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As part of its ongoing effort to make television programming accessible to all Canadians, the CRTC mandated in 2009 that all over-the-air broadcasters must provide described video (DV) for a portion of the content they air. Described video is an optional audio track, designed to provide extra context for vision-impaired audiences -- i.e. which characters are in a scene, where it takes place, and any other non-audible information -- similar to the function closed captioning plays for the hearing-impaired. Currently, conventional broadcasters are required to air four hours of described content per week, though that number will rise to include all primetime programming by 2019. A cottage industry of DV-providers has already sprung up in Canada to help broadcasters meet these regulations, and it should continue to grow significantly over the next few years as more stringent regulations come into place. In fact, as DV becomes mandatory in more English-speaking countries around the world, Canada's status as an early adopter could help it become a leader in the field (hint hint to those seeking employment in the industry).
Currently, though, DV is in its infancy, and for many providers, it remains a work in progress. In order to help standardize the quality of described video across channels, the Toronto-based Accessible Media Inc. has created a "Best Practices" document of "artistic and technical guidelines." And for those unfamiliar with DV, it is indeed an art. While the unofficial mantra of film schools everywhere is, "Show, don't tell," DV providers have to turn that adage on its head and translate visual images back into something that can be conveyed in words. And, beyond that, they have to do it quickly, and without obscuring any dialogue. With the picture moving at a constant rate of 30 frames per second, time is of the essence.
Most interesting, perhaps, are the ways in which the DV best practices dovetail with a number of ongoing conversations regarding representation in media. For instance, when is it important to describe someone's race or gender on screen? What visual signifiers of a character's identity should DV creators prioritize, and how should they put them into words? As writers, directors and broadcasters continue to become more open to putting characters on screen who don't fit into normative categories, these questions become even more essential. AMI's Best Practices suggest that "[I]dentification of characters by race, ethnic origin or disability is not required unless there is relevancy to plot, motivation or background." Yet, "relevancy" can be difficult to define. What makes someone's skin colour relevant to a narrative? Aziz Ansari, the Indian-American creator and star of Master of None, has spoken about the need to create stories for minority characters that don't revolve around their ethnic identity. And, indeed, a white character could participate in many of the story arcs on Master of None without significantly changing the meaning. But, an important part of normalizing non-white experiences on screen requires the juxtaposition that comes from visible minorities living banal, middle class lives. It seems possible, then, that ignoring race altogether may undermine that goal, even if it's done with the best intentions. As described video continues to make visual media accessible to more Canadians, then, it also gives us a new avenue through which we can use inform and complicate our understanding of representation on screen.
-Paul
Currently, though, DV is in its infancy, and for many providers, it remains a work in progress. In order to help standardize the quality of described video across channels, the Toronto-based Accessible Media Inc. has created a "Best Practices" document of "artistic and technical guidelines." And for those unfamiliar with DV, it is indeed an art. While the unofficial mantra of film schools everywhere is, "Show, don't tell," DV providers have to turn that adage on its head and translate visual images back into something that can be conveyed in words. And, beyond that, they have to do it quickly, and without obscuring any dialogue. With the picture moving at a constant rate of 30 frames per second, time is of the essence.
Most interesting, perhaps, are the ways in which the DV best practices dovetail with a number of ongoing conversations regarding representation in media. For instance, when is it important to describe someone's race or gender on screen? What visual signifiers of a character's identity should DV creators prioritize, and how should they put them into words? As writers, directors and broadcasters continue to become more open to putting characters on screen who don't fit into normative categories, these questions become even more essential. AMI's Best Practices suggest that "[I]dentification of characters by race, ethnic origin or disability is not required unless there is relevancy to plot, motivation or background." Yet, "relevancy" can be difficult to define. What makes someone's skin colour relevant to a narrative? Aziz Ansari, the Indian-American creator and star of Master of None, has spoken about the need to create stories for minority characters that don't revolve around their ethnic identity. And, indeed, a white character could participate in many of the story arcs on Master of None without significantly changing the meaning. But, an important part of normalizing non-white experiences on screen requires the juxtaposition that comes from visible minorities living banal, middle class lives. It seems possible, then, that ignoring race altogether may undermine that goal, even if it's done with the best intentions. As described video continues to make visual media accessible to more Canadians, then, it also gives us a new avenue through which we can use inform and complicate our understanding of representation on screen.
