About Michael Korican

A long-time media artist, Michael’s filmmaking stretches back to 1978. Michael graduated from York University film school with Special Honours, winning the Famous Players Scholarship in his final year. The Rolling Stone Book of Rock Video called Michael's first feature 'Recorded: Live!' "the first film about rock video". Michael served on the board of L.I.F.T. when he lived in Toronto during the eighties and managed the Bloor Cinema for Tom and Jerry. He has been prolific over his past eight years in Victoria, having made over thirty-five shorts, won numerous awards, produced two works for BravoFACT! and received development funding for 'Begbie’s Ghost' through the CIFVF and BC Film.

The Dutch Angle, explained

Marie Cascione explains on Vox — why movies tilt the camera. Watch now:

She writes:

“The Dutch angle (aka Dutch tilt, canted angle, or oblique angle) is a filmmaking technique that involves setting the camera at an angle and tilting the entire scene. You see it everywhere, from blockbuster movies to soap commercials. It’s used to emphasize when something is a little off, or just to make a shot look more interesting. The thing is… it’s not actually Dutch. And it didn’t start with filmmakers. It was pioneered by German directors during World War I, when outside films were blocked from being shown in Germany. While Hollywood was serving up largely glamorous, rollicking films, the German film industry joined the expressionist movement in art and literature, which was focused on processing the chaos of world war. Its themes touched on betrayal, suicide, psychosis, and terror. And expressionist films conveyed that darkness not just through their plotlines, but through their set designs, costumes — and unusual camera shots.”

My take: all of this reminds me of my short film Largo. Because it’s a psychological portrait, I invoked elements of German Expressionism to illustrate the Captain’s mental state, particularly canted camera angles, skewed sets and long shadows. Not bad for 72 hours and $10!

Jim Cummings says don’t get screwed by agencies

Eric Kohn of IndieWire quotes Jim Cummings as saying, “Agencies don’t actually care about independent film,” in Your Agent Is a Con Artist: ‘The Beta Test’ Director Jim Cummings Wants to Liberate Indie Filmmaking.

Cummings’s thesis is that no one can do a better job monetizing your film than you. He says, “You have to have some business savvy in order to do anything. The film industry is no different, and you shouldn’t give your movie to people who don’t really care about the thing.”

His new movie The Beta Test is about how agencies package deals with their talent. Cummins explains, “The point was to inoculate independent filmmakers to not want to participate in that world — to not be fucked over by the way this culture is built. That has been my raison d’être over the last 10 years.”

Kohn asks, “If the movie is a cautionary tale, what would you like to see filmmakers do instead?” and Cummings replies:

“Exactly what we did. The story of the movie is that agencies don’t actually care about independent film. They care about money and power. But the way we made the film was completely circumventing that system. We ran a Wefunder campaign. It’s a crowd equity platform. We made the movie in our offices with our friends cast in all the parts. We did all of the distribution by ourselves without sales agents. The future is going to be a lot more like talented YouTubers making 90-minute pieces of content. That’s what real democracy is. You can waste a huge amount of your life working for people who don’t care about you.”

My take: This is a great read, and advice to heed. For review, please see Mark Duplass‘s seminal presentation The Calvary Is Not Coming.

Women: Apply to Banff SPARK now

There are less than two weeks left to apply to the BANFF Spark Accelerator for Women in the Business of Media.

This program is designed to address the systemic gap in gender equality and representation by providing essential opportunities and resources to help increase the number of Canadian women-owned businesses in the media industry.

Up to 100 spots are available and include:

  • A full-access pass to the 2022 Banff World Media Festival.
  • A $1500 CAD travel stipend to attend (on the condition of an in-person Festival).
  • A suite of tailored virtual workshops between February to April 2022.
  • Mentorship from an industry advisor.
  • Access to and visibility within the Canadian and global media industry.

BANFF Spark is open to candidates who are established in the media industry and those that are starting out. Content production businesses as well as those that offer services within the screen-based industry are eligible.

The application deadline is Monday, November 15, 2021 at Noon PST.

See the previous cohorts.

My take: very worthy and highly recommended.

Colour Display AR Smart Glasses

Deirdre O Donnel reveals on Notebookcheck some of the most advanced Smart Glasses yet.

