men') because they're not women and men; they're funny robots. You might have seen from my tags that I call camera-woman 'flechette cam' (because they wield a flechette gun) and TV-woman 'inferno TV' (because they appear to be the only TV with incendiary powers). I currently tag speaker-woman as 'knife speaker' but I want a better nickname for them because they're not the only speaker to use knives.

I had the idea of nicknaming the titans based on the real-world inventors of their hardware, so Titan TV would be nicknamed 'Baird' after John Logie Baird, who invented the television. I gave up on that idea because the modern moving-coil speaker was invented by Edward Kellogg and Chester Rice at Bell Labs, and calling Titan Speaker 'Kellogg' or 'Rice' would sound stupid! ('Head DJ' does sound pretty cool though.)

I've seen a lot of people referring to Titan TV as 'Cinema-man' but I prefer not to call them that because the large camera-heads have ciné-cams for heads, which sounds confusingly similar.

[mi4011ayodyarajakaruna]

Norman McLaren

Norman McLaren was born in Stirling, Scotland, on April 11, 1914. He had two older siblings, a brother named Jack, and a sister named Sheena. At 21, he went to Russia for a vacation, which solidified his communist beliefs, much to his father's dismay who had funded the trip hoping to change his mind.

At the age of 22, McLaren left Stirling to study set design at the Glasgow School of Art. While there, he joined the Kinecraft Society and began experimenting with various filmmaking styles and techniques. It was at the Glasgow School of Art where he met Helen Biggar, and together they created films outside of school, aiming for national recognition.

In his early film experiments, McLaren would scratch and paint directly onto the film stock due to limited access to a camera. One of his earliest surviving films, Seven Till Five (1935), was influenced by Eisenstein and showcased a formalist approach.

McLaren's film Camera Makes Whoopee (1935) further explored the themes of Seven Till Five, inspired by his new Ciné-Kodak camera. This allowed him to create various 'trick' shots using pixilation effects, superimpositions, and animation to capture the essence of an art school ball.

Both of McLaren's early films received awards at the Scottish Amateur Film Festival, where John Grierson, a fellow Scot and future NFB founder, served as a judge.

In 1941, Grierson invited McLaren to move to Ottawa and join the National Film Board. McLaren's main tasks were to establish an animation studio, train Canadian animators, and create promotional films. Upon his arrival, he collaborated with American director Mary Ellen Bute on two films called Spook Sport and Tarantella. One of his notable works was a promotional film called Mail Early, which reminded Canadians to send their Christmas cards on time. McLaren also contributed to Allied propaganda documentary films by creating animated shorts and maps. He later worked on a series of animated French songs called Chants Populaire in 1943. In 1944 and 1945, McLaren produced a similar series in English called Let's All Sing Together.

By 1942, the demand for animation at the NFB had grown rapidly, and McLaren struggled to keep up. Grierson then asked him to recruit art students and form a small animation team. However, this task proved challenging as many students had enlisted in the war. McLaren managed to find recruits from the École des beaux-arts de Montréal and the Ontario College of Art, including talented individuals like René Jodoin, George Dunning, Jim McKay, Grant Munro, and Evelyn Lambart, who would become his future collaborator. McLaren trained these emerging animators, and together they worked on various projects such as cartoons, animated cards, and propaganda documentaries. In January 1943, Studio A, the NFB's first animation studio, was officially established with McLaren as its head.

Throughout his time at the NFB, McLaren created a total of 70 films. Some notable works include Begone Dull Care, Rythmetic, Christmas Cracker, Pas de Deux, and the Oscar-winning Neighbours. Neighbors is particularly remarkable for its powerful combination of visuals and sound, delivering a strong social message against violence and war. McLaren's talent and dedication were recognized with awards such as the Short Film Palme d'Or at the Cannes Film Festival and the BAFTA Award for Best Animated Film for Blinkity Blank. In fact, McLaren chose Blinkity Blank as his diploma piece when he was inducted into the Royal Canadian Academy of Arts.

