News & Updates
April 18, 2017
Well, Nikon hasn’t gotten out of the DSLR market and they’ve announced a new D7500 today.<p>Think of the Nikon D500 and take a few things away and you …
Source: CW’s Flipboard Feed
April 18, 2017
This article originally appeared on Column Five.
We love to collaborate with great partners who inspire us through their important work. That’s why we jumped at the chance to work with George Polisner, founder of civ.works, once we heard about his vision to turn social media into true social action.
Civ.works is a fresh social network that seeks to heal our current social and political divide by connecting citizens with each other to affect change. In other words, imagine a social platform where posts were constructive, connections were genuine, and you could mobilize IRL around the causes you care about—regardless of your politics. That’s the civ.works mission.
The concept certainly resonated with us. We strongly believe in community-building. (Our agency volunteers together, has quarterly hack days to bring our minds together, and hosts creative gatherings with others in our community.) We also know this type of action is especially important in the digital age, when feeds devolve into destructive dialogue.
In anticipation of a public launch, the civ.works team needed a proper portal to promote the platform. We came on board to create a full brand identity, as well as an explainer video and supporting assets for pre-publicity.
THE BRAND IDENTITY
Building a brand identity is always a challenge, but it’s a lot easier when a brand has a very clear, articulated mission. As we crafted the visual language, we aimed to communicate the platform’s vision through every element.
Logo: Civ.works is a call and opportunity for civic engagement, encouraging users to come together as Americans to help break down political barriers. More specifically, it is all about mobilizing people to take real steps toward change. With this in mind, we crafted an isometric logo that forms a set of steps tilted on its side, which also doubles as an abstract representation of the American flag.
Color palette: Civ.works aims to make a bold splash, to reenvision how we interact with each other so that we focus on connection and community. We chose yellow and black to inspire this action and response. We also wanted to avoid the more political red, white, and blue. Therefore, the yellow and black helped reinforce neutrality.
Illustrations: 2D isometric illustrations appear both in the site and explainer video. For these, yellow is the “loud” color used to reinforce messaging related to the platform’s goals. Simple black-and-white line drawings and typography present a clean, streamlined experience, allowing other elements to stand out.
THE EXPLAINER VIDEO
The explainer video also features isometric illustrations, relying on visual metaphors and movement to reflect the growth-through-action theme.
Brand colors were also used strategically, as all yellow elements in the explainer relate to the issues citizens care about: justice, equality, health, education, etc.
In order to generate buzz, we looked for ways to promote the social network’s mission—activism and engagement—pre-launch via influencers and publications. Through a collaboration with PopSugar, we designed a series of printable slogans for the Women’s March.
The prints which garnered 378 shares and 1,600+ Instagram likes.
Building this identity was an exciting challenge, which we enjoyed every step of the way. We’re personally excited to see civ.works grow (keep an eye out for more expansion over the next two months), and we hope you’ll check it out.
Source: Visual News
April 16, 2017
After making people furious this week with comments about “sluts, skeezers, hoes, tramps, and overly aggressive promiscuous women” during a BET interview, Tyrese Gibson has taken to Instagram to apologize. The actor and musician, who co-stars in “The Fate of the Furious,” received backlash for complaining about women who “are never without a man because they don’t have no standards. They ready to have sex with any and everything that want to have sex with them.”
He strikes a rather different tone on his post: “My mother taught me better than this….. lesson learned in life you will learn that It’s not always ‘what’ you say, it’s the ‘how’ we choose to say it,” he writes. “My intentions were there but my delivery fucking horrible…. And clearly all the way off…. And for that I sincerely apologize to all of the ladies…”
Gibson also clarifies that he’s “far from a misogynist, a male chauvinist or flat out mean” and isn’t apologizing simply to be politically correct.
“I apologize as a man first for the things that I’ve recently said about choices women have the right to make, for the terms that I’ve used, and the way I’ve come across,” he continues.
“I am not perfect or all-knowing, nor am I the one to claim to be. I’ve learned things through experience which I share, and through these last couple of weeks, I’ve learned a lot through this well-deserved internet dragging. This is about a man owning up to his actions, taking responsibility, recognizing how to do better, and actually doing better. Ladies you deserve better.”
