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.
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.
Friends, this is beautiful:
It’s Kaffeesatz set in, well, plants.
Looks like ivy.
It’s a rendering made by my friend and Kromse-mate Bernhard from his ongoing promotion project called Tree Hugger at the Bauhaus-Universität Weimar about digital tree renderings.
Imagine this as an animation, type growing slowly from plants. Imagine this in 3D. Image the title of my forthcoming Antithesis film animated with this technology.
I’ll keep you posted.
I’ve added this as a perk over on the Indiegogo campaign.
Get your name rendered in beautiful ivy.
This video will demonstrate you the skills and will power of Alexander Stephan, a fellow tribesman and my 3D Coproducer for the Antithesis film.
It’s a music video he made for Sunfish, further close friends of ours. It is a mix of real 3D footage and computer animation. Alexander has his new website Magical Agency up, though there is nothing to see except the video at this point. Also on the web site you will find an Anaglyph 3D version of the video requiring the use of red/cyan Anaglyph glasses.
I just left Hungary’s O.Z.O.R.A. Festival where I filmed some really exciting footage for the trailer to be used for the upcoming Antithesis crowd funding attempt.
The TYPO Berlin is coming up and with it a very exciting week full of type nerdery. Time to publish some more information about the Antithesis typeface (work in progress).
Thanks to FontShop’s great support you will again find a printed Antithesis promotion poster and a flyer in the conference’s goodie bags. Looking forward to seeing you there.
Read here about the typeface.
This is Erik Marinovich of Friends Of Type totally digging the Antithesis promotion poster that went around on TYPO San Francisco. If you’re from the Bay Area and still interested in having a copy, you can grab them in Erik’s and Jessica Hische’s studio Title Case in San Francisco, for instance in one of their lettering workshops or Type-Nerd Breakfasts.
Thanks again to FontShop for having the promotional material in this fantastic conference’s goodie bags and to Erik and Title Case to host the left over copies and to Frank Grießhammer for taking the above photo.
Your next chance to get hands on the poster is on TYPO Berlin in May. Hope to see you there.
This other-wordly picture is the promotion poster that will go into the conference bags of TYPO San Francisco alongside another flyer. It has been made possible with the support of my dear friend and photographer Daniel Scholz, fashion designer Lucrecia Lovera and dancer Johanna Roggan, some of whom you will get to know more about soon.
Welcome to the online home of an exciting film project. It is both related and totally unrelated to my 2011 graduation typeface in the Type]Media type design master in the Royal Academy of Arts in The Hague. Antithesis is its name.
In the meantime I have spun a complicated concept for a short 3D dance film around this typeface and want to publish the film and the typeface simultaneously.
When you first get to read this post, I will most likely be in San Francisco attending the first TYPO conference in the United States, if they have allowed me into the country. In your conference bags you will have most likely found a promotional poster and a flyer for this film project, made possible with the tremendous support of FontShop as the main sponsor of the conference.
Why would promotion be necessary? Because I want to pull this project with your support. Throughout this year you will find more detailed and exciting information about the project here, including short film portraits about its most important contributors such as the dancer, costume designer, 3D artist and musician. Then, ultimately, I will ask you to support the project with your money. An art film of this sort, no matter how short, is impossible without serious financial backing. Crowd funding is the name of the game, and much later in the year we will together attempt to generate funding for the film.
Then, in 2013, I will make the film with whatever budget will be available to me. Rather than coming up with a detailed film concept beforehand and then running into insufficient (or overabundant) funding, I will gather the funding first and then adjust the film concept accordingly, in a true art film making manner.
I hope you will have the time and interest to accompany me on this exciting journey.