Monday, December 24, 2007
Tuesday, December 18, 2007
Here's some still shots of the LOVELY Fara D'Aguiar, and INCREDIBLE Morgan Greising, from a short film excercise we had to do for class. . the short film is called "After Her, There's Nothing" and it looks GREAT.
For the excercise, we had to choose from 4 dialogues, and write a scene from scratch, without changing the dialog.
We shot using PANASONIC DVX-100A (my new favorite camera), and then all the editing and post was done in FCP 6.0.2
. . . I'll post this video to youtube, and a bunch more videos, VERY soon. . . Chrismahanukkwanzica is coming soon, and i'll have some time to do some uploading.
Special thanks to Ayberk Sak, Fabrizio Schepisi, and Herrard Costales for being an AWESOME crew.
Friday, December 14, 2007
(I saw this post up on Slashdot, and it got me thinking about it again.)
When I was living at The Aspect House, there was talk of really taking a hard look at Secondlife, and the club scene there. We had talked about making a model of the house, and populating it with people who could have a house party while we were broadcasting live. This was the first part.
The next part came to me one night in while I was chilling down in The Basement Labs with Employee #6817 (who's got a new album for free DL on that website) tripping for 14 hours off some research chemical that's yet to be made illegal. We designed the concept for a system that would track a subject's movement using RFID and relative location of some sensors for use with live generative music.
The third part is an idea that I first heard from Krylen over at (((AR))), and took on as my own personal wetdream: A wearable computer, with a heads-up display, and some sort of tactile interface device that would allow me to stay online 24/7, even overlay information on the adjustably-transparent display, to enhance the enviroment I was seeing.
Now, combine all 3 parts, and what do you get? You show up at a party with LIVE DJ's (or other musical act) that's being streamed live online to a rendered version of the meatspace room that you're in, wearing a computer. The computer system in the room tracks your position, and then places you in that relative position in the rendered cyberspace room. Now, there's remote avatars from all over the world in the cyberspace room, and your meatspace HUD shows their relative postion to you.
Now, who's to say that you're not all at the same party? And, with a little work, it's technically feasible.
Wednesday, December 12, 2007
The role of NICK is gender neutral. He was origin originally conceived as a he, but in retrospect, the role can exist as much for a girl, as a guy.
"After Her, There's Nothing."
a short film by Mike Mazzotta. Dialog provided by Paul Warner.
INT. BEDROOM – EARLY EVENING
ELISE, a beautiful young woman in heavy black eye makeup, and Nick, an athletic young man, are lying naked in a small bed, covered by a black sheet. Nick's hands are bound to the bed, but he comfortable. They are both out of breath, Nick moreso than Elise, as they stare at the ceiling.
It's been a long time.
Elise looks over at him cooly.
Nick shifts his body to look at her.
I never expected to see you here.
He breaks in a smile, and she looks away. She sits up slightly, looks around at the room, which is in shambles. Their hastily discarded clothes lay on the furniture, and various pieces of advanced sexual 'things' and bondage gear are visible: Balls gags, handcuffs, bottles of lube and boxes of condoms are all readily excessible. There is an absence of home things: there are no framed photographs. . .
She turns to him.
You got a cigarette?
He looks at her, and smiles. She reaches over to the radiator at the side of the bed, and rifles through his pockets until she finds a pack of cigarettes, and a lighter, take a cigarette, economically lights it, and lays back down, smoking. Nick shakes his head, and laughs bitterly.
Some things never change.
Elise moves her head a handful of degrees, and looks at him flatly, still smoking.
You look pretty good, considering.
Nick smiles charmingly.
As he leans in to kiss her, she turns her body away, gets up angrily.
There you go. . .
Elise storms out of the room, and Nick follows her with his gaze, then lays back down, and stares at the ceiling.
END OF SCENE.