My mother taught me better than this….. lesson learned in life you will learn that It’s not always “what” you say, it’s the “how” we choose to say it. For the record I’m far from a misogynist, a male chauvinist or flat out mean….. My intentions were there but my delivery fucking horrible…. And clearly all the way off…. And for that I sincerely apologize to all of the ladies… Even after this apology…. Some may likely decide to NOT forgive me…. Time and consistency heals all wounds…. Although I’ve been consistently for years speaking on these topics and some of the same words in my message, I have never experienced what I am experiencing right now. – I’ve been getting dragged and feel the heat from my poor choice of words and approach to my messages, trust me….. Please accept this as my sincere apology for my poor choice of words – Shit gets real when it goes from a social media dragging to my own wife giving me the side eye and coming at me, even she’s not happy with the way I’ve conducted myself…. it’s crazy how non-public figures can say and do some really dumb shit and it will stay amongst your family and friends or local in your hood…. When you have been an entertainer for 15+ years the whole WORLD is literally watching you grow up & learn, bump your head, make mistakes and evolve as the world watches…. This is a real lesson learned… This is not just a regular IG post for me. I want to truly say that I’m sorry, I’m not APOLOGIZING in an effort to be politically correct, I apologize as a man first for the things that I’ve recently said about choices women have the right to make, for the terms that I’ve used and the way I’ve come across. I was raised to think and feel certain ways, and I’m learning new things that combat those messages. I am not perfect or all knowing, nor am I the one to claim to be. I’ve learned things through experience which I share, and through these last couple of weeks, I’ve learned a lot through this well deserved internet dragging…… This is about a man owning up to his actions, taking responsibility, recognizing how to do better, and actually doing better. Ladies you deserve better…
Source: IndieWire film
April 16, 2017
In a move sure to draw support from those who have remained on the fence regarding his client, Roman Polanski’s attorney has compared a U.S. court to Nazi Germany. The questionable comparison comes after Polanski’s most recent attempt to avoid further jail time for his 1977 rape case was rejected. Deadline has attained a filing from the Oscar-winning filmmaker’s lawyer claiming that “Mr. Polanski was as justified in fleeing this Court’s illegal conduct as he was to flee the Germans who invaded Poland.”
Polanski, a Holocaust survivor whose wife Sharon Tate was murdered by the Manson Family in 1969, pled guilty to statutory rape in 1977. He served 42 days in prison and was ready to accept a plea bargain ensuring that he would serve no further time behind bars; upon learning that the judge in his case was going to reject the agreement, he fled to Paris and has not returned to the United States since — including when he won the Academy Award for Best Director in 2003.
Harland Braun, Polanski’s attorney, writers in his motion that “an analysis of the legal and factual issues in this 40-year old criminal case may conclude that this Court’ s Order of April 3, 2017 is morally incoherent, legally illogical and factually deceptive.”
“As is plain, Mr. Polanski is looking for an economical and practical solution to a four-decade-old case,” continues the filing. “But for whatever reason, this Court seems to want to overly complicate this case.”
Source: IndieWire film
April 16, 2017
James Gray is back in theaters with “The Lost City of Z,” a film at once markedly different from and right at home among the rest of his distinguished body of work. The “We Own the Night,” “Two Lovers” and “The Immigrant” director has spoken with Vulture about the financial realities of independent filmmaking, offering a number of candid — and sobering — statements: “You know, people assume that because I’m a director, I make tons of money. I am struggling financially,” he said.
“Now, I’m very lucky I get to do what it is I want to do,” Gray continued. “I’ve made, good or bad, very uncompromising movies, the movies exactly that I wanted to make, and that’s a beautiful gift, so I’m not complaining about that. But I struggle. I have a hard time paying my bills. I’m 47 years old, I live in an apartment, I can’t buy a house.”
No one enters the world of independent film expecting to make vast sums, and yet it can be surprising to hear that a writer/director who’s been making acclaimed movies for more than two decades would still struggle to find his footing.
