Author Archives: Michael Korican

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.

Hollywood Writers and Actors on strike together for first time in 63 years

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Katie Kilkenny and Winston Cho report in The Hollywood Reporter that Actors and Writers Make History With Bid to Reshape Industry in Hollywood’s High-Stakes Strike.

They lead with:

“On July 13, SAG-AFTRA, led by president Fran Drescher, called the union’s first strike against film and television companies in 43 years. Combined with Hollywood writers ongoing strike, the work stoppage — applying to 160,000 members, from actors to singers to dancers — marks the first simultaneous strike by the two unions since 1960, in a sign of an industry in tumult.”

In a redefined industry that now embraces streaming, the issues are pay, residuals, benefits and — AI.

“During the 2023 round of negotiations, the union has been seeking to codify consent and compensation terms for performers when their work is ingested into AI technology, and create guardrails around potential uses. The AMPTP said it offered a ‘groundbreaking AI proposal which protects performers’ digital likenesses, including a requirement for performer’s consent for the creation and use of digital replicas or for digital alterations of a performance.’ Duncan Crabtree-Ireland, SAG-AFTRA’s chief negotiator and national executive director, on July 13 denounced the proposal for only paying background performers for one day of work in exchange for the rights to their digital likeness ‘for the rest of eternity with no compensation.’ He added, ‘If you think that’s a groundbreaking proposal, I suggest you think again.'”

USC history professor Steve Ross, who studies entertainment labour, says this time there’s an “existential threat to writers and potentially to actors. This is no longer just about improving your wages and your benefits. This is about keeping your job in the future.”

My take: Workers of the world, unite!

A Better Green Screen

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Devin Coldewey reports on TechCrunch that Netflix’s AI-assisted green screen bathes actors in eye-searing magenta.

Netflix researchers have described an experimental way to create more accurate green screen mattes. They propose lighting subjects with magenta light in front of a green background. Devin says:

“The technique is clever in that by making the foreground only red/blue and the background only green, it simplifies the process of separating the two. A regular camera that would normally capture those colors instead captures red, blue and alpha. This makes the resulting mattes extremely accurate, lacking the artifacts that come from having to separate a full-spectrum input from a limited-spectrum key background.”

Once the mattes are created, green information needs to be added back to the subjects. The solution? AI. It learns how to do this task more accurately than a simple green filter:

Read the full paper here.

My take: Not quite ready for prime time, especially if actors need to perform under magenta lights.

How to Make a Better Movie Trailer

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Nerdstalgic asks, “What Killed the Movie Trailer?”

They say:

“Movie Trailers may have started out as a tool to sell films, but over time they have evolved into their own spectacle. Before a film is released there are a multitude of Theatrical Trailers, TV Spots, Web Shorts, and even Trailers before the Trailer starts. How did Hollywood turn from a simple marketing tool, to a an ever expansive industry of movie trailers that mostly give away the entire plot of the film? How did Hollywood crush the Movie Trailer?”

Vanity Fair provides more background on How Movie Trailers are Created:

“Movie marketing expert and creative director Jessica Fox takes us through the steps of creating a successful movie trailer. From the collaborative process that takes place between filmmakers, studios and creative agencies to audience testing, she breaks down how each play a role in deciding how much is shown, what stories are told, and why trailers tease missing scenes from the film’s final cut.”

My take: I think the job of trailers is much harder today than in the past, given the fractured entertainment environment and peoples’ frenzied attention spans. And yet the goal remains the same: get folks to watch the whole movie. But I think the “Exquisite Corpse” might-as-well-be-a-random-sampling-of-the-movie trailer editing method is not working well. (Imagine if they did that with books — a word salad of the paragraphs from five pages of a four hundred page novel.) I much prefer the “In a world where…” trailer structure that is once removed from the film but still sets up the premise and asks the audience a question, one that they can only answer if they watch the movie. Oh, and my pet peeve? I feel cheated if the music in the trailer is not in the movie.

Academy makes it harder for indies to qualify for Best Picture in 2024

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Josh Rottenberg and Glenn Whipp report in The Los Angeles Times that The Oscars are changing the rules for best picture.

