30 Results
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Introduction to Lumison ISP Co Introduction to Lumison ISP Corporate Video
- From: WillowCreekPictures
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Description:
Lumison is a leading UK business ISP, providing a full range of managed network, hosting, datacentre, application, VoIP and security solutions directly to customers and businesses.
- 1 week ago
- Views: 2
- Not yet rated
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paradiso paradiso
- From: tobinalex
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Description:
graduate show film
- 2 weeks ago
- Views: 20
- Not yet rated
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Licia
- Views: 334
- Since: 3 months ago
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repose repose
- From: fortsunlight
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Description:
by Adam Proctor and Michael Visocchi (2009)
This short film is the first collaborative project between animator Adam Proctor and sculptor Michael Visocchi. It employs a variety of animation and live footage techniques, exploring the metaphorical relationship between the rook and Robert Burns as widely interpreted symbols of Scotland.
Rookeries, or rook nest sites, are often rebuilt and re-used by breeding pairs of birds in the same location year after year. Throughout British folklore rooks have been associated with escorting the spirits of the virtuous to heaven, and have been commonly held as predictors of the weather.
The enthralling characteristics and cycle of the rook frequently captured Burns’ imagination and empathy in his writing and his observations on the wider world. The artists believe that a further attribute shared by both Burns and the rook is that both their reputations have been simultaneously formed yet often distorted through the lens of history.
Transporting the viewer to Dumfriesshire and to the fields surrounding Ellisland that Burns once farmed, the film follows a ‘bird’s eye view’ of the seasonal patterns. Throughout this imagined journey the film makes reference to scientific movements and developments significant to the late 18th century, which furthered mans understanding of the landscape.
The score is a composition for cello, and has been written and performed by Robin Mason to follow the rhythms and cadences of the film and to the writing of Burns.
About the artists
Adam Proctor was Digital Co-ordinator at Peacock Visual Arts in Aberdeen for 8 years, working with artists, film-makers and the community. He is now a freelance filmmaker and animator.
fortsunlight.co.uk
Michael Visocchi is based in Edinburgh and has exhibited widely in the UK and abroad. His work explores our use of landscape in the 21st century. In 2004 he became the youngest member of the Royal Scottish Academy.
michaelvisocchi.com
Original film score by Robin Mason
Commissioned by East Ayrshire Council for 'Creative Burns' 2009.
With thanks to support from Peacock Visual Arts - 4 months ago
- Views: 137
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Bring Back British Rail Bring Back British Rail
- From: ellieharrison
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Description:
Ellie Harrison gives introduction to the Bring Back British Rail campaign at the HQ at Glasgow School of Art
- 5 months ago
- Views: 30
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19/4 Modern Terra 19/4 Modern Terra
- From: StephanieSpindler
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Description:
My trip to Modern Terra, exploring the site and Allison Gibbs work Inland Navigations Void. Wow.
- 5 months ago
- Views: 36
- Not yet rated
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Making Photographs in the Dark Making Photographs in the Dark
- From: Lets Play Darts
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Description:
All the images I had taken up to this point were digital, this was for ease, speed and economy. Digital does a few things to the photographer which I know I am guilty of myself, it makes for a photographer who relies to heavily on digital manipulation and clean up after the photograph has been taken rather than getting the exposure and composition right in camera. It also makes for an undiscerning photographer who takes far too many images hoping that through quantity of images taken that successful images through a sheer weight of numbers, will emerge.
I wanted this to be a project with a core strength based on solid photography that is technically accomplished so as not to distract from the images content. The lighting conditions as they are in the bars darts is played exposure at a minimum of ISO 1600 is a must, you can’t use flash as people are competing in a sport. My DSLR has a ISO 1600 setting but even with this, shutter speeds as low as 80 or 60 were required to get a exposure. Even with this most of the exposures were muddy in colour needing allot of correction in Photoshop and had a very heavy and unacceptable digital noise in a vertical linear pattern, they just weren’t looking that good. I also didn’t like the idea of heavily correcting the images to make the colours look right, I wanted to do it in camera, I needed film.