“If I were coming of age in 1973, I would be in Bel Air,” said Gray. “The whole reason for this is exactly what we were talking about, where the middle is gone. So now you have franchises, and you have, ‘I made a movie on my iPhone.’ This is the economic system in a nutshell, right? Five directors make Marvel, and then there’s the rest of us who are trying to scrounge around to find the money to make films.”
From there, he says, “it becomes a self-fulfilling prophecy: If the audience only gets to see Marvel, then they only want Marvel, and then if they only want Marvel, only Marvel is made. I don’t even have a problem with Marvel. The problem is not the specifics of each movie, the problem is it’s the only movie you can see now in a multiplex, and when it’s the only game in town, you’re looking at the beginning of the death throes of an art form.” Read the full interview here.
Source: IndieWire film
April 16, 2017
The slow specialty box office is picking up. “The Lost City of Z” (Bleecker Street) opened just below the numbers posted last week by “Colossal” (Neon) and “Norman: The Moderate Rise and Tragic Fall of a New York Fixer” (Sony Pictures Classics) also opened to over $20,000. And “Chasing Trane: The John Coltrane Documentary” (Abramorama) showed strong initial single-theater results, with Emily Dickinson story “A Quiet Passion” (Music Box) also showing some interest.
After a promising start, “Colossal” expanded quickly, showing strength among wider audiences, along with “Gifted” (Fox Searchlight) and “Their Finest” (STX). And holocaust drama “The Zookeeper’s Wife” (Focus) passed the $10 million mark in only its third weekend.
Festival favorite “Maudie,” a Canadian-Irish coproduction set in a small Nova Scotia town, opened in four Canadian theaters ahead of its June stateside release from Sony Classics Pictures, with a three day total of around $60,000. It stars Sally Hawkins and Ethan Hawke in a story about a housekeeper with artistic skills.
The Lost City of Z (Bleecker Street) – Metacritic: 80; Festivals include: New York 2016, Berlin 2017
$112,633 in 4 theaters; PTA (per theater average): $28,158
Director James Gray (“We Own the Night,” “The Immigrant”) switched from his usual urban mostly New York milieu to the Amazon of a century ago for this adventure biofilm that Amazon Studios acquired prior to its New York Film Festival closing night premiere. Bleecker Street opened the drama in four New York/Los Angeles theaters as the top limited opener this weekend. Its PTA comes in about $2,000 less than the impressive “Colossal” last week.
This is about double what “The Immigrant” opened to three years ago, and the best limited opening in Bleecker Street’s two year history (besting “Eye in the Sky” last year, which debuted to $114,000 in five theaters on its way to almost $19 million).
Strong reviews helped, along with setting a period adventure tale in an exotic locale. A younger cast (Charlie Hunnam, Robert Pattinson, Sienna Miller, Tom Holland) could push this wider than the typical older specialized audience these days. Now that they’ve met the initial goal of establishing this in its platform dates, they can push the movie broader.
What comes next: This quickly expands to 500 theaters next Friday.
Sony Pictures Classics
Norman: The Moderate Rise and Tragic Fall of a New York Fixer (Sony Pictures Classics) – Metacritic: 76; Festivals include: Telluride, Toronto 2016
$103,664 in 5 theaters; PTA: $20,733
In recent years Richard Gere has been taking on more specialized audience films, and has earned some of the best reviews of his career for this Israeli/American coproduction. He portrays a New York man who plays a key role in the rise of an Israeli politician. This marks the first English-language film for Israeli director Joseph Cedar, following foreign-language Oscar nominees “Beaufort” and $2-million grosser “The Footnote” (Sony Pictures Classics).
This is the first new film from SPC in over three months (likely the longest gap in the 25 year existence) and their best initial PTA since “Elle” last November, which only opened in two theaters.
“Norman” had a strong 68 per cent jump on Saturday (much better than the 19 per cent for “Lost City”). Expect the well-reviewed film to get strong national response in upscale and arthouse locations but also in some wider areas. Down the line, this performance that could yield Gere his first Oscar nomination, despite the early release date.
What comes next: Chicago and Washington begin the national expansion next Friday.