McLaren collaborated with UNESCO during the 1950s and 1960s to develop educational programs focusing on film and animation techniques in China and India. His series of "Animated Motion" shorts, created in the late 1970s, serve as a valuable resource for learning the fundamentals of film animation.

His legacy -

McLaren's legacy lives on through various tributes and honours. The National Film Board paid tribute to McLaren by naming its Montreal headquarters the Norman McLaren Building. Additionally, the borough of Saint-Laurent, where the NFB is located, is named a district after McLaren. In 1979, the Edinburgh Film house dedicated two seats to McLaren and Grierson. McLaren was also the focus of the short animated documentary "McLaren's Negatives" in 2006. The NFB celebrated the 65th anniversary of NFB animation in the same year with a retrospective of McLaren's restored classics and a new DVD box set of his complete works. Furthermore, in June 2013, the NFB released the "McLaren's Workshop" app on iTunes, allowing users to create films using McLaren's animation techniques. In June 2018, a ballet titled "Frame by Frame," inspired by McLaren's life and work, was staged by Robert Lepage, principal dancer Guillaume Côté, and the National Ballet of Canada. McLaren's influence has even reached filmmaker George Lucas, who has acknowledged McLaren as an inspiration for his own work.

Credits -

[inapat16]

Some thoughts about My Neighbors by Med Hondo (1973)

Part 1 : My neighbors, also called Arabs and Niggers, Your Neighbors, by Med Hondo (1973)

Four years ago, I discovered a very interesting director called Med Hondo. He was a film director, producer and actor born in 1936 in Mauritania. He was a French Mauritanian who directed feature films on the themes of colonialism, immigration, and forms of resistance against Western imperialism. Considered a founding father of African cinema, he is known for his controversial films dealing with issues such as race relations and colonization.

Sadly, he passed away in March 2019 at age 82, and his archives went to Ciné-Archives, a little association that specializes in activist cinema. Clément Lafitte, a former employee at Ciné-archives presented in a history class the stakes of the restoration and valorization of Med Hondo’s films. As such, he oversees Med Hondo's film collection, which consists of several feature films and a short film: My neighbors. I was immediately struck by the beauty and strength of this militant short film and its poignant story, unfortunately still relevant in France. By doing my research on this movie, I was intrigued by the synopsis, as presented by Ciné-archives’ website:

“A fragment of a larger documentary project (Arabs and Niggers, Your Neighbors) with which Med Hondo wanted to explore the housing policies of immigrant workers in Paris. It was based on the idea of a series of films that he was unable to make, but which reveals the possibilities for a street cinema related to direct cinema and Kinetract.”

I went to their office to watch the digitized 16mm film. Then I was able to study a silver tape that would presumably be part of the same film. Finally, I had access to Med Hondo's personal paper archives. Indeed, the association Ciné-Archives has all of Med Hondo's film prints and paper archives. They have just finished restoring his films and released a DVD package with three of his most famous films Soleil O, Sarraounia and West Indies.

My Neighbors is a short 35-minute film, made in 16mm sound in 1973. Some parts are in black and white (sepia here) and others in colour. As mentioned in the synopsis, I would like to explore this aspect of both documentary (direct cinema) and activism (kinetract) in my review of this movie.

The film begins with an interview inside a café with a black man. He testifies in his native language for several minutes, then a freeze frame is taken and a voice-over in French - Med Hondo's - translates what he said. This alternation between live sound testimony and freeze-frame translation occurs several times. During the testimonial shots the camera sometimes zooms in and zooms out varying the frame between a mid-shot, a close-up and even an extreme close-up. This man is an immigrant worker who lives in a shelter in the suburbs of Paris. He describes his working conditions in a factory. In particular, he talks about a work conflict that took place with a counterman, which involved the company's syndicates, but which still resulted in his firing.

