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.

Google wants you to have the best selfie

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Building on last year’s GIF builder, Motion Stills, Google Research has just released two more ‘appsperiments‘ in time for your holiday merriment: Scrubbies and Selfissimo!

Scrubbies lets you “shoot a video in the app and then remix it by scratching it like a DJ. Scrubbing with one finger plays the video. Scrubbing with two fingers captures the playback so you can save or share it.”

Selfissimo! lets you “tap the screen to start a photoshoot. The app encourages you to pose and captures a photo whenever you stop moving. Tap the screen to end the session and review the resulting contact sheet.”

Are you worried that taking so many selfies might give you “selfitis” and turn you into a narcissist? Well, don’t. Snopes disproved that potential mental disorder.

What I love about Selfissimo! is that by taking the photos for you, it gives you more of a true photo session experience, heightened by the fact it only shoots in black and white. Think of the photo shoot scene in Austin Powers ‘The Spy Who Shagged Me’, which itself is homage to the photo shoot scene in Michelangelo Antonioni‘s 1966 masterful film ‘Blow-Up’.

My take: I highly recommend Selfissimo! because it’s so much fun! Here’s to a great 2018, everyone!

Discoverability guide published

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Andra Sheffer‘s Independent Production Fund just gave everyone an early Christmas present.

It’s a PDF entitled ‘Be Discovered!’

Download this right away and learn a new strategy to help your work find its audience on the web — one that goes beyond Search Engine Optimization (SEO).

To summarize, the strategy is:

  1. Create an IMDb page
  2. Create a Wikipedia article
  3. Add JSON-LD Schema to your website pages

I know you’ve heard of IMDb and Wikipedia, but you might be scratching your head when it comes to the third thing.

Simply put, schema is one way of adding metadata (tags) to your data (content) so search engines will understand it better and index it properly. This is known as the semantic web.

Luckily there are a couple of free tools from Google to help you:

You use the first one to quickly tag an existing page to create movie schema code you can add to the page, and the second one to double check that the new code is working without errors.

Andra says if you follow this strategy:

“Ideally, all those ‘knowledge cards’ that pop up on the right side of your search screens or as the priority recommendation on mobile devices, will be Canadian web series, resulting from the use of these techniques and the metadata relationships that are discovered by search engines.”

My take: I love it when I learn something new, and the code for semantic indexing of your web content is new to me. Looks like I’m gonna be busy updating my webpages this holiday.

Battling AI’s create new realities

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The adage “Seeing is believing” is no longer true.

Three researchers, Ming-Yu Liu, Thomas Breuel and Jan Kautz, working for Nvidia, have created an AI that can generate life-like images.

In their system, multiple neural networks learn together by trying to fool each other with better and better solutions to the problem at hand. These are generative adversarial networks or GANs.

See their paper and GitHub. A sample below:

My take: this is kinda scary. Neat to think of “environmental” filters to add to genuine footage (think Nighttime, Winter, Rainy, etc.) but that this technology can create genuine-looking unreal footage is downright Orwellian. How do we distinguish true from fiction, real from fake? The only conclusion is that everything is now suspect. Sad.

The Attention Economy and the blockchain

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Five years ago, I was thinking about a semitransparent way for creators to get paid for their work on the Internet.

Now, someone’s come along and made my dream a reality. And thrown in the blockchain and a cryptocurrency to boot.

Synero, based in Israel, is…

“…developing tools which allow content creators to easily monetize original works without having to turn their channels into advertisment real estate, while granting their followers the opportunity to be rewarded for getting the word out. Simply put, the attention you generate online is worth money. The better the content you create, the more followers you have, the more attention flows around you. Synereo’s applications and monetary models enable you to tap into this resource and reap the fair share of what you create online. Not a content creator? In a world overloaded with information, good taste is as valuable as creative talent. Help curate quality content, and earn your share by promoting creators you appreciate.”

That’s interesting enough. That they intend to use the blockchain and a cryptocurrency to accomplish their goal makes this super-interesting. They have a phased roadmap to accomplish it all.

To be honest, there’s a whiff of a ponzi scheme about the way compensation is distributed.

But wait, there’s more! You won’t get paid in cash, but in a new cryptocurrency called AMP. Super legit, right?

Here are a three more charts on the AMP altcoin.

If you want to do this today:

  1. Get the Chrome Extension
  2. Sign up as a WildSpark Creator

Before you pooh pooh this, see what CMF Trends has to say about them.

My take: I think the frictionless compensation the blockchain could deliver to creators (and potentially influencers) would go far in acknowledging their contributions to the sharing economy. Will it be WildSpark? Not sure. Will the old economy kick and scream about any and all disruption? For sure!

Become a Film Patron today!

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My buddy Bryan Skinner needs your help.

He’s making his first feature mockumentary in February 2018 and to do so he’s raising money now.

“Open for Submissions” is about the shenanigans at a film festival, so it’s only natural that Bryan would hold a “Best of the Worst” competition to get the “bad” films he needs. Of course, I’m up for that challenge.

See the trailer for my entry, “The Dolphins”:

Here’s Bryan’s pitch video for “Open for Submissions”:

And here’s Bryan’s project video for “Open for Submissions”:

My take: I have supreme confidence in Bryan and his team being able to complete this project. If you are a filmmaker or you know creative people making art, you should back their vision and become a film patron. It’s easy and you will feel great!

Seeing is not believing

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At the recent Adobe Max conference, one of the sneak peeks really caught my eye: Adobe Cloak.

This “content aware fill for video” is amazing and could be revolutionary if it ever sees the light of day in a product or service.

It’s powered by Adobe Sensei and it works by imagining what’s underneath the objects you want to remove.

By the way, if you want to do this today, you can use the Remove Module in Mocha Pro.