Chasing Trane: The John Coltrane Documentary (Abramorama) – Metacritic: 68; Festivals include: Toronto 2016
$15,880 in 1 theater; PTA: $15,880
Yet again, a documentary on a legendary musical legend opens in Manhattan and shows unexpected initial strength. The film shows the great saxophonist in in performance. It’s the latest offering from Abramorama which is showing strength with films about the music, art and culture (“The Beatles – Eight Days a Week,” “Mr. Gaga,” “Heart of a Dog” among them). The gross here is about $3,000 ahead of the Manhattan start for “I Called Him Morgan” (Submarine Deluxe) a few weeks ago.
What comes next: Two Los Angeles theaters start a significant national expansion on Friday.
A Quiet Passion (Music Box) – Metacritic: 77; Festivals include: Berlin, Toronto, New York 2016
$48,000 in 6 theaters; PTA: $8,000
Terence Davies (“The Deep Blue Sea,” “The House of Mirth”) has been an art house regular for close to 30 years. “Mirth” in 2000 at $3 million marks his biggest domestic success. Shot in Europe but set in Massachusetts, this biofilm about Emily Dickinson’s troubled, lonely life stars Cynthia Nixon as the poet. Backed by mostly favorable reviews, Music Box opened it initially in two New York, three Boston and one Toronto theater. New York opened to about $29,000, with their PTA a much better $14,500, not far from the best new films this weekend.
Saturday had an overall 44 per cent jump, a positive initial result. Dickinson of course still resonates with many people, so expect further interest as this expands.
What comes next: Friday sees Los Angeles on board to begin Music Box’s usual placement in all good sized markets.
Tommy’s Honour (Roadside Attractions) – Metacritic: 58; Festivals include: Edinburgh 2016, Palm Springs 2017
$218,920 in 167 theaters; PTA: $1,310
Jason (son of Sean) Connery directed this story about the Scottish father and son who transformed golf into a wider sport a century ago. Aimed at participants in the sport and timed for marketing during the Masters last weekend, this had a national release aimed less at specialty crowds as older suburban audiences. The initial results are mediocre with less than the usual Saturday uptick older audience films usually see.
What comes next: Anything beyond a second week at current theaters looks iffy.
My Entire High School Sinking Into the Sea (GKids) – Metacritic: 73; Festivals include: Toronto, New York, AFI 2017
$15,215 in 3 theaters; PTA: $5,072
New York, Los Angeles and Toronto opened this inventive American hand-drawn animated film with perhaps the most colorful title of the year. The initial gross isn’t quite up to the reviews so far, but films like this can find a life of their own once they are discovered.
What comes next: The San Francisco Bay area, Seattle and Memphis are next up, with a substantial national specialized run planned.
Heal the Living (Cohen) – Metacritic: 83; Festivals include: Venice, Toronto 2016
$3,176 in 2 theaters; PTA: $1,588
Very strong reviews and two decent New York/Los Angeles theaters led to little response for this French film about organ transplants and the drama surrounding their use when a surfer is killed in an accident.
What comes next: The next scheduled date for this slowly expanding film is Coral Gables on April 28.
Finding Oscar (FilmRise) – Metacritic: 72; Festivals include: Telluride 2016
$3,000 in 1 theater; PTA: $3,000
Steven Spielberg and Kathleen Kennedy’s new documentary division backed this expose of human rights abuses in Guatemala. This helped them to get New York’s prime Angelika Theater, but with not much to show for in gross.
What comes next: Los Angeles and Miami opening next Friday.
Glory (Film Movement) – Metacritic: 83; Festivals include: Locarno, Hamptons, Chicago 2016
$2,500 in 1 theater; PTA: $2,500; Cumulative: $4,000
This acclaimed Bulgarian comedy about a train worker who tries to do the right thing after finding a fortune nabbed the best reviews of any film this week and scored a booking at New York’s Film Forum, but it didn’t lead to much traction with audiences.
What comes next: Limited niche bookings at most ahead.