-Paul
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On April 20th, communities all over the country will be screening great Canadian films in honour of National Canadian Film Day. This event, created by Reel Canada, is a fantastic way to celebrate our national cinema, which is often lost in a sea of Hollywood films. I’ve had a great time this past month helping the Reel Canada team plan for this event, and I am very proud to support this initiative to get Canadians excited about Canadian film! Seeing the diverse range of films being sent across the country got my thinking about some of my favorite Canadian films. Here’s a list of top 5 films to watch on National Canadian Film Day:
1)Mommy (Xavier Dolan, 2014): One of the winners of the Jury Prize at the 2014 Cannes Film Festival, this film is an extraordinary accomplishment for the 27-year-old director. Dolan tells the story of a single mother, her violent son, and the shy neighbour who enters their lives. The most beautiful aspect of the film is the three main characters and their relationship with each other. No one is presented as strictly good or evil, as each have their virtues and flaws, and they all try to help each other be the best versions of themselves. Dolan presents heart-felt moments of the three characters forgetting their worries and enjoying each other’s company, which brings light to the dark subject matter. Each actor gives an amazing performance, especially Anne Dorval, who won a Canadian Screen Award for her portrayal of the mother. Combined with unique editing and a great soundtrack, this is a very moving film.
2)The F Word (Michael Dowse, 2013): A movie that was filmed in Toronto, and actually takes place in Toronto, how refreshing! This film is filled with charm, witty dialogue, and lovely shots of Toronto. Everything about this film is so natural and fun to watch: the story of two friends struggling with becoming more than friends is relatable, Daniel Radcliffe and Zoe Kazan have great chemistry and the writing reflects how young people talk to each other today. Can you think of 10 other names for Cool Whip?
3) The Red Violin (Francois Girard, 1998): A poetic film about the transcendent power of music. The story unravels the mystery behind this iconic instrument in a brilliant way, and displays the unique impact that music has in each country and time period it reaches. With beautiful sets, and an Oscar-winning score, this is a gorgeous film that takes you on a journey around the world, across time, through the move of music.
4) Being Canadian (Robert Cohen, 2015): A hilarious documentary that follows Robert Cohen as he travels across Canada to figure out what it really means to be Canadian. Along the way, he chats with locals, Canadian celebrities, and non-Canadians to discover that no one really knows how to define our culture. It’s a light-hearted film that pokes fun at Canada, while still making you feel proud to be part of such a multi-faceted culture. It’s also fun to be able to relate to the topics they discuss on screen, such as our love of Tim Hortons, tendency to be too nice, and the fact that a scandal to us is 30 million dollars’ worth of maple syrup stolen.
5) My Internship in Canada (Philippe Falardeau, 2015): A comedic take on Canadian politics following the partnership between an indecisive Member of Parliament, Steve Guibord, and his hopeful intern from Haiti, Souverain Pascal. When Guibord has to break the tie-breaking vote deciding if Canada will go to war in the Middle East, he travels across Quebec to see if the public can help him make this decision. The clash between the stubborn Canadian and the idealistic immigrant is enjoyable to watch, and the absurd arguments presented by the different lobby groups are hilarious.
Those are my favorite Canadian films. Which ones are yours?
Don’t forget to celebrate National Canadian Film Day tomorrow by watching a great Canadian film! Visit www.canadianfilmday.ca to see which screenings will be held in your area, as well as the full broadcast schedule to see what will be playing on T.V!
1)Mommy (Xavier Dolan, 2014): One of the winners of the Jury Prize at the 2014 Cannes Film Festival, this film is an extraordinary accomplishment for the 27-year-old director. Dolan tells the story of a single mother, her violent son, and the shy neighbour who enters their lives. The most beautiful aspect of the film is the three main characters and their relationship with each other. No one is presented as strictly good or evil, as each have their virtues and flaws, and they all try to help each other be the best versions of themselves. Dolan presents heart-felt moments of the three characters forgetting their worries and enjoying each other’s company, which brings light to the dark subject matter. Each actor gives an amazing performance, especially Anne Dorval, who won a Canadian Screen Award for her portrayal of the mother. Combined with unique editing and a great soundtrack, this is a very moving film.