She writes:

“Thunderbird is an augmented reality (AR) -focused start-up supported by the display-centric OEM TCL. Now, the two brands have unveiled something apparently three years in the making: the new Smart Glasses Pioneer Version, with a groundbreaking color micro-LED display geared toward an optimal AR experience. This pair of spectacles is, as the name suggests, the kind of ‘true’ smart glasses that integrate a working, partially transparent display capable of overlaying a mixed-reality display over the wearer’s real-world surroundings. Thunderbird and TCL make the new device sound like a blend of features from the Facebook Ray-Bans and Xiaomi’s own concept Smart Glasses. They do integrate a camera — obtrusively found on the nose-piece — and touch controls on the outside of the ear-hooks to interact with the glasses and the content, phone-like apps, smart-home and -car controls they are rated to sync with.”

My take: These are much better than Google Glass and Snap Spectacles. Still too nerdy for me though, but they might appeal to someone wearing a Smart Watch. BONUS: here’s the excellent music from the Thunderbird video: Black Math’s Point Blank (Alternate).

Crazy8s deadline coming soon

This Monday, October 25, 2021, at 11:59 pm, is the deadline to apply to Crazy8s on Film Freeway.

Since 1999, Vancouver’s Crazy8s has produced 127 short films. The Crazy8s Film Society exists to provide funding and support to emerging filmmakers to help them produce short films and to train crew and cast.

Each Writer, Directer and Producer team submits a 3-minute video pitch. Forty semi-finalists will be contacted by November 15 to schedule a time to pitch in-person to a jury of industry professionals on either November 20 or 21, 2021.

Next, twelve semi-finalists go into a story editing phase and work with a professional Script Editor.

Then the Top 6 Teams receive almost $50,000-worth of camera, lighting and grip packages, $1000 cash, and mentorship throughout the duration of their 8-day production and delivery of their final films.

The process culminates with a Gala Screening and AfterParty slated for April 9, 2022, in Vancouver.

My take: I’ve seen a number of Crazy8s films over the years and have always been impressed with their professionalism. Highly recommended.

Another reason not to fly right now

PetaPixel‘s Anete Lusina has a good summary of last weekend’s travel news: “Man’s Vintage Camera Mistaken for Bomb, Causes Emergency Landing.”

She reports:

“A passenger flight was forced to make an emergency landing in NYC this weekend after a woman mistook a fellow passenger’s vintage camera for a bomb. The incident reportedly occurred after a woman spotted a fellow passenger scrolling through videos and photos of vintage cameras. She mistook the images of vintage cameras for bombs and believed that the passenger was looking up bomb-making instructions. The woman’s fears peaked after the man pulled out his own vintage camera and began fiddling with its settings — she believed that he was setting a timer on a bomb’s detonator. She then notified a flight attendant and the pilots decided to land in Queens. The suspected terrorist was pinned to the tarmac before authorities figured out he was a camera enthusiast.”

Here’s a visualization of the plane to tower communications:

She concludes with:

“The suspected terrorist was forced to lie face-down on the ground and be searched. His bags were also confiscated and searched, and they only revealed a skateboard and other vintage cameras. After being detained several hours by Port Authority police officers and federal agents, the vintage camera enthusiast was finally cleared of any wrongdoing and released. Port Authority spokesman Tom Topousis said that “The JTTF [Joint Terrorism Task Force], the FBI and the Port Authority Police Department determined that there was no criminality on the part of the passenger and he was released.”

My take: I really want to know what that “vintage camera” was. Also, I found it quite interesting that the witnesses had such different stories. The moral of the story? Don’t fiddle with your f-stop mid-flight? Don’t adjust your aperture on a plane? Maybe just: avoid the U.S. at all costs?

NSI Series Incubator deadline approaches

The NSI (National Screen Institute) is currently accepting applications for their new NSI Series Incubator program. Note: the deadline is October 14, 2021.

Four writer/producer teams with an idea and treatment for a live-action fictional series will receive workshops, mentorships and hands-on training, over eight months to develop their idea and create a $28,000 proof-of-concept film by July 2022.