Gifted (Fox Searchlight)
$3,000,000 in 1,146 theaters (+1,090); PTA: $2,618; Cumulative: $4,370,000
After a run of bad luck, Fox Searchlight found the right release pattern for this middle-American appeal story of a working class uncle fighting to raise his math prodigy niece. Chris Evans and Olivia Spencer add to its draw, and after the 56-theater first week pushed word of mouth, Searchlight smartly broke it to over a thousand theaters on its second week. That made it effectively the “other” new film this weekend alongside “The Fate of the Furious.”
The gross is about 3/4s of what “Wild” did in its first wider week, which puts it into quite promising territory. And in a week with no other fresh product, it was good enough for #6 overall (the highest for “Wild” during its full $38 million grossing awards run). This is performing similarly to “The Zookeeper’s Wife,” which in its second weekend in 806 theaters grossed $2.8 million.
Your Name (FUNimation)
$(est.) 780,000 in 289 theaters (-22); PTA: $(est.) 2,699; Cumulative: $(est.) $3,200,000
Distributor FUNimation hasn’t provided grosses since last weekend, but this massive world wide animated smash held at around the same number of theaters its second week. It seems to have dropped considerably from its strong initial $1.8 million, despite great reviews and top theater placement.
$616,344 in 100 theaters (+96); PTA: $4,723; Cumulative: $616,344
Newly minted Neon got aggressive in its second week of release for its well-received Anne Hathaway sci-fi/horror/romance hybrid with youthful specialized appeal. While these are respectable numbers, they came in lower than similar genre-appeal recent hits like “Ex-Machina” and “It Follows.” Next weekend will tell us more about how wide this might go.
Their Finest (STX)
$360,000 in 52 theaters (+48); PTA: $6,885; Cumulative: $470,000
Also having a respectable (if smaller) second week expansion is Lone Scherfig’s London World War II drama. With fewer theaters, its PTA is higher than “Colossal,” which appeals to a different audience. “Their Finest” is facing competition from other recent wider releases aimed at older folks, which makes its performance more impressive. It’s initial New York/Los Angeles dates significantly had very strong holds.
STX, which normally doesn’t handled limited releases, adds more big city markets this week.
$(est.) 27,000 in 9 theaters (+6); PTA: $(est.) 3,000; Cumulative: $(est.) 53,000
Finding a home for his beloved dog is the focus of this Madrid man as he faces death with the help of a long time Canadian friend who visits him. This expanded to other cities this week with continued modest results.
$19,530 in 7 theaters (+5); PTA: $2,790; Cumulative: $37,384
A small expansion for this strongly reviewed Romanian father/daughter drama yielded typically minor results similar to most subtitled films these days.
Ongoing/expanding (grosses over $50,000 in under 1,000 theaters + 1)
The Zookeeper’s Wife (Focus) Week 3
$2,065,000 in 1,057 theaters (+251); Cumulative: $10,668,000
Director Niki Caro and Jessica Chastain have tasted some real success in this Holocaust rescue film set in Poland and set the standard for other recent broader potential releases. This has already outgrossed their recent awards contenders “Loving” and “Nocturnal Animals.”
T2 Trainspotting (Sony) Week 5
$230,000 in 331 theaters (+174); Cumulative: $1,975,000
Danny Boyle and gang 19 years later did not resonate the way they did the first time around, with minor results. Sony expanded this rapidly, which didn’t give it much chance to grow like similar films (its first weekend PTA was ahead of the decent openers the last two weeks). It will face a short run ahead.
Frantz (Music Box) Week 5 82/484
$120,000 in 98 theaters (+16); Cumulative: $554,385
Francois Ozon’s latest, a post-World War I drama, continues to expand and hold well as Music Box once again maximizes a subtitled release in a tough market.
La La Land (Lionsgate) Week 19; also available on Video on Demand
$100,000 in 219 theaters (-5); Cumulative: $150,881,000
Still adding gross despite being watchable at home. The film has grossed $440 million worldwide — impressive, and only $90 million less than “The Fate of the Furious” on its first weekend (which cost several hundred million more for production and marketing).