My take: the ease and speed of this is literally astounding. There were lots of great sneak peeks this year, including SonicScape for 360/VR sound editing. First come the tools, then comes the art.

Canadian media wants your eyeballs

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We’re in a battle for eyeballs. Discoverability is the new holy grail.

Whether it’s through mobile apps or websites, Canadian media companies and the cultural sector want you to watch our stuff, eh.

Witness the latest effort: Encore+. Find it on Youtube online or in the Youtube app.

You’ll find weekly playlists of everything from Mr. Dressup to Degrassi Junior High to Da Vinci’s Inquest. Plus over 60 features (and counting).

Encore+ is an industry engagement initiative of the Canada Media Fund.

But there are at least three other Canadian sites vying for your attention:

Then there’s the beloved National Film Board of Canada. They’ve gone it alone, hosting their own productions on the web and in apps.

Of course, there’s the Canadian film and television industry. See this great summary of where to watch in Canada.

Can these sites and apps take on streaming services, like Netflix and Amazon Prime Video? We’re back to the battle for the eyeballs.

My take: Time will tell if any of these destinations get traction. In the meantime, my favourite way to watch is to Chromecast from a mobile device to our big screen TV in the living room. See this list of all the apps and websites that support Chromecast.

Curating the indy film audience

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Courtney Sheehan, writing on The Independent, believes Art House Streaming Platforms [are] Uniquely Poised to Build Online Film Communities.

I’ve been thinking about curation and the mediascape. In the analogue era, the centralized control of media curated what we saw because its dissemination had gatekeepers. We couldn’t watch what wasn’t on offer. Contrast that with the digital era — we’re drowning in choice. Perhaps curation is one way to focus on quality.

Courtney’s article has three sections.

She begins with FilmStruck, a US-only collaboration between Turner Classic Movies and The Criterion Collection:

“The Criterion Channel features ongoing curated series like a short and feature pairing on Tuesdays and a Friday night double feature. Original content includes deep dives into film analysis, spotlights on art house theaters across the country, in-depth film introductions, new film commissions, and filmmaker interviews. By layering the viewing experience with additional content, the Criterion Channel hopes to invite viewers to sophisticated conversations about film.”

She then moves on to MUBI, an online streamer with a unique model: a new film is made available each day and no films stay up for more than 30 days:

“MUBI champions festival films that wouldn’t otherwise get distributed, and regularly mounts retrospectives. Another facet of MUBI’s strong brand is The Notebook, an online magazine that contextualizes its releases as well as providing general festival coverage and filmmaker interviews. Given the highly curated and diverse offerings on MUBI’s site, the company is confident in their continued ability to cut through the noise of limitless options to reach film lovers online.”

She concludes with social media by quoting Alece Oxendine, a digital distribution specialist, saying:

“‘Twitter is the rapid response, the stream of conscious thoughts about film. Facebook is more the share economy, everyone is sharing what they’re finding out. More context is provided on Facebook. Conversations are definitely happening on Reddit but it still feels new, which is crazy because as a platform it makes the most sense for community — the threads, the subthreads, you can get very, very granular where you’re just discussing film.'”

Interestingly, Courtney points out that “MUBI, Criterion, and IMDB have all shuttered their message boards and forums in recent years.” She also reports that MUBI offered 60-day free trials to the members of /r/truefilm on Reddit to bolster their audience.

My take: FilmStruck and MUBI both sound like digital versions of the repertory cinema chain I worked for in the early eighties, Festival Cinemas. They can provide needed context for viewers. Got to admit I have not explored Reddit in any depth. Interestingly, it’s purely text-based.

Copyright infringement case contends Hollywood CGI characters are illicit derivatives

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Eriq Gardner, writing in The Hollywood Reporter, reports on the curious case of the alleged copyright infringement of stolen software output of CGI characters by some of the biggest studios.

The case was brought forward by Steve Perlman and his Rearden Companies. They claim their proprietary facial movement capture software, MOVA, was stolen by two Chinese companies and then licensed to Disney, Fox and Paramount.

See their opposition to the motion to dismiss.

Rearden previously received an injunction to stop Hollywood companies from using MOVA while its ownership was being contested.

My take: This could be huge, if the judge agrees with the case. But it would boil down to money — and how much the studios would have to pay to get their characters back. Perlman must be pretty upset about the Chinese companies ripping off his software though. After all, this is the creator of WebTV, one of the first set-top boxes for TV connectivity to the Internet. He’s a serial disruptor who’s still working on improving connectivity. See this pCell interview.

Netflix to spend $8 billion on content in 2018

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Two stories about Netflix and content this week:

According to Mike Fleming Jr on Deadline Hollywood Netflix is bankrolling the Shaft reboot in exchange for international rights.

“Netflix will pay more than half the film’s high $30 million budget, in exchange for international rights and the ability to put the film on its streaming outside the U.S. two weeks after New Line releases theatrically in the United States. The film will begin production in December. New Line and Netflix were not commenting, but sources said the film will follow a traditional domestic roll out from theatrical to SVOD and DVD through the Warner Bros machine.”

Brandon Katz reports on the Observer that Netflix is planning on spending $8 billion next year.

“Netflix dropped a cool $6 billion on content in 2017 alone and is planning to shell out a whopping $8 billion next year, $1 billion more than previously planned. While the company’s long-term forecast is a bit cloudy with a growing $20 billion debt looming over its head, the short-term prognosis is bright and sunny. The streaming giant added 5.3 million new subscribers in the last quarter, crushing its own internal goal and raising its worldwide total north of 104 million.”

See the investor relations shareholder letter for details.

My take: these stories are interesting because Netflix now has more paid international subscribers than paid US subscribers and demonstrates its commitment to producing more and more original content. There’s no denying internet television is the future.