2)The F Word (Michael Dowse, 2013): A movie that was filmed in Toronto, and actually takes place in Toronto, how refreshing! This film is filled with charm, witty dialogue, and lovely shots of Toronto. Everything about this film is so natural and fun to watch: the story of two friends struggling with becoming more than friends is relatable, Daniel Radcliffe and Zoe Kazan have great chemistry and the writing reflects how young people talk to each other today. Can you think of 10 other names for Cool Whip?
3) The Red Violin (Francois Girard, 1998): A poetic film about the transcendent power of music. The story unravels the mystery behind this iconic instrument in a brilliant way, and displays the unique impact that music has in each country and time period it reaches. With beautiful sets, and an Oscar-winning score, this is a gorgeous film that takes you on a journey around the world, across time, through the move of music.
4) Being Canadian (Robert Cohen, 2015): A hilarious documentary that follows Robert Cohen as he travels across Canada to figure out what it really means to be Canadian. Along the way, he chats with locals, Canadian celebrities, and non-Canadians to discover that no one really knows how to define our culture. It’s a light-hearted film that pokes fun at Canada, while still making you feel proud to be part of such a multi-faceted culture. It’s also fun to be able to relate to the topics they discuss on screen, such as our love of Tim Hortons, tendency to be too nice, and the fact that a scandal to us is 30 million dollars’ worth of maple syrup stolen.
5) My Internship in Canada (Philippe Falardeau, 2015): A comedic take on Canadian politics following the partnership between an indecisive Member of Parliament, Steve Guibord, and his hopeful intern from Haiti, Souverain Pascal. When Guibord has to break the tie-breaking vote deciding if Canada will go to war in the Middle East, he travels across Quebec to see if the public can help him make this decision. The clash between the stubborn Canadian and the idealistic immigrant is enjoyable to watch, and the absurd arguments presented by the different lobby groups are hilarious.
Those are my favorite Canadian films. Which ones are yours?
Don’t forget to celebrate National Canadian Film Day tomorrow by watching a great Canadian film! Visit www.canadianfilmday.ca to see which screenings will be held in your area, as well as the full broadcast schedule to see what will be playing on T.V!
- Published on
The Bloor Cinema is one of my favourite spots in the city to catch a movie. Inside and out, it feels like the kind of authentic, old-school cinema that is becoming increasingly rare. It’s definitely a throwback, which, as it turns out, unexpectedly made it the perfect home for this year’s Spotlight Charity Film Festival.
Now in its third year, Spotlight celebrates the best of local high school filmmaking, handing out awards in the categories of documentary, narrative, and experimental. Spotlight also has some serious philanthropic heft, with this year’s festival raising $8000 for Sketch.
Apart from the social good aspect, though, Spotlight also has a lot of artistic merit to offer. This year’s award winners – picked by a judging panel of industry professionals – were all maturely executed and high-quality offerings from such young filmmakers.
I’m not sure exactly what I expected when I walked into a screening of films made by high school students, but it definitely wasn’t an experimental animated documentary about vintage Hollywood starlet Eartha Kitt. But indeed, James Perry’s You Must Think About That One Again was a standout of the night, bringing Kitt’s fiery and still-relevant monologue on female independence to life through elegant typography and an arresting animation style.
Elsewhere, I saw films that prominently featured Super 8 home movies, old family photographs, and even an old stereo receiver with magical time-traveling abilities. Maybe I’m just a jaded 20-something who will soon be rambling about “the good old days”, but I did find it heartening to see a lot of these young filmmakers looking back and celebrating technology and art that is several decades older than they are.
However, the night wasn’t all about odes to analog technology. One of the other highlights was Carol Nguyen’s This Home is Not Empty, a stunningly filmed examination of intricate 3D paper models that rightfully won the experimental category. Elsewhere, Tristan Surman’s stylish A Dying Man Named Steve tied for first in the narrative category and proved to be an audience favourite thanks to its biting, blackly comic story of a terminally ill young man who just wants to find a home for his unlikeable dog once he’s gone.