Kedi (Oscilloscope) Week 10
$90,000 in 85 theaters (-20); Cumulative: $2,362,000
Into their third month, those Turkish cats just won’t stop playing, with a gross far beyond what most documentaries achieve.
Lion (Weinstein) Week 21; also available on Video on Demand
$81,000 in 147 theaters (-56); Cumulative: $51,820,000
Now available for home viewing after five months, this will end up grossing about $3 million less domestic than Weinstein’s “The Hateful Eight.”
Personal Shopper (IFC) Week 6
$63,750 in 85 theaters (-56); Cumulative: $1,185,000
Olivier Assayas’ second collaboration with Kristen Stewart looks like it will come in at about 75 per cent of “Clouds of Sils Maria.”
Raw (Focus) – $21,765 in 31 theaters; Cumulative: $455,349
Source: IndieWire film
April 16, 2017
The Guardian has an update on Terry Jones, the “Monty Python” member who last fall revealed he has dementia. Most of the news isn’t good, unfortunately, as Jones’ condition has worsened in the months since he went public with his diagnosis. Though still able to get around by himself physically, the once-verbose performer’s speech is now limited to just a few words at a time.
Jones has frontotemporal dementia, which affects the language and social-control centers of the brain. In addition to reducing patients’ ability to speak, it may also make them appear less concerned with their loved ones. Though his speech is “now restricted to a few words, usually uttered to agree with those who are speaking to him,” Jones “remains an enthusiastic walker, likes his beer and wine, and watches old films compulsively. ‘Some Like It Hot’ is a favourite.”
Michael Palin, Jones’ longtime friend and fellow “Monty Python” troupe member, speaks at length about his friend’s condition, saying that the inability to express himself “must be the most difficult thing — not to be able to say quite simply how you are feeling on a given occasion. We assume that he is happy, but that assumption could be wrong. We just don’t know.” Read the full piece here.
Source: IndieWire film
April 14, 2017
Have you ever wanted to have a superpower? What would it be and would you use it to be a hero or a villain? This infographic takes a look at how 2,000 men and women would use their superpowers if they had some.
The survey found that 24 percent of women would want to have super healing power, 19 percent said they’d want a time traveling ability, and more than 14 percent of surveyed women said super intelligence was their preferred power. 29 percent of men surveyed, on the other hand, said they would want the ability to time travel.
When asked what they would do with their abilities, 21 percent of women confessed that they would use time travel to eliminate their enemies and 67 percent of men said revealed that they wanted to use x-ray vision to see through clothes. Men were also more likely (28 percent) to use mind control to make someone fall in love with them.
Surveyed participants that fell within the millennial age range were more likely to say that time travel was their preferred ability while those in Generation X and baby boomer categories favored super healing. Another major difference between generations was that millennials were more likely to risk their pet’s life to use x-ray vision (24 percent), while only 19 percent of Gen Xers and 16 percent of baby boomers would do so. 33 percent of millennials also said that they would risk a stranger’s life for the chance to fly.
The survey also found that, regardless of religion, many people would use mind control to help politicians see eye to eye rather than force someone to fall in love with them or use super speed to generate an unlimited supply of free energy over breaking every record at the Olympics. As far as time travel goes, most of those surveyed said they would go back in time to bet on the Cubs winning the 2016 world series, while the answers were split when it came to going back in time to save President John F. Kennedy or Martin Luther King Jr. When it comes to flying, more than half of the respondent that makes $25,000 a year or more preferred to fly to a dream vacation destination rather than rescue people from war-torn countries.
When it comes to money, of the 2,000 men and women surveyed, over 41 percent said they would prefer to be Superman than win $100 million, while only 20 percent said they’d prefer to be Wonder Woman and even fewer said they’d rather be Captain America or Batman (19 percent and 11 percent respectively).
Source: Visual News
April 13, 2017
Ever wonder if Facebook posts published on the weekend get more likes than those posted on weekdays? Are people more likely to share Facebook posts that feature a photo more or ones that are simple status updates?
Using data from a research paper published in the Journal of Business Research, I try to explore what days and types of posts get the most likes, comments, and shares of a Facebook post. The data set used consists of 500 Facebook posts in 2014 from a worldwide cosmetics company with a renowned brand.