The second sequence begins with Catherine Leforestier’s song "Go and see your neighbors". Numerous shots of a building, identified as a shelter for immigrant workers, where different camera movements allow us to observe the shelter and its inhabitants from different points of view. Each verse of the song ends with " A stone's throw from your house, go and see your neighbors ". 

"If you want to talk about distant countries,

Where people die of misery and hunger,

Children in Biafra and little Indians,

A stone's throw from my house, go and see my neighbors,

A stone's throw from your house, go and see your neighbors".

To be continued…

Manon Berthet

[zurich-snows]

Texte de Guillaume Basquin, 2014

Du 15 janvier au 1er mars 2014 on a pu voir à Paris le premier film-en-tant-que-film contemporain de l’année 2014 : JG de la ciné-artiste britannique Tacita Dean, à la galerie Marian Goodman. Est-ce le dernier ? Dieu seul le sait… Le dossier de presse de la galerie annonce sobrement : « JG, film anamorphique 35 mm en couleur et noir et blanc avec son optique, de vingt-six minutes et demie, projeté en boucle au sous-sol de la galerie. » Pourtant jusqu’au moment fatidique où je descends les marches de ladite galerie j’aurais eu un doute : va-t-on oser projeter un film qui va, par cette opération, s’autodétruire, en 2014 ? Eh bien oui ! À peine ai-je franchi la dernière marche me séparant du sous-sol de la camera obscura… les fantômes viennent à ma rencontre !… Oui, aucun doute, dès la première seconde de projection : on me montre bien là un film-as-film comme disaient les théoriciens du cinéma expérimental (ou différent) : ça vibre entre les images, ça tourne dans l’air, l’écran est tout-feu-tout-flamme : un reste du feu de ce qui aura été filmé l’embrase : soleil, sel, eau, terre. La « voix » du film le dit : « sand, salt, spiral », répété deux fois. Ce qui importe dans les films ce n’est pas le sujet (ou story), c’est la vibration des choses filmées. Combien de fois faudra-t-il rappeler cette évidence ? Ou bien devrais-je dire que, voyant ce film, ma mémoire de spectateur est unique puisque je ne l’ai pas vu dans le même état que X ou Y qui l’aurait visionné lors du vernissage du 14 janvier : on ne croise pas un film, matière vivante, deux fois dans le même état… pour paraphraser ce cher Héraclite.

...

http://derives.tv/jg-de-tacita-dean-film-pensee/

[karingottschalk]

News Shooter: Blackmagic Design Pocket Cinema Camera 6K Review (lite)

News Shooter: Blackmagic Design Pocket Cinema Camera 6K Review (lite)

https://www.newsshooter.com/2019/08/22/blackmagic-design-pocket-cinema-camera-6k-review-lite/

“This is a ‘lite’ review of the Blackmagic Design Pocket Cinema Camera (BMPCC) 6K. I say lite because there is no way anyone can do a proper, in-depth review of a camera in a few days or even a few weeks. To properly review a camera you need to spend a lot more time with the camera than I have so far….”

[fishstickmonkey]

Model NC 35mm Ciné Camera

Mitchell Camera Corp., 1933

George Eastman Museum

[kvnkshv]

📸:©™ 🎬 #kodakcolorplus200 #kodakgold200 #kodakprofessional #kodakfilm #pinterest #blogger_de #bloggerstyle #styleguide #fashionpost #beautè #arte #ciné #camera #moda #model #parisienne #parisianvibe #myparisianmood #theparisianchique #parisianamour #parisianstyle #modeparisienne https://www.instagram.com/p/CFHZvzXnZOC/?igshid=ywnjpz2dmsaa

[oslofusion]

FAUVE from Jeremy Comte on Vimeo.