With this in mind I was naturally led to ISO 3200 black and white, due to it being cheaper I opted for Kodak TMAX 3200 over Ilfords Delta 3200. Whilst trying to work all this out and what form they would inevitably take, I took some photographs of the dart boards themselves.
Originally in digital then when I switched to film I did the on first ISO 100 35mm then in medium format. The graphic nature of the images was really striking to me and I found the use of the object as a way of exploring the actual target of the obsession aspect that I found so interesting about the darts players. I started printing these images on pre coloured paper, red, green, gold, orange to further differentiate between boards and as a riff on Andy Warhol. Well there is only so much about a community and its driving forces you can explore when they are not there, it was time to go to the pub.
- Blog post
- 6 months ago
- Views: 59
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Trying to Sing Like Roy Orbiso Trying to Sing Like Roy Orbison 2010
- From: CARLA J EASTON
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Description:
Three individuals separately shot on camera attempting to sing 'You Got It' in the style of Roy Orbison.
- 7 months ago
- Views: 78
- Not yet rated
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Art/Roc/Doc Art/Roc/Doc
- From: ab0181
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Description:
Art/Roc/Doc is coming soon!
- 9 months ago
- Views: 1075
- Not yet rated
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Disbelief Disbelief
- From: paddymac
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Description:
What a surprise! I was quite low by the time I submitted my final entry to the competition and felt I'd wasted too much time going down dead-ends and becoming side-tracked with my lame attempts at being some kind of writer or poet for the first time.
At my last meeting with Iso, my treatment was met with much head scratching and an uncomfortable silence. I left it resigned to the fact I'd blown it, becoming bogged down in narrative and losing touch with the graphic approach that got me shortlisted in the first place. Dispite this, there were some interesting suggestions that were worth persuing. Stripping the idea back to its core and throwing out any visual complexity seemed to be the only way I could put my proposal into a workable form. Thanks are due to the guys at Iso for leading me in this direction.
In the end my trailer is all about the history of cinema in glasgow. The forgotten screens that used to shine across the city. The sad loss of so many venues that entertained thousands, and the lasting legacy of film in the minds of the city's inhabitants. It's alot to ask from 25 seconds of film I know!
Thanks to all the other shortlisters for their support and to those who offered to help with the audio. I will be gettings in touch with the musician I've chosen shortly and look forward to hopefully developing a kick-arse soundtrack to test the soundsystems of cinemas across the country!
So, I've got a busy few weeks ahead... I'll be keeping you posted with how the trailer is progressing, so watch this space.
- Blog post
- 10 months ago
- Views: 263
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An Turas Moonlit Timelapse An Turas Moonlit Timelapse
- From: fortsunlight
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Description:
Whilst filming on Tiree for a short documentary about the artist Frances Walker, I made this wee experiment out at the An Turas installation next to the ferry terminal. This is my first experiment with timelapse at night. Would have been great to have left the camera snapping away for longer but the cold was creeping up from my feet pretty rapidly and my supper was beckoning. No artificial lights were used, I just opened up the lens to f1.4, cranked up the ISO to 1250, set the exposure to 4 seconds and the interval to 10 seconds. Go any higher than that ISO and the noise increases markedly. The only real trouble is focussing, especially as with the lens open wide, the focus plane is really shallow. The documentary will be shown alongside Frances' exhibition at Aberdeen Art Gallery in February, followed by a complimentary exhibition at Peacock Visual Arts in March.
Shot on a Canon 5D Mkii with Nikon 50mm f1.4.
- 10 months ago
- Views: 23
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More GFF trailer development More GFF trailer development
- From: Elliott
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Description:
Hello my dears,
So we had our first development meetings with Mark Breslin and Clyde Lawson at ISO today. It was awesome to throw ideas around at those guys as well as discussing technical ways that the idea can actually be achieved.
The original idea of the action happening within the windows of a Glasgow tenement building has stayed the same but the look and movement developed.
The camera may now start as a wide straight on shot at the bottom of the tenement, with cars and buses going past, the world carrying on as normal. Then the camera moves up the building, still keeping the tenement in a straight on wide shot, resting on the 2 top floors, so we can see about 10 windows in the frame. All of them are dark, lights start coming on in time with the keyboard, electro, retro Sega mega drive game type music, revealing the action within the windows.