Weekdays Get More Facebook Interactions Than Weekends
Surprisingly, weekdays seem to have more post interactions than weekends. Initially I thought that weekends would have more interactions since people have more free time to browse Facebook on Saturdays and Sundays. It looks like Wednesdays are the best days for social media managers to post on Facebook. Maybe people need a little social media pick-me-up to get through the midweek doldrums.
Videos Get the Most Likes, Comments, and Shares
Interestingly photos and status have a similar amount of likes and links trail far behind all other types of post content. I suspected that visuals would perform much better than simple status updates but the data tells us otherwise.
Comments can be positive or negative so it can be used as a measure the amount of engagement a Facebook user has with a specific post. Simple status updates could signify that a brand is trying to communicate with a user on a more personal level and can help start conversations.
Shares allows the network of the user to also see the original Facebook post. This creates more visibility for the post. Again, status updates and photos perform similarly with links trailing far behind.
Overall, videos create the most amount of interactions with a post. Links perform the worst when it comes to generating interactions. Many businesses use their Facebook as a way to build their brand. These businesses also use Facebook as a way to create a link between social media and their website. The data shows this is not the best way to create brand awareness. Businesses should actively seek to engage with people in a personable and fun way. Videos, status updates, and photos seem to do this best. If you need an example of the power of social media, look at Oreo’s marketing strategy.
Source: Visual News
April 13, 2017
While SXSW has been showcasing VR projects in many different ways for years, 2017 marks the first year we expanded our program and added Virtual Cinema. We had two different categories, 360° Video and Room-Scale. Our inaugural jury winners for VR are Lindsay Branham and Jonathan Olinger for Behind the Fence (360°) and Cassandra Herrman and Lauren Mucciolo for After Solitary (room-scale).
Behind the Fence
Q: Tell us a little about your film?
A: “Behind the Fence is an immersive virtual reality documentary that takes you inside the 5×5 square mile camp that imprisons 140,000 Rohingya Muslims in Myanmar. This modern day concentration camp is home to the most persecuted people on earth. Behind the Fence profiles Abul, a husband who does everything he can to try to help his sick wife, Barbulu, a twelve-year-old boy whose future is diminished due to the constraints of living in this open air prison, and U Wirathu, the Buddhist leader of the 969 movement who stokes public support for restrictive laws that have rendered the Rohingya stateless in their own land.”
Q: What motivated you to tell this story?
A: “What the Rohingya are facing in Myanmar is not just another story of violence, persecution or displacement — this is systematic and calculated elimination, stoked by hate speech from extremist Buddhists. We chose VR because the situation facing the Rohingya Muslim minority in Myanmar is so dire and little known, that we hoped this nascent technology could amplify their entrapment to a world that has the power to prevent their annihilation.”
Q: Tell us a random fact?
A: “Past Fact: I went to 12 schools before I turned 18, and people often ask if that was hard. The truth is that I wouldn’t trade it – the exposure made me curious about everything and everyone and I have a kaleidoscope of memories and friends that span the world. Current Fact: I live in a house in Brooklyn with six other artists and we get to collaborate on a lot of our projects together, which I find very symbiotic.”
Q: Tell us a little about your film?
A: “After Solitary allows viewers to experience interactively the story of Kenny Moore, a recently released inmate who spent years at a stretch in solitary confinement.”
Q: What motivated you to tell this story?
A: “VR seemed an ideal medium to tell Kenny’s story and give viewers a visceral sense of the long-term effects of solitary confinement.”
Q: Tell us a random fact?
A: Cassandra: I once worked for a coffee exporting company in Burundi. Lauren: I lettered in bowling in high school.
Explore More Content From SXSW 2017
Get inspired by a multitude of diverse visionaries at SXSW – browse more 2017 Keynotes, Featured Sessions, Red Carpets, and Q&A’s on our YouTube Channel.
Behind the Fence answers by Lindsay Branham
The post Filmmaker In Focus Series: Virtual Reality Grand Jury Winners appeared first on SXSW.
Source: SxSW Film