In terms of raising money for a great cause and celebrating the next wave of Toronto filmmakers, the night was all-around fun and hopeful. It’s always great to see so much young talent on display.
-Colleen
Now in its third year, Spotlight celebrates the best of local high school filmmaking, handing out awards in the categories of documentary, narrative, and experimental. Spotlight also has some serious philanthropic heft, with this year’s festival raising $8000 for Sketch.
Apart from the social good aspect, though, Spotlight also has a lot of artistic merit to offer. This year’s award winners – picked by a judging panel of industry professionals – were all maturely executed and high-quality offerings from such young filmmakers.
I’m not sure exactly what I expected when I walked into a screening of films made by high school students, but it definitely wasn’t an experimental animated documentary about vintage Hollywood starlet Eartha Kitt. But indeed, James Perry’s You Must Think About That One Again was a standout of the night, bringing Kitt’s fiery and still-relevant monologue on female independence to life through elegant typography and an arresting animation style.
Elsewhere, I saw films that prominently featured Super 8 home movies, old family photographs, and even an old stereo receiver with magical time-traveling abilities. Maybe I’m just a jaded 20-something who will soon be rambling about “the good old days”, but I did find it heartening to see a lot of these young filmmakers looking back and celebrating technology and art that is several decades older than they are.
However, the night wasn’t all about odes to analog technology. One of the other highlights was Carol Nguyen’s This Home is Not Empty, a stunningly filmed examination of intricate 3D paper models that rightfully won the experimental category. Elsewhere, Tristan Surman’s stylish A Dying Man Named Steve tied for first in the narrative category and proved to be an audience favourite thanks to its biting, blackly comic story of a terminally ill young man who just wants to find a home for his unlikeable dog once he’s gone.
In terms of raising money for a great cause and celebrating the next wave of Toronto filmmakers, the night was all-around fun and hopeful. It’s always great to see so much young talent on display.
-Colleen
- Published on
After school on Monday, I left right at 3:30 to rush over to The Big Screen Student Film Festival put on by the Etobicoke School of the Arts at a Cineplex in Etobicoke. This festival was created to showcase student work in front of classmates and industry professionals, and was funded by Scotiabank. I was a couple minutes late, so I didn’t get the chance to pick up any popcorn!
The large theatre was practically full (it was a really popular event) so I took a seat in the very front row and craned my neck up to see the huge screen. Each film shown began with a title slide with the director’s name and grade, which I found provided a nice division between films and helped me to keep track of different directors.
I can say in all honesty that I truly enjoyed each film; it was a very well programmed event, with varying themes and styles. I especially enjoyed A Dying Man Names Steve by Tristan Surman, which is about a man who “after finding out that he is going to die, … realizes that he has to find a new home for his dog before he goes”. It’s humorous, has a cast of great actors, and there was a beautiful atmosphere throughout the film evoked through the use of music and cool colours.
Another favourite is Petrichor by Carol Nguyen; described as “a guide to love and loss”, which features earthworms and graceful poetry.
After all the films were shown, there was a brief awards ceremony. Some of the awards included Best Cinematography, Best Editing, and Best Sound Design. It was great to see films get recognition and to hear the support everyone had for each other. It was a wonderful festival with amazing films and filmmakers!
-Avondale
The large theatre was practically full (it was a really popular event) so I took a seat in the very front row and craned my neck up to see the huge screen. Each film shown began with a title slide with the director’s name and grade, which I found provided a nice division between films and helped me to keep track of different directors.
I can say in all honesty that I truly enjoyed each film; it was a very well programmed event, with varying themes and styles. I especially enjoyed A Dying Man Names Steve by Tristan Surman, which is about a man who “after finding out that he is going to die, … realizes that he has to find a new home for his dog before he goes”. It’s humorous, has a cast of great actors, and there was a beautiful atmosphere throughout the film evoked through the use of music and cool colours.
Another favourite is Petrichor by Carol Nguyen; described as “a guide to love and loss”, which features earthworms and graceful poetry.
