Film Rollout Plan

It would be absolutely marvelous if all online media would release posts on exactly Monday May 26th 2014.

The film will be uploaded again just the night before to a different slot on Vimeo and put live immediately.
To avoid mistakes, I will delete the old version of the film as I have uploaded the new version. So I can’t tell you the link of the final version yet, but you can fetch it on my Vimeo page for sure:

The reason for this detailed plan is that the current password-protected version of the film has been sitting there for months and been updated a few times in place. This way it isn’t going to make it into Vimeo Staff Picks or attract attention of general observers of Vimeo next to the results of your media work.
This only works for newly added videos.

Therefore, I ask you to prepare your online posts with placeholder Vimeo embed code or links, and check back here (or my Vimeo page) in the morning of Monday May 26th to fetch the final location and publish your posts immediately.
The more momentum the film can gain from the very first day, the more likely it is to make it into even more blogs around the globe.

Thank you.

Photos of film shooting

Here is a selection of photos from the film sets.

They are in fairly high resolution and quality and should be fit even for print.
Please click on the preview images to download the full quality RGB JPG version.
Please make sure you include credits to the photographers wherever possible. You will find them in the file names. They are mainly by Daniel Scholz, but a few are by Christiane Kupfer. Daniel Scholz is a professional photographer and therefore requires the credits.

Important: Please wait with the release until after TYPO Berlin (May 17th 2014).

The first photo is the key visual. I will use it wherever possible myself, and have just ordered posters and flyers with that visual.

Antithesis - Photo by Daniel Scholz-1


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Antithesis release in spring 2014

Photo: Daniel Scholz

Photo: Daniel Scholz

Premiere on TYPO San Francisco & Berlin

It’s time I let you know about how things are shaping up for Antithesis.

I’m excited to announce that I will introduce the film to the public during two presentations on TYPO San Francisco (April 10–11 2014) and TYPO Berlin (May 15–17 2014).
Thanks to the tremendous support of the teams of FontShop in Berlin and San Francisco this makes for the awesomest imaginable release scope.

Yanone speaking on TYPO Berlin 2010, being introduced by Indra Kupferschmid

Yanone speaking on TYPO Berlin 2010, being introduced by Indra Kupferschmid

Release of the typeface

Another exciting announcement: The typeface shall henceforth be known as FF Antithesis and released soon. The wonderful people at FontShop International have accepted to release Antithesis within their renowned FontFont library. This is a deviation from my original plan to go all independent in type publishing. But it was my own decision and I’m very happy with it.

New web site

A completely reworked web site will go online in May after TYPO Berlin and replace this blog. It will thoroughly describe the typeface and how the film blends into it and all about the film and its making anyway.

This will also be the online release date of the film. I want to wait with the public release until just after the second of the two conferences.

Thanks for listening and stay tuned.

Not a 3D film

I’m deep into the preparations of the film — scene planning, location scouting, technical preparations. Filming is scheduled for August and October. And things are slowly getting exciting now.

But there’s an announcement that can’t wait any longer: The Antithesis film is not going to be a 3D film like I broadly advertised from early on.
I researched deep into the stereoscopic filming technology these past months and must conclude that with the very limited budget that is available to me, such a film is impossible to stem in 3D. Not only does one need a second camera, but also a rig that ties them together with a mirror system, and technology that can handle the two separate data streams for the photographer and the recording. Now while all of this is possible — it’s not on the budget that I have. Buying is out of reach, and so is renting.

Observant readers of the crowd funding campaign early this year have noticed that a very low budget was expected to torpedo my 3D aspirations. It’s what happened. While I clung on to that idea for a very long time it’s now the time to bid it farewell.
And since I’ve been open about the issue from the beginning, I hope it’s going to be okay.

Limited 3D viewing facilities at people’s homes on the other hand have never appeared as limitations for me. I was determined to organize screenings in proper theaters or independently organized in galleries around the world with the necessary 3D equipment for an adequate viewing experience. But first the 3D images need to go into the camera before they can come out of a projector.

Yanone’s camera

From an artistic point of view I’m not too sad about this development. 3D film is a very tight corset when it comes to photography. One example: The choice of lenses is pretty much limited to 50mm focal length — more or less the focal length of the human eye. Wide angle or tele lenses will disturb the viewer’s brain’s image processing since it’s not used to seeing wide angle or tele images in three dimensions. The fact that the images seem many times more real to the brain because of its impression of depth introduce many hurdles that should not be ignored.

And then I have already filmed a few sequences on a festival last month that I want to see in the film. Footage that I could only shoot because I have my camera with me all the time — not a 3D camera. And there will be more occasions like it.

And there’s another development going on that is so exciting to me that I completely forget about the 3D thing. People are coding alternative firmware for the Canon camera model that I happen to own. A firmware that can since recently record 1080p HD footage at 25 frames per second in RAW photo quality. That means endlessly more color depth and pretty much the image quality known from RAW photography. The resulting film quality will match that of cinema productions with film cameras that cost 20,000€ or more.
I need to do some more testing, but right now it looks like I can use that technology.

Atop you see my film equipment, a Canon DSLR with a field monitor and a follow focus ring. Maybe you can imagine that we’ll be able to shoot some amazing picture with that.