The action is going to be people and objects becoming iconic imagery from films. The lights get switched on and off faster and faster in all the rooms as some of the characters start to interact with others from different windows until all the lights are on resulting a chaotic scene of movement made up of all the action that was introduced individually. The camera carries on with its movement up the building until it is in the sky exposing a cityscape of Glasgow where the GFF logo appears.
Before the meeting I didn’t want to get too involved in thinking about the action that the characters would perform. I wanted to ask Mark and Clyde how this idea would be possible to achieve, before getting lost in complicated action that wouldn’t work with the technical aspects. I knew I wanted the characters to be placed in front of a green screen and then take photos of random living spaces to slip behind them; this would take out any need for a set for each separate action. I did this type of idea with one of my films Grandma & the Monster (although that was back projected photos of a model city) and it gives a surreal quality to the scene. Also rather than straight filming the action I wanted it to be a moving .gif on a loop, which would add an animated fun feel, and would be easier on me in terms of lighting. Also I really like that Toshiba Timeslice advert that is like a “bullet time” looping .gif. Here’s a link.
Mark and Clyde said how the tenement building itself could obviously be just a photo with the windows cut out and used as a plate. But they came up with the idea of making up the image by collageing it together much like David Hockney’s photographic collages (link here) or like Dave McKean, collaborator of Neil Gaiman. As long as it keeps or even emphasises the essence and charismatic look of a Glasgow tenement building, all is cool. But as I was coming back from the meeting I liked the idea of making an actual small model of a tenement front and photographing that.
Anyway check out this guy: Arno Salters, I worked with him and got stuck on a train from Wales with him once, his style rules and I hope the style of the trailer to look influenced by his work.Cheers my dears
- Blog post
- 11 months ago
- Views: 102
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Glasgow Film Festival Trailer Glasgow Film Festival Trailer Development...
- From: Kim Stewart
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Description:
Hi folks!
Had my first meeting with Mark and Clyde at ISO Design this morning! They were very helpful and I've come away with loads of new ideas for the development of my trailer. I also met the lovely Central Station ladies and it gave me a chance to discuss my idea with them as well!
I'm going to ditch the first scene as this seems superfluous and was originally only included to advertise Glasgow. Instead, the entire trailer will focus on the couple exploring and contending with obstacles to reach their gigantic cinema seats. The whole trailer will be in black and white (sort of a film noir 1940s feel)... The production can be achieved with high definition stills of cinema seats and aisles, a green screen and simple locked shots for filming.
I've got loads of work to do between now and my second development meeting (next Tuesday morning!) So, for now I'm posting a new synopsis below and a couple of image sketches to get a better idea of the scale of the cinema seats. (image 1, image 2). In a couple of days I'll try and get the revised script up here.
I might be looking for a lighting technician to help with filming the green screened shots. If anyone knows of someone (preferably with their own lighting equipment), please e-mail me!
Synopsis
A young couple are tentatively led by an usher through a cavernous-like space. Flashes of light from the usher’s torch give brief views of giant details (such as massive screws, huge number and name plates, etc). They climb over obstacles and eventually stop, astounded as they look up towards the colossal-sized cinema seats. A struggle ensues as the couple strain to climb up onto them, with the usher’s unwilling assistance.
Line reads “GFF10… Now Even Bigger.” - Blog post
- 11 months ago
- Views: 369
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Glasgow Film Festival - cinema Glasgow Film Festival - cinema sudoku
- From: Elliott
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Description:
Hello my dears,
I’ve also been shortlisted for the GFF trailer competition for which I’m so grateful as it’s going to kick my butt back into the short film making world. I moved up to Glasgow from Manchester after university and whilst working as a camera assistant up and down the country never had time to find the same contacts and wealth of skilled collaborators to call upon up here, yet seeing constant amazing work come out of every corner of Scotland.
I enjoyed listening to the other 3 proposals yesterday in our first meeting with GFF. All ideas I’d love to help out on when they get through to the making stage (if they need the help!) Also hearing about all the different disciplines they choose to work in and how it differs to my approach.