187 festivals, 90+ awards. Academy Award® Nomination for Best Live Action Short Film

FAUVE by Jeremy Comte

Synopsis : Set in a surface mine, two boys sink into a seemingly innocent power game with Mother Nature as the sole observer. "Fauve" is this week's Staff Pick Premiere! Read more about it here: vimeo.com/blog/post/fauve

Follow FAUVE on social media (@fauveshortfilm): facebook.com/FAUVEshortfilm/ instagram.com/fauveshortfilm/ twitter.com/FAUVEshortfilm/

CAST

Tyler: Félix Grenier Benjamin: Alexandre Perreault The Woman: Louise Bombardier

CREW

Writer/ Director : Jeremy Comte Production : Evren Boisjoli (Achromatic Media), Maria Gracia Turgeon (Midi la Nuit) Cinematographer : Olivier Gossot Production Manager: Julie Groleau Production coordinator: Kelyna N. Lauzier 1st AD: Catherine Kirouac Casting Director: Victor Tremblay-Blouin Costume Design: Renée Sawtelle Make-up & Hair Artist: Stéphanie Barette Sound recordist: Laurent Ouellette Key Grip: Roland Cody Laroque Best Boy Grip: Nicola Poitras Gamache Grips: Patrice Arsenault, Thibault Kersani 1st Camera Assistant: Jeanne Dupuis 2nd Camera assistant & Gimbal operator: Benjamin Granet Stunt Coordinator: Tyler Hall Visual Effect Supervisor: Jean-Francois Clément Assistant Visual Effect Supervisor: Alex Legault Unit Production Manager: Jean-Maxime Giguère Set Production Assistant: Gabrielle de Cevins Production Assistants: Stéphane Pierre-Dufour, Sophie Cullen Aubut, Sabrina Lavergne, Molly Manseau Production Driver: Antonio Gracia Molero Production Intern: Gabrielle de Cevins Medic: Dominique Laplante Catering: Reception GL Animal Wrangler: Alain Chiocchi

Script collaborators: Patrica Boucher & Daphnée Côté Hallé Script Consultant: Phillipe Lesage

Image Post Production: Outpost Post Production Supervisor: Simon Allard Editor : Jeremy Comte Online Editor: Simon Allard VFX Artist: Val Michailov

Sound Post Production: Cult Nation Mixing & Sound Design : Hugues Bertrand, Théo Porcet, Jean-David Perron Foley Artist: Michael Anctil Sound Post Production Coordinator: Sophie Bérubé

Colour: The Mill - Chicago Colourist : Luke Morrison Colour Assist: Lindsay Mazur Coulour Producer: Dan Butler Colour executive Producer: Laurie Adrianopoli

Music: La Hacienda Composer: Brian D'Oliveira

Distribution and international sales: H264 Distribution

Poster & Title design: Sebastien Camden - Pusher

Filming Equipment: Cineground, Achromatic Media, Cinepool, Multiservice Luna Vehicles: Location Via Route Production Accountants: Marie-Ève Desbiens Tremblay, Johane Bergeron Auditing: Benoit Gauthier Production Insurance: BFL Lawyer: Gabriella Rozankovic - Lussier & Khouzam

Produced with the financial participation of SODEC, CALQ, Provincial tax credit & Federal tax credit