After all the films were shown, there was a brief awards ceremony. Some of the awards included Best Cinematography, Best Editing, and Best Sound Design. It was great to see films get recognition and to hear the support everyone had for each other. It was a wonderful festival with amazing films and filmmakers!
-Avondale
- Published on
There was no better way to end a week off of school than seeing what the Toronto university film community had to offer.
I had never been to this type of event before, so I was very excited. I'm not sure exactly what I was expecting, but I was pleasantly surprised when I arrived. Having never been in Hart House before, I was immediately captured by it's charm, and beauty. When I met with the rest of the Youth Shorts programming team, we climbed a set of stairs and entered a small room, filled with rows of chairs. I knew that I was going to have a good night when I saw what was at the back of the room - free food. My compliments to the U of T Film Festival organizers for not only understanding the importance of food at these types of events, but for providing such a wide and enjoyable selection of snacks. The baked brie was a particular favourite. Anyway, I digress. It was very interesting for me to see what caliber of diverse films the youth film community was producing.
I had a few favourites from the night:
Kicking things off was a brief animated piece by Carla Veldman titled Uncle Antlers. Centered around a girl and her imaginary friend, Uncle Antlers, this film told an emotional and relevant story as to how our imaginations change as we age, and how the things we once held dear can be cast aside as we grow up (or at least that was how I interpreted it). The charming hand-drawn style and beautiful musical accompaniment made this my favourite short of the first part of the program.
The Blood Royal by Carlo Schefter instantly drew my attention with it's energetic, and driving soundtrack. The grungy and experimental film noir stylings were something that really differentiated it from any other film seen that night.
Although the two films above stood out the most to me, I would to say that all the films were very different, and did something to set themselves apart from the others. This wide range of vastly different pieces is what made my first film festival one that I will always remember.
-Christian
I had never been to this type of event before, so I was very excited. I'm not sure exactly what I was expecting, but I was pleasantly surprised when I arrived. Having never been in Hart House before, I was immediately captured by it's charm, and beauty. When I met with the rest of the Youth Shorts programming team, we climbed a set of stairs and entered a small room, filled with rows of chairs. I knew that I was going to have a good night when I saw what was at the back of the room - free food. My compliments to the U of T Film Festival organizers for not only understanding the importance of food at these types of events, but for providing such a wide and enjoyable selection of snacks. The baked brie was a particular favourite. Anyway, I digress. It was very interesting for me to see what caliber of diverse films the youth film community was producing.
I had a few favourites from the night:
Kicking things off was a brief animated piece by Carla Veldman titled Uncle Antlers. Centered around a girl and her imaginary friend, Uncle Antlers, this film told an emotional and relevant story as to how our imaginations change as we age, and how the things we once held dear can be cast aside as we grow up (or at least that was how I interpreted it). The charming hand-drawn style and beautiful musical accompaniment made this my favourite short of the first part of the program.
The Blood Royal by Carlo Schefter instantly drew my attention with it's energetic, and driving soundtrack. The grungy and experimental film noir stylings were something that really differentiated it from any other film seen that night.
Although the two films above stood out the most to me, I would to say that all the films were very different, and did something to set themselves apart from the others. This wide range of vastly different pieces is what made my first film festival one that I will always remember.
-Christian
- Published on
Somehow the word "dark" became synonymous to praise and critical acclaim when it comes to the world of film and television, especially in the science fiction and fantasy genre. The definition for dark as an adjective is "with little or no light" yet many critics and audiences use the word as a description of high-brow sophistication, believing it as an automatic indicator that it will be better.
Take for example the latest superhero flick, Batman vs Superman: Dawn of Justice. Yes, critical reaction to Christopher Nolan's Dark Knight trilogy has been high and undoubtedly Warner Brothers would want to cash in on that success but at what point do we draw the line? Do we say enough is enough when a symbol of optimism and hope like Superman becomes a desaturated tool of mass destruction? I personally don't think audiences need a depressed Superman walking around the cold mumbling to himself nor do we need to see the Power Rangers murdered in cold blood but many will agree otherwise. A good portion of the audience believes that content needs Game of Thrones level violence and gratuitous blackness to be worthy of viewing. Anything else is too light-hearted and comes off as camp, even when it's not.