I learnt in the meeting that GFF actually shortlisted me for my 10 second sting idea rather than my original pitch for the 30 trailer, and would prefer if I worked the idea into the full length trailer. So I’m going to put up my original proposal then add a few further ideas I’m preparing for our meetings with Mark and Clyde, two senior designers at ISO, to help develop the ideas.
Original Proposal:
Straight on, symmetrical shot of a traditional Glasgow tenement building.
The square formation windows, characteristic of Glasgow tenements can be seen.
Within a flat a figure walks towards the window on the bottom left and draws the blind down, filling the frame with a flat purple colour. The same happens in the window diagonally above right to the first window, this time the blind is pink. Another is closed to show a letter.
This process continues until the Glasgow Film Festival logo is complete.Ta-daaa
The idea was influenced by Avril Paton’s “Windows in the West”, (thanks Kim for reminding me of the actual name!) paintings of tenement building exteriors, where each window has it’s own separate life happening within.
(see the image here:
http://www.avrilpaton.com/paintings/glasgow/windowsinthewest.html)
The evolved idea is going to happen along these lines where the camera is moving between and coming up close to each window. The action that is happening inside was influenced by the Stella Artois ad campaign that came out a couple of years ago that they called the “cinema sudoku”, where there was a normal looking scene of a park or a beach but iconic film images were added into the scene.
(You can find them here:
http://www.guardian.co.uk/uk/2005/jul/17/davidsmith.theobserver)
Each window will have a reference to a classic film, such as a the boy with the red hoodie bringing his bike in the house so it doesn’t get nicked or a man in a wheel chair and a broken leg spying with binoculars. Each character pull down their window blind and the camera zooms out it see the GFF logo made up by the blinds.This is a brief version of the idea so far, once I've spoken to Mark and Clyde about it tomorrow I'll update me blog on ways that the idea can be achieved.
Check out the other shortlisters yo!:
Kim Stewart, paddymac and Alburt
- Blog post
- 11 months ago
- Views: 193
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Glasgow Film Festival... Now E Glasgow Film Festival... Now Even Bigger!
- From: Kim Stewart
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Description:
Hi there!
This is my first blog post for the Glasgow Film Festival Trailer Competition. We had our first meeting yesterday and it was exciting to meet everyone and hear all the great ideas for the trailer! I'm looking forward to my first meeting with Mark and Clyde at ISO Design tomorrow morning!
My idea involves a literal play on the Glasgow Film Festival's ever expanding presence and growth. With the GFF winning multiple awards (including Best Large Event at The Scottish Event Awards 2009 and the GAGA Audience Development Award), the amount of screened films and events increasing every year, along with rising attendance figures, it seemed appropriate to portray this in my trailer idea.
SYNOPSIS
A young couple walk through Glasgow and enter Glasgow Film Theatre. They reach their cinema seats and are astounded as they look up towards the colossal-sized seats. They strain to sit on them.
Line reads “GFF10… Now Even Bigger.”SCRIPT
SCENE 1
EXT. GLASGOW SQUINTY BRIDGE – EARLY EVENING
Amazing view of Glasgow’s squinty bridge looking towards the city centre from the Southside of the river. WOMAN and MAN enter screen from bottom left. They walk across the bridge holding hands.
CUT TO:
Side view, WOMAN and MAN walk across screen. Finnieston Crane and Armadillo can be seen in the background.CUT TO:
WOMAN and MAN walk down Sauchiehall Street. Art Deco Beresford Building seen in this shot.CUT TO:
WOMAN and MAN enter Glasgow Film Theatre.SCENE 2
INT. GLASGOW FILM THEATRE – SAME EVENING
WOMAN’S face engulfs screen. She looks up at the camera above her and drops her jaw. She looks utterly bewildered.
CAMERA pans around from her face to reveal enormous cinema seats. The seats are three times the size of the MAN and WOMAN. MAN stands next to WOMAN and both stare up at the seats in amazement.
