This is where it is going folks: Augmented reality.
As usual in the film-making world, the innovations are being led by the gaming industry. What it is doing to the film-making industry is very disruptive.
Here’s why:
Filmmakers of old made a movie for hundreds in a cinema. The new augmented reality is designed for an individual experience. Which means the cinema distribution model is well and truly challenged.
In the cases the video below demonstrates, it’s for an individual. The difference being that the images and ‘story’ the individual sees at a bus shelter are often experiential with no ‘story’ and they often are tagged into a preconceived ‘story’ like ‘the monster’ or ‘the angel’.
The challenge here is to make more of a story line. Perhaps with a series of screens around the city, or on a bus route, or a series of cities.
Hmmm.
Fascinating. This has been brought to my attention by Raindance Postgraduate Film Degree student Phil Smy. Thanks Phil!
Please watch this video below. You’ll either get it. Or not. And if you get it, you won’t be able to sleep for a fortnight you’ll be so excited.
What are your ideas?
Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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