I certainly see the appeal of a gritty drama. But I disagree with a notion that dark dramas make better content. Female characters should not be walking allegories for the numerous atrocities committed against them in order to be relevant or good just as curse words do not automatically make a film or TV show better. I think there is a belief that the stakes feel higher and the more emotionally compelling when propelled to a dark place but melodrama accomplishes just that for a specific audience yet rarely would you find someone who would place that genre above others in ranking quality.
It's truly bizarre how out-of-hand this is getting because content makers are almost pressured in adapting this tone for the sake of the viewing audience. There can be many positive attributes to stories that are bleaker in tone but the darkness should service the story, not shoehorned for the sake of it. Being dark is not an automatic quality stamp of approval. I'm totally okay with Supergirl being a happy go-getter whose biggest problem other than saving the world is keeping track of her boss' latte order. Not everyone is Batman, nor should we want everyone - or anyone for that matter - to be.
-Henry
Take for example the latest superhero flick, Batman vs Superman: Dawn of Justice. Yes, critical reaction to Christopher Nolan's Dark Knight trilogy has been high and undoubtedly Warner Brothers would want to cash in on that success but at what point do we draw the line? Do we say enough is enough when a symbol of optimism and hope like Superman becomes a desaturated tool of mass destruction? I personally don't think audiences need a depressed Superman walking around the cold mumbling to himself nor do we need to see the Power Rangers murdered in cold blood but many will agree otherwise. A good portion of the audience believes that content needs Game of Thrones level violence and gratuitous blackness to be worthy of viewing. Anything else is too light-hearted and comes off as camp, even when it's not.
I certainly see the appeal of a gritty drama. But I disagree with a notion that dark dramas make better content. Female characters should not be walking allegories for the numerous atrocities committed against them in order to be relevant or good just as curse words do not automatically make a film or TV show better. I think there is a belief that the stakes feel higher and the more emotionally compelling when propelled to a dark place but melodrama accomplishes just that for a specific audience yet rarely would you find someone who would place that genre above others in ranking quality.
It's truly bizarre how out-of-hand this is getting because content makers are almost pressured in adapting this tone for the sake of the viewing audience. There can be many positive attributes to stories that are bleaker in tone but the darkness should service the story, not shoehorned for the sake of it. Being dark is not an automatic quality stamp of approval. I'm totally okay with Supergirl being a happy go-getter whose biggest problem other than saving the world is keeping track of her boss' latte order. Not everyone is Batman, nor should we want everyone - or anyone for that matter - to be.
-Henry
- Published on
I'm stoked to see another round of the Toronto Animation Arts Festival International (TAAFI for short) taking place this year. With screenings, workshops, a marketplace, and industry talks featuring some of the biggest pros in the business like Pixar and Hanna-Barbera, this is the event you cannot miss if you either have an interest in working for the animation industry or a fan of watching animated films.
TAAFI features an impressive lineup of local and international feature and short form animated works. Gary Ye's Antelope Richards (TYS2014) will be playing as part of their student shorts program. Their opening night film is the Canadian-Korean co-production, Spark, and will feature an introduction and follow up Q&A with director Aaron Woodley.
Being such great friends of Toronto Youth Shorts, TAAFI has offered us a discounted rate for their events. Use promo code FRIENDofTAAFI for 15% off on passes. Visit the TAAFI website for more information.
-Henry
TAAFI features an impressive lineup of local and international feature and short form animated works. Gary Ye's Antelope Richards (TYS2014) will be playing as part of their student shorts program. Their opening night film is the Canadian-Korean co-production, Spark, and will feature an introduction and follow up Q&A with director Aaron Woodley.
Being such great friends of Toronto Youth Shorts, TAAFI has offered us a discounted rate for their events. Use promo code FRIENDofTAAFI for 15% off on passes. Visit the TAAFI website for more information.