The Academy of Motion Picture Arts and Sciences announced the news on Wednesday, June 21, 2023:

“The Academy’s Board of Governors has approved new requirements to broaden the public theatrical exhibition criteria for Oscars® eligibility in the Best Picture category starting with the 97th Academy Awards®, for films released in 2024.
Upon completion of an initial qualifying run, currently defined as a one-week theatrical release in one of the six U.S. qualifying cities, a film must meet the following additional theatrical standards for Best Picture eligibility:

  • Expanded theatrical run of seven days, consecutive or non-consecutive, in 10 of the top 50 U.S. markets, no later than 45 days after the initial release in 2024.
  • For late-in-the-year films with expansions after January 10, 2025, distributors must submit release plans to the Academy for verification.
  • Release plans for late-in-the-year films must include a planned expanded theatrical run, as described above, to be completed no later than January 24, 2025.
  • Non-U.S. territory releases can count towards two of the 10 markets.
  • Qualifying non-U.S. markets include the top 15 international theatrical markets plus the home territory for the film.”

My take: These new rules begin in 2024, for Best Picture contenders in the 2025 awards. It’s interesting to compare the number of theatres for winners Everything Everywhere All At Once, The Whale and Nomadland.

The Elevation Pictures Playbook

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Etan Vlessing reports in The Hollywood Reporter on Elevation Pictures’ 10-Year Journey to Canadian Indie Powerhouse.

He notes:

“As an indie distributor, Elevation competes in the shadow of Hollywood studios dominating the local multiplex with star-driven tentpoles by embracing indie filmmakers in Canada and international art house titles.”

“Many of Elevation’s potentially zeitgeist-capturing releases come via output deals with American partners, including Black Bear, Neon and A24, with whom Elevation is a preferred partner north of the border.”

“In all, Elevation releases about 35 indie titles a year, with a third of those locally produced or acquired at festivals on completion that hopefully will become box office winners.”

“Key to Elevation’s proven playbook is that focus on financing homegrown directors and their films, with support from local funding agencies like Telefilm Canada to share the risks and rewards on what can be an uphill battle to launch and monetize Canadian indies.”

My take: I notice on Panoscope that Elevation is almost always the leading Canadian distributor each week.

 

Movie Posters from Ghana

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Joseph Foley admits on Creative Bloq that “I can’t get enough of these incredible Ghanaian film posters.”

Posters advertise movies. Thirty years ago in Ghana, the mobile cinema scene (entrepreneurs with vans, generators, TVs, VCRs and collections of VHS videotapes) needed posters to advertise their screenings. Hence the Ghanaian Film Poster.

Deadly Prey Gallery in Chicago sells prints of these posters. You can also commission the artists.

My take: these posters are fantastic!

Streaming films are pirated immediately

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Tyler Aquilina reports in Variety on The Most Pirated Film Titles of 2022.

“Exclusive data provided to Variety Intelligence Platform by piracy-focused research firm Muso measured 2022 activity across a wide range of piracy sites, including illegal streaming, torrent, web download and stream-ripping platforms. The results reveal that superhero films held a dominant share of illegal viewing in 2022, with Marvel and DC releases collectively accounting for 70% of piracy demand (that is, illicit streams, downloads and the like) for the top 10 most pirated film titles of the year.”

Here are the top ten 2022 most pirated movies:

  1. Spider-Man: No Way Home (21%)
  2. The Batman (13%)
  3. Doctor Strange in the Multiverse of Madness (10%)
  4. Thor: Love and Thunder (9%)
  5. Black Adam (9%)
  6. Uncharted (8%)
  7. Eternals (8%)
  8. Top Gun: Maverick (8%)
  9. Jurassic World Dominion (7%)
  10. Encanto (6%)

“Spikes in a film’s piracy tend to coincide with its release on digital platforms, which enables the availability of high-quality pirated streams or downloads, as opposed to bootleg ‘cam-rip’ versions illicitly recorded in a theater.”

My take: there are two takeaways for me here: 1) once a film streams, it will be pirated immediately (not sure about VOD though,) and therefore 2) theatrical distribution is still a viable way to generate revenue and word-of-mouth for a film.

Save the Pic-a-Flic Video Collection!

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SIGN THE PETITION NOW!

Roxanne Egan-Elliott reports in the Times Colonist that Victoria’s Pic-A-Flic Video is closing after 40 years:

“Pic-A-Flic Video, one of the last places in Greater Victoria to rent a movie or TV series, plans to close its doors in September after four decades. Opened in 1983, Pic-A-Flic has more than 25,000 titles, from silent movies to new releases, most of which are not available on streaming services or anywhere else, owner Kent Bendall said.”

What to do with all those DVDs?

A change.org petition says: “We cannot allow this collection to be scattered to the winds without having a serious conversation about how it could be permanently housed by UVic and the Greater Victoria Public Library.”

My take: I have a modest proposal! How about the RBCM buy the collection AND hire Kent Bendall to continue operating a video store from Old Town or some other suitable space?