Applications are welcomed from people who identify as (one or more):

  • Black
  • Indigenous
  • People of Colour
  • Women
  • Lesbian
  • Gay
  • Bisexual
  • Transgender
  • Queer or questioning and two-spirit (LGBTQ2S+)
  • People with disabilities
  • Those outside large urban centres (Montreal, Toronto and Vancouver)
  • People from regional and remote areas and various religious groups

In addition, applicants must:

  1. Be a Canadian citizen or permanent resident living in Canada, aged 18 or over
  2. Have an idea and preliminary treatment for a series
  3. Have demonstrated experience in a writer or producer role
  4. Maintain creative and financial control over the project as well as technical ownership.
  5. Not be a participant in any other training program that would conflict with your ability to commit to the NSI Series Incubator program
  6. Have production or craft experience, or business affairs/legal experience, or marketing/distribution experience, or some combination of these
  7. Demonstrate storytelling ability with past works (i.e.: short film, short story, journalism or another creative writing endeavour)
  8. Commit the necessary time to complete this multiphase training

Your application must include one file that contains:

  1. Project name; format; genre; time frame; setting/location; synopsis (one to two pages); source of series
  2. Producer CV clearly stating production experience: include your role on the production and the following information about each project: the writer/producer; genre; if it was a student film; final running time; any broadcasts/theatrical release/festivals played; is it in development, production, post or completed?
  3. Writer CV demonstrating your storytelling experience: include short film, short story, journalism or another creative writing endeavour.
  4. Producer letter of reference AND writer letter of reference: these letters should help identify why the person providing the reference feels you are ready to develop a series.
  5. Producer letter of expectation AND writer letter of expectation: both the producer and writer should provide a paragraph explaining what they hope to gain by participating in NSI Series Incubator.
  6. Additional letter (if applicable): required for applicants who need to demonstrate their suitability to participate in the program because they don’t meet eligibility criteria.
  7. Series proposal: including: overall concept, seasonal arc, lead character descriptions (maximum of four) and target audience.
  8. Writing sample: (no more than 10 pages) from the writer.

Note: there is a $100 non-refundable application fee per project and $500 tuition per successful participant.

My take: full disclosure: I have never been successful with any of my applications to the NSI. However, I have heard from participants that they highly value the training they received. Although this application is quite lengthy, the $10,000 cash injected into your proof-of-concept short is well worth it, in addition to the training and mentorships. I highly recommend this program to my friends who identify as: Black, Indigenous, People of Colour, women, lesbian, gay, bisexual, transgender, queer or questioning and two-spirit (LGBTQ2S+), people with disabilities, those outside large urban centres (Toronto, Vancouver and Montreal), and/or people from regional and remote areas and various religious groups.

Netflix reveals viewership data

Catie Keck, reporting for The Verge from this year’s Code Confernece, reveals that Ted Sarandos, Netflix’s Chief Content Officer, shared “Top 10” data from the notoriously tight-lipped streamer.

Netflix Top Series and Films by Hours Watched in their first four weeks:

Netflix Top Series and Films by Number of Accounts in their first four weeks:

When we do some back-of-the-envelope math on Bridgerton: Season 1, we can compare the number of people who watched by hour with the number of accounts that clicked through.

The first season’s eight episodes totalled 8.1667 hours in length. 625M hours viewed divided by 8.1667 hours per season equals 76.53M seasons viewed.

82M accounts watched at least two minutes (which seems like a very low threshold to count though.) 76.5M and 82M are relatively close.

Call it 76.5M seasons per account. With my totally unscientific guesstimate of three viewers per account, I figure 230M people watched Bridgerton, which is twice as many as the largest Super Bowl viewership ever.

My take: what is most surprising to me is that I’ve only seen around half of these titles.

Seinfeld and its Movie References

Film scholar Yaron Baruch has just posted Seinfeld and its Movie References.

This is a fantastic side-by-side comparison of famous movie scenes are their recreation in the TV sitcom Seinfeld.

Some of you may be wondering, isn’t that illegal?

In the U.S., this use might be permitted under Fair Use provisions.

In Canada, this use might be permitted under Fair Dealing provisions.

For all we know, they may have secured permission from the original copyright holders to adapt their work.

My take: the clips with Newman (Wayne Knight) in both the original and the episode are brilliant! btw, Yaron has also done Community and its Movie References Side by Side.

TV Series and Music: popularity over time

I love data visualizations!

The American data analyst Data is Beautiful creates scores of data visualizations on their Youtube site Data is Beautiful.

I particularly like The Most Viewed TV series (1986-2020) because it encapsulates decades of my own viewing history.

Another favourite is Best-Selling Music Artists 1969-2019 because once again it compresses fifty years of my listening experience into a tidy ten minutes.

The TV series are the most popular based on the number of viewers per episode on average. The music is ranked by yearly certified record sales and the numbers are worldwide and adjusted to twelve months trailing average.

My take: Imagine if these videos had sound clips matched to the data! Now that would be a trip!