-Henry
- Published on
By now you’ve probably heard of the wonders of 3D printing in science and medicine. Doctors have been able to print prosthetic limbs that are customized to the individual person. 3D technology is a new(ish) technology that is growing in almost every industry! And that includes film production. New technology in film often occurs on the consumer side but 3D scanning and printing are revolutionizing film production and one major way is in prop design and manufacturing.
Traditionally, props were modeled and built by hand, a very time-consuming process that is well known to many Cosplay enthusiasts. With a 3D printer, there is an easy and efficient way to create complex designs for costumes and props. It’s
simple, quick, cost-saving, very flexible, and creates amazing, detailed results. When we hear of technology changing the film industry it’s usually on the consumer side. This time it’s on the production side. 3D printing is a new (ish) technology that is growing in almost every industry. But what does it mean for film production? 3D printing is revolutionizing! One major way is the way props are made. It allows very detailed print and finish and is efficient, customizable.
One major prop production company, Propshop, has already accumulated a large CV with their 3D modeled and printed film props. The technology does not just stop at props. With 3D printing, they also work on set pieces, vehicles, creatures, costumes, exhibitions, and retail merchandise. In only the last year, they’ve worked on high-profile movies such as Star Wars: Episode VIII, Spectre, The Martian, The Jungle Book, Zoolander 2, and many more. Some of their notable props include Thor’s hammer, Zero Dark Thirty masks, and multiple props from Skyfall.
What do you think about the new 3D printing technology and where would you like to see it applied?
-Annie
Traditionally, props were modeled and built by hand, a very time-consuming process that is well known to many Cosplay enthusiasts. With a 3D printer, there is an easy and efficient way to create complex designs for costumes and props. It’s
simple, quick, cost-saving, very flexible, and creates amazing, detailed results. When we hear of technology changing the film industry it’s usually on the consumer side. This time it’s on the production side. 3D printing is a new (ish) technology that is growing in almost every industry. But what does it mean for film production? 3D printing is revolutionizing! One major way is the way props are made. It allows very detailed print and finish and is efficient, customizable.
One major prop production company, Propshop, has already accumulated a large CV with their 3D modeled and printed film props. The technology does not just stop at props. With 3D printing, they also work on set pieces, vehicles, creatures, costumes, exhibitions, and retail merchandise. In only the last year, they’ve worked on high-profile movies such as Star Wars: Episode VIII, Spectre, The Martian, The Jungle Book, Zoolander 2, and many more. Some of their notable props include Thor’s hammer, Zero Dark Thirty masks, and multiple props from Skyfall.
What do you think about the new 3D printing technology and where would you like to see it applied?
-Annie
- Published on
When Queen Video announced it was closing down a couple weeks ago, I have to admit that I wasn’t that upset. For those of you who aren’t aware, the store called its Queen West location home for 35 years. With online streaming on the rise, this wasn’t a big shocker. It was just a regular news story in a list of many that I read that day.
It wasn’t until I talked to a friend of mine that I really started to think about what the store closing meant. My friend was devastated. Queen Video was his go to spot for movies and he wasn’t happy with having to find another spot or to resort to Netflix. I’m a big Netflix fan. I’m currently binge watching three shows and I’m “still watching” for most of my free time on weekends. I made this point to my friend. Why was he so upset? Movie surfing on the couch seems like nothing to complain about.
He brought up some great points about the loss of the overall experience Queen Video provided to its customers. It was more than just picking out a movie. It was a physical adventure through films – one that was quite entertaining alone and with company. He was totally right. Every time I went to Queen Video it was way more exciting then mindlessly scanning through my Netflix library. I always managed to find myself in these in-depth conversations about films and genres with the people I was with, the store staff, even strangers. Getting someone else’s opinion on a movie face-to-face is much more stimulating than reading through a Rotten Tomato review (does anyone even read more than the percentage?).
I guess my point here is that films inspire so many emotions and opinions and can lead to some great debates. I also can’t fail to mention that the selection of films at Queen Video was incredible! That played a huge part in the experience that many of us are really going to miss. With video stores like this one closing down, we’re losing a space that holds a great collection of movies and a space to connect with other people. It’s a terrible double whammy if you ask me.