* Awards * Special Jury Award - Sundance Film Festival 2018 * Best of the Festival - Palm Springs ShortFest * Grand National Jury Prize & Best Youth Short Film - Regard Int. Short Film Festival * Best Drama - Aspen ShortsFest * Programmers Choice Award - Cleveland Film Festival 2018 * Best Narrative Award - Minneapolis Saint Paul International Film Festival 2018 * Jury Award for Live Action- Vienna Shorts 2018 * Best International Short - Rincon International Film Festival, Puerto Rico, 2018 * Jury Award, Public Award, Prix Ciné Tapis-Rouge - Festival Courts d’un soir, 2018 * Best Directing, Public Student, Young Voters & Public Award - Longue vue sur le court, 2018 * Premio SIGNIS MÉXICO - Guanajuato International Film Festival, 2018 * Grand Jury Prize (Short Film) - 12th FIRST International Film Festival Xining, 2018 * Grand Prix for Best Short Film - Melbourne International Film Festival, 2018 * Best International Narrative - DC Shorts, 2018 * Best Quebec Short Film - Les Percéides, 2018 * Artist Award Winner - Odense International Film Festival, 2018 * Honourable mention for Best Canadian Short Film - Toronto International Film Festival, 2018 * LeCentral Jury Prize - Off-Courts Trouville, 2018 * Best Overall Short Film - Calgary International Film Festival, 2018 * Best Short Film, FIPRESCI Award : Best Short Film - IFF Pacific Meridian, Vladivostok, 2018 * Brief Encounters Grand Prix - Encounters Film Festival, Bristol. 2018 * La Fabrique Culturelle Award - Long Week-End du Court, 2018 * National Competition Grand Prize, Audience Award - Quebec City Film Festival, 2018 * German Independence Award : Best Short Film - Oldenburg Film Festival, 2018 * Best Actor - International Shorts Competition (Félix Grenier) - Les Fantastiques week-ends du cinéma québécois : Vidéotron Award for Best Short (Argent), UDA Award for Best Actor, EVS Award for Best Upcoming Producer (Maria Gracia Turgeon) - Fantasia International Film Festival, 2018 CONTACTS H264 Distribution / Jean-Christophe J. Lamontagne/ jc@h264distribution.com Midi la Nuit / midilanuit.com / maria@midilanuit.com / facebook.com/MidiLaNuitFilms Achromatic Media / achromatic.ca/ evren@achromatic.ca /

[radiomuseum]

Ciné Kodak movie camera, model B, made in 1927

[drneilfox]

Somewhere Within The Commodity: Music Films Book Blog 11 (August 2021)

I worry that the tendency of these posts is to dwell on badly everything is going with the book, when one of the goals of writing the book was to enjoy the process. Therefore, I’ll skim over the fact that I did very little writing or even watching for the book in August and focus on the good stuff that happened. Because thankfully, there is also some good stuff.

The break was necessary. Little Miles arrived on July 26th and I was on annual leave and I figured that in order to meet my new plan for the book and survive the academic term ahead I should take a proper break. That’s what I did. We visited family in Wales, we had family visit here in Cornwall. I watched a lot of other types of movies and TV, and I read.

There’s an adage that reading is writing, particularly in academic (or like I’m going for, quasi-academic) writing. This has definitely felt true. In July, as I mentioned in my last blog, I read Thomas F. Cohen’s Playing to the Camera, a book about musical performance on film looking at a few key case studies. In August I read Benjamin J. Harbert’s (maybe I should adopt a similar moniker for my book, how’s Neil J. Fox?) American Music Documentary: Five Case Studies of Ciné-Ethnomusicology. It is a great book and, like Playing to the Camera, very different to mine. It not only includes great material to be in dialogue with, but also provides a good example of other writing I can point to if readers feel my approach is too broad. Reading it has helped me work out slowly what I am actually doing. Reading is great [for] writing sometimes. Same can be said of the edited collection I am working through now, The Music Documentary: From Acid Rock to Electro-pop.

Something else that really helped me further crystallise what the hell I’m doing was being asked to contribute to a piece on music documentaries for the I Paper, formerly The Independent. I’m excited to read the piece and working through the questions, regardless of whether any of them end up in print (or on screen I should say), helped me get some ideas down that frame what I am writing about in the book. The piece is looking at the recent slew of music docs and asking if there’s any reason ‘why now?’. Normally I am not one to lean into concrete moments or events to define things - and I didn’t really do that in my answers - but I do believe that there are a number of reasons why there’s been such a rise recently and it was nice to think about those reasons and put them on the page and then hopefully out into the world. Thank you to fellow Quietus writer Liz Aubrey for asking me to contribute something.