Original Wilhelm Scream Digitally Preserved

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Craig Smith, blogging on Freesound, relates the fascinating story of how he discovered and digitally preserved over 1,000 vintage sound recordings, including the infamous Wilhelm Scream.

Each original sound was on a roll of 35mm magnetic acetate film; these were transferred to audio tape in 1990. Craig explains what happened next:

“I got the SSE tapes from the USC Archive in 2016. It was immediately clear that these tapes had a big problem. They were recorded onto used Ampex tape from the 1980s. Tape manufacturers changed their formulations in the early ’80s, and it turned out these new tapes were very unstable. They started to display what became known as Sticky Shed Syndrome. (Google it.) When this happens, the glue that binds the magnetic oxide to the plastic base becomes sticky, and separates. This makes the tapes virtually unplayable. Fortunately, there’s a temporary fix. Tapes can be baked for several hours at a low temperature in an oven. So that’s what I did. Each tape was baked at 150ºF for four hours, then cooled for four hours. This made the tapes stable enough to transfer using my Nagra 4.2 full track recorder.”

Here’s the direct link to the web page with Man Eaten by Alligator, Screams: https://freesound.org/people/craigsmith/sounds/675810/

By the way, here are the movies listed in the compilation above:

0:15, 1:03 – The Venture Bros. (2004, 2008)
0:21 Aeon Flux (2005)
0:27 Star Wars I: The Phantom Menace (1999)
0:33 Team America: World Police (2004)
0:39 Star Wars IV: A New Hope (1977)
0:46 Spaceballs (1987)
0:54 Lethal Weapon 4 (1998)
1:09 Hellboy (2004)
1:18 Star Wars VI: Return of the Jedi (1983)
1:26 The Animatrix (2003)
1:33 Sin City (2005)
1:39 Batman Returns (1992)
1:46 Lord of the Rings: The Return of the King (2003)
1:52 Howard the Duck (1986)
1:59 Family Guy episode “North by North Quahog” (2005)
2:06 Raiders of the Lost Ark (1981)
2:14 Star Wars Holiday Special (1978)
2:22 King Kong (2005)
2:29 Toy Story (1995)
2:37 Indiana Jones and the Temple of Doom (1984)
2:43 Wallace and Gromit in Curse of the WereRabbit (2005)
2:51 Angel episode “The Cautionary Tale of Numero Cinco” (2003)
2:57, 3:16 Kill Bill, Vol. 1 (2003)
3:04 Lord of the Rings: The Two Towers (2002)
3:11 Angel episode “A New World” (2001)
3:23 Drawn Together (2004)

And, finally, here’s the original in context, in Distant Drums (1951):

My take: the original meme! I’ve used it too, in a pitch video of all things!

Is Ben Affleck a socialist?

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Amos Barshad, writing for WIRED, reports Ben Affleck Has a Plan for a Fairer Streaming World. (Spoilers in trailer below.)

The article is fascinating because it briefly explores Capitalism, Socialism, and fair pay in an economic environment where streaming has vastly reduced the likelihood of residuals.

Of course, Affleck‘s new streaming project, Air, concludes with Michael Jordan becoming the richest athlete ever, due to profit participation. Spoiler: Jordan gets 5% of every pair of Air Jordans sold anywhere in the world. To date, this has amounted to over $1.3 billion.

He quotes Affleck:

“Air, in many ways, is critiquing that aspect of capitalism which historically has been exploitative or patently unfair because it’s rooted in a notion that says, well, if you invest the capital, you get the reward. That needs to change. That’s what I’m trying to accomplish, and that’s what the WGA is trying to accomplish in a much bigger way. If we are going to practice capitalism, which has led to real iniquities, at the very least we ought to recognize the human beings who actually do the work and create a better world. They should be rewarded at least as well as the investors.”

I know of at least three ways cast and crew can share in potential profits:

  1. Shares: own a slice of the production company that owns the project (and all the related corporate drama that might arise)
  2. Deferrals: accept less (or volunteer your efforts) in exchange for a promise of greater pay later when the project makes a profit (if it ever does)
  3. Points: own a percentage of the projects profit, subject to previous payouts in the “waterfall.”

All risky. (The UK seems to have a tax scheme similar to the one Canada used to have that mitigates film investment risk.)

My take: I’ll leave the last words to Ben Affleck: “It’s been the greatest pleasure to see people capture bonuses based on their own work, that reflects their merit — and to not have people feel like anonymous drones. I’ve worked in this business for a long time. I know that anyone who’s really good has put their work before their self-interest as a matter of course. But they want to be empowered.”