-Michelle I
It wasn’t until I talked to a friend of mine that I really started to think about what the store closing meant. My friend was devastated. Queen Video was his go to spot for movies and he wasn’t happy with having to find another spot or to resort to Netflix. I’m a big Netflix fan. I’m currently binge watching three shows and I’m “still watching” for most of my free time on weekends. I made this point to my friend. Why was he so upset? Movie surfing on the couch seems like nothing to complain about.
He brought up some great points about the loss of the overall experience Queen Video provided to its customers. It was more than just picking out a movie. It was a physical adventure through films – one that was quite entertaining alone and with company. He was totally right. Every time I went to Queen Video it was way more exciting then mindlessly scanning through my Netflix library. I always managed to find myself in these in-depth conversations about films and genres with the people I was with, the store staff, even strangers. Getting someone else’s opinion on a movie face-to-face is much more stimulating than reading through a Rotten Tomato review (does anyone even read more than the percentage?).
I guess my point here is that films inspire so many emotions and opinions and can lead to some great debates. I also can’t fail to mention that the selection of films at Queen Video was incredible! That played a huge part in the experience that many of us are really going to miss. With video stores like this one closing down, we’re losing a space that holds a great collection of movies and a space to connect with other people. It’s a terrible double whammy if you ask me.
-Michelle I
- Published on
It seems it's every year I see an article asking if short film is the future of advertising. I don't know about the future, but just a month ago I came across Oscar-winning director Joachim Back's short film, This Day Forward, for the MINI convertible. MINI, owned by BMW, adds itself to a growing roster of major brands that are recognizing the power of selling story over product, and are employing the medium of short film to do so.
Just this November Canada Goose released Out There, a short film also helmed by an Oscar winning director. And Rennaisance Hotel is doing something different. This January they debuted their short film, Business Unusual, declaring their intent to create short films that inspire travel.
This is by no means a new idea: there was Nike for the 2014 World Cup with The Last Game, an animated short with a star-studded lineup of the wold's most famous players. There was Lincoln in 2011 and a series of 8 shorts made by the likes of John Woo and Guy Ritchie for BMW in the early 2000s. We can go all the way back to Apple's 1984, and there's no need to stop there.
These works go beyond classic advertising and promotional spots as we know them. There is often no direct reference to the product – instead they rely on narratives that brands think encapsulate their values. Whether it is extraordinary individuals persevering and challenging their environment, to youthful positivity and a cosmopolitan free spirit – whatever it is, there is a lot of room to play in when trying to engage viewers that are becoming less and less receptive to classic (and crude?) product placement and 30-second TV spots.
How do we feel about advertising and the short film colliding in this manner? I'm not sure I can put myself in any particular camp. On the one hand, we have a subtle encroachment on art by corporate interests, but on the other we get more palatable advertisements. And as anyone who has suffered through enough Youtube ads knows, this is something we can infinitely use more of. Advertising isn't going anywhere after all.
-Sia
Just this November Canada Goose released Out There, a short film also helmed by an Oscar winning director. And Rennaisance Hotel is doing something different. This January they debuted their short film, Business Unusual, declaring their intent to create short films that inspire travel.
This is by no means a new idea: there was Nike for the 2014 World Cup with The Last Game, an animated short with a star-studded lineup of the wold's most famous players. There was Lincoln in 2011 and a series of 8 shorts made by the likes of John Woo and Guy Ritchie for BMW in the early 2000s. We can go all the way back to Apple's 1984, and there's no need to stop there.
These works go beyond classic advertising and promotional spots as we know them. There is often no direct reference to the product – instead they rely on narratives that brands think encapsulate their values. Whether it is extraordinary individuals persevering and challenging their environment, to youthful positivity and a cosmopolitan free spirit – whatever it is, there is a lot of room to play in when trying to engage viewers that are becoming less and less receptive to classic (and crude?) product placement and 30-second TV spots.
How do we feel about advertising and the short film colliding in this manner? I'm not sure I can put myself in any particular camp. On the one hand, we have a subtle encroachment on art by corporate interests, but on the other we get more palatable advertisements. And as anyone who has suffered through enough Youtube ads knows, this is something we can infinitely use more of. Advertising isn't going anywhere after all.
-Sia