CUT TO:
MAN assists WOMAN with a leg up. WOMAN struggles and clambers onto giant cinema seat.CUT TO:
MAN and WOMAN sit on the huge cinema seats and look exhausted.SCENE 3
TITLE: GLASGOW FILM FESTIVAL 2010
CUT TO:
TITLE: NOW EVEN BIGGER!Overall Look & Style:
Fun, vibrant colours to reflect GFF10’s style.
Preferably filmed in full high definition quality.
Strong, well-composed shots to advertise and promote Glasgow.
MAN & WOMAN to wear casual stylish clothes.
NOTE:
The 30 second sting will include all 3 scenes.
The 10 second sting will only include scenes 2 and 3.If you have any suggestions for this idea, please feel free to comment below. Also, have a look at the other three great shortlisted entries: Elliott, paddymac, Alburt.
- Video blog post
- 11 months ago
- Views: 132
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And they're off! And they're off!
- From: paddymac
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Description:
Hello to you all and welcome to my first blog post.
I was motivated to put finger to keyboard after being shortlisted for the GFF trailer competition for which I owe a big thanks to the folks at ISO and GFF for being able to read my handwriting and for seeing some potential in my ideas. I hope once I get together with Mark and Clyde at ISO I'll be able to push the concept in new and interesting directions.
We just had our first project meeting today where we met the lovely ladies of the GFF and the equally lovely Paul from DigiCult who talked us through the aims of the project and how things would progress over the coming few weeks. We also had the chance to share the ideas that got us shortlisted and to hear what the GFF people liked about them. I won't reveal any of the other entrants ideas as I'm sure they'll be posting them themselves here on cSta soon, but I will say that they're all pretty damn good. I have to say I have my work cut out to be in with a chance of winning this!
So, what is my concept for the trailer I hear you all ask!? Well, in the spirit of this website I'll post my entire pitch for you to read through.
Concept
Glasgow Film Festival – Film bringing colour to Glasgow / life
Pitch
The Glasgow film festival is a celebration of film. Film brings us closer to events we would otherwise never experience. Film exposes us to emotion, drama, knowledge, excitement and unforgettable experiences; film brings colour to our comparatively limited and boring lives (ie when was the last time you dropped into Charlie's chocolate factory or boated up the Mekong to take on Colonel Kurtz!?). The trailer I am proposing aims to illustrate this simple concept by showing a series of recognisable views around Glasgow; filmed in high contrast black+white. Over the duration of the 30 second trailer, elements within each view; ie buildings, furniture, people, etc flicker in and out of colour and pattern in time with the soundtrack; increasing in frequency and intensity until the end when the once mundane black and white scenes have become a cacophony of colour and sound amongst which the GFF logo will form along with the requisite text; dates, website and title(with sponsors logos beneath).
I've prepared a rough example of one approach to this colour and animation which you can find in the .mov file accompanying this document. I should point out that the music I used was not representative of the style I would prefer for the final work as it's too much of a 4x4 rhythm; the aim of this was merely to demonstrate how footage could be chopped up and animated. In terms of a stylistic approach, for this example I used the colours of the GFF logo as a starting point which led to the neon colour scheme. .
As for locations, I would propose a mixture of classic Glasgow views (Buchannan St, Central Station, the Motorway, and views of the venues that will be used for the GFF.
Sound
The soundtrack would be positive and uplifting. Beginning from a humble beginning but growing in strength and depth towards the climax. The music of Forss (eg http://soundcloud.com/forss/journeyman) is probably the closest example to the style I have in mind. Electronic, melodic and contemporary.
Technique
The trailer would be created using a mix of live action footage; shot either at normal speed or timelapse, and digital motion-graphics. The graphic elements will be added using the compositing package After Effects. Given the festival is featuring a Japan retrospective, it could be relevant for the graphics to be inspired by Japanese graphic styles/conventions.
Artist Biography
Patrick Macdonald is a CG motion-graphics artist and illustrator specialising in photo-realistic 3d imagery and animation. Patrick trained in both the Edinburgh and Glasgow schools of art as an architect before becoming a freelance artist and animator. Although largely working in the commercial sectors of construction and marketing, Patrick is currently looking for more artistic opportunities in film and broadcasting.