Looking back on my viewing for August I see only watched three films for the book, and one of those was a short. So let’s not dwell there. Though I did rewatch Dont Look Back, which reminded me of this post I wrote on it, and A Hard Day’s Night, for the 60s British Cinema project. My viewing should slow from next month. I’m into the last chapter to watch films for (and that’s the introduction), there are a few stragglers I’ve not been able to watch or rewatch yet (including Woodstock) and there are films I just can’t find anywhere, including shitty versions on YouTube. I’d love to rewatch and write about Miss Sharon Jones! but it’s not available to stream, the DVD is prohibitively expensive and I cannot get a response from the filmmakers or distributors. I know I am gonna hate it if things like that don’t make it in to the book. I love that film, but I really want to rewatch it before writing about it. If anyone has a lead in that area, please reach out.

Onwards.

Don’t forget, you can track what I’m watching (and maybe try and work out which films I’m referring to above and in the note fragments below) via my Letterboxd list, here.

Don’t forget you can listen in to my book themed playlist here.

Here’s what I was listening to while writing in August:

Finally, a bit of fun. Here are my favourite notes from this month’s (limited) viewing sessions:

No ‘ in Dont

“Who wants to get whipped?”

Tiny Paul

Pratfalls and Picnics

[xinyuyan]

THE GHOST TRAIN / EARLY SUPERIMPOSITIONS

by  AMERICAN MUTOSCOPE & BIOGRAPH CO. 1900-1903 / 35mm / b&w / sound / 1S / 2' 30 The Ghost Train 1903, 41 seconds by Creators Unknown for American Mutoscope and Biograph Co.“The spectral image was created by printing a film of a train approaching the camera, probably the Pennsylvania Limited Express (1896), in negative and enhancing the effect by inserting the negative image of the sun and clouds from another film into a blank corner. The reverse polarity composite appears to be a ‘full moon’ in a night sky” - Paul SpehrEarly Superimpostions 1900 1:49 minutes SD by Frederick S. Armitage for American Mutoscope and Biograph Co.Selected experiments: Davy Jones’ Locker Neptune’s Daughters A Nymph of the Waves“The filmmaker took several different scenes shot earlier between 1896 and 1899 and double-printed two sets of images together to create a new artistic creation. The transformation of a stage dance into a unique ciné-dance could only be possible in cinema - Bruce Posner

[alexandre-hervaud]

Bad Trip (Kitao Sakurai, 2020). Avec Eric André, Lil Rel Howery, Tiffany Haddish, Michaela Conlin...

Il y a pile un an, cette comédie mélangeant fiction et canulars en caméras cachées (comme le récent Borat 2, qu’elle surpasse à tous les niveaux) devait être dévoilée en première mondiale au festival texan South by Southwest. La pandémie en a décidé autrement, et MGM -qui comptait bien la sortir au cinéma- s’était résolue à la vendre à Netflix. 

J’ignore pourquoi la plateforme a attendu 10 mois avant de sortir le film, mais peu importe, Bad Trip -le titre sonne un peu étrange en France, 12 ans après le very bad retitrage de The Hangover- est enfin visible. Cette relecture trash des comédies romantiques en tord les codes pour mieux les arroser de foutre de primate (”We were watching Love Actually, and Meg Ryan movies from the ’90s, thinking, What’s the prank version of the breakup and makeup scenes that happen at the end of all of these movies? And then we wrote the hidden-camera version of that. Shout-out to Meg Ryan”, dixit André)

Seul regret face à cette hilarante union contre-nature entre Dumb & Dumber et Jackass : l’avoir découverte dans une certaine quiétude individuelle netflixisée. Son outrance en fait le genre de performance filmique gagnant à être appréciée dans une salle bondée et hilare. En matière de rappel -car le plus triste, c’est qu’on aurait tendance à l’oublier- de l’importance de l’expérience collective de la salle, ce déclassement “du ciné à la SVOD” me paraît bien plus douloureux que de récentes rétrogradations similaires. Rien à foutre que Wonder Woman ou Tom Hanks à cheval débarquent directos sur petit écran: ni l’un ni l’autre ne déclenche autant d’émotions qu’un geyser de vomi d’Eric André.