- Video blog post
- 11 months ago
- Views: 202
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GFF Trailer GFF Trailer
- Created:11 months ago
- Members: 16
- Media: 36
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Central Station: The Making Of Central Station: The Making Of
- From: suzy.glass
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Description:
This is a blog about how and why Central Station came into being. The story starts about a year and a half ago. With an idea that barely resembles the Central Station we've ended up with.
When we started meandering down the curious road that's led us here, we thought we'd be looking into ways of making an installation that would map architectural practice across Scotland. It would exist as an interactive tabletop installation in the Lighthouse in Glasgow, and perhaps online too as something people could access and to from their browsers.
Installation...social media community...tabletop installation...Hmmm.
We started talking to Scottish Enterprise and Channel 4 Nations and Regions about the idea - they were looking for things to fund through a nascent digital innovation fund. Their initial response? Be more ambitious. For starters, could we perhaps map creativity generally across Scotland? Make a scaleable model?
(Oh - quick aside - I work as a producer for ISO who are the parent company of Central Station. ISO are a design studio and we've traditionally made motion graphics for TV and film and AV for museums. We now also make a fair amount of online work, with an emphasis on the interface design side of things.)
Right, back to the story. Me and my boss Damien Smith, we're talking to Channel 4, Scottish Enterprise, they want more ambition. So off we go, and we think a little more about creativity, the potential of online, the arts. Development was now funded by the afore mentioned partners, and together we'd agreed it was important to look at incorporating other things that might be attractive to the creative community - events, collections, entertainment.
Numerous development sessions later, we'd started exploring how we could incorporate an online drama into a creative space. We developed treatments exploring character development, looking at using the digital footprints they might leave on social media sites and inter-relationships with members. We'd be able to explore some of the issues facing people working or wanting to work in art, design and film, provide an arena for discussion around resource needs, a place to showcase work. All with the added bonus of being able simultaneously to entertain.
But. But. The idea tested badly. We presented it to various focus groups and their immediate response was that 'online drama' is generally perceived as a teen medium. Why didn't we feature real people, or commission members to create films? So we did the obvious thing and threw our characters and storylines in the bin. Goodbye to the four of them and their embryonic lives. And so the Digital Film Unit was borne.
Our focus groupies also told us how important they felt the rest of the proposal was. How valuable a cross-discipline creative space for discussion, sharing, collaboration, showcasing, information giving would be. Particularly given that we were also suggesting there would be offline events and opportunities to meet in the real world.
At which point the serious work began. Paul Welsh had come on board, as had Heidi Proven and Emlyn Firth. Paul's a film-maker, so he started wrestling with innovative ways of making shortform narratives, how we could make low budget but high quality records of everything we were doing, involving members wherever possible. Heidi's area is social media, and she spent her first few months looking at what other communities were doing well, learning from their mistakes and successes. Emlyn's a designer and possibly the best connected man in Glasgow, so he started opening doors, forging partnerships, talking to people like the various art schools, design agencies, artists, film-makers - what did they all need, and what reciprocally could we all bring to our areas of specialism using Central Station as the focal point.
At this stage I was mainly looking at funding, trying to work out how to get this beast of an idea resourced. We submitted the idea to the Scottish Arts Council and it won one of twelve Inspire Awards. Scottish Screen also came on board, with a remit for us to explore digital practice and interactivity. By May we were talking to Glasgow School of Art, the British Council and TRC Media, who are now Central Station partners. We introduced our colleagues Screenmedia to the project, who work on the development of the site with us.
And so the project in its current guise started taking shape...
- Blog post
- 11 months ago
- Views: 125
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sweet sweet isometry sweet sweet isometry
- From: Kim Stewart
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Description:
Screened at Straight 8 08 Art in London with 50 others as part of an epic all day art screening on Sunday 7 September 2008.
For more information on Straight 8, please visit www.straight8.net.
Many thanks to the following exceptional cast and crew who made this film possible:
Vivien Taylor: Lead Actress
Lauren C Moore: Actress/Dancer
Gary Steel: Actor/Dancer
Steve Cook: Production Assistant & Director of Photography
David McNeil: Production Assistant & Sound Designer
Richard Jones: Set Dresser
Rachel Levine: Set Dresser
- 11 months ago
- Views: 19
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