An Extraordinary Universe for Machinimists and Visionary Musicians

I am on a tangent - to see how machinima is being used by a broad spectrum of filmmakers, photographers and laypeople - culturally, technically, and creatively.    Marco Cadioli is a video artist who has experimented with machinima in his latest project.  He is known for taking images from Google Earth, and making creative short pieces.  This time, the Plant Earth is a rotating melon through the use of machinima.  The complete story is available here.



How genius to reconceptualize Earth as a melon through machinima.  Hats off to Marco for introducing many more people to the art and practice of machinima.

There's a whole new universe to explore through machinima.  The DDU - The Duran Duran Universe - launched June 2011, and the visual treats were captured through the artistic lens of machinimist JJccc Coronet.  This self-described "abstract artist" has also been catching a few headlines here and there.  JJ's machinima piece on the steampunk build Petrovsky Flux recently was showcased in New World Notes.  It's an incredible fast moving video, with stunnning images that keeps one engaged throughout.   JJccc has a wonderful keen sense of editing to music and image.  This machinima artist is definitely one to follow.  Two recent works to view are his feature All You Need is Now on the Duran Duran Universe and his interpretation of Lady Gaga's Mother Monster.   This machinimist is a masterful editor and that makes his transitions superb.   What this artist lacks in some minor areas (a few off lip syncs and maybe some of the pieces could be shortened yet would achieve the same effect - I'm being picky picky) is surely compensated by transitions that are fluid.   Music moves the message - cinematically and sonically - forward when done right.   JJccc gets that.

My only pet peeve is for this artist to add credits.  But Machinimist Coronet is not alone there.  Having gone to numerous professional art installations and galleries in RL, I understand that some artists refrain from adding credits, feeling that it takes away from the visual integrity of their piece, preferring to pin an info notecard next to the video monitor.   But it seems machinima, like cinema, as exhibited online on YouTube for example, calls for ending credits to pay tribute to the many people involved in a film.  Machinima has legs and travels everywhere online.  I see it as a mobile video installation.

My side tirade is not intended to take away from the beauty of JJccc's artistic lens. This machinimatographer is definitely an exciting machinimist visually, breathing life into virtual environments, pulsating to the beat of a different drummer, luminating mood with color, texture, lighting, and camera angle, and showing us music machinima can be intense and fun to watch simultaneously.

With Duran Duran's entrance into Second Life, we might anticipate other bands to crossover virtually.   Maybe even Gaga.  In actuality, music like image should transcend our conventions and reach into and extend from our imagination.  For media makers, creativity can be shaped and experienced, but never completely enclosed in any world.  Machinima represents this transcension beyond our Goggle Earth to the larger universe that awaits us beyond an Ordinary World.

For a related article on Duran Duran's visionary and co-founder Nick Rhodes, see the August issue of Best of SL Magazine.  Second Life is a place that offers all to experiment with music, images and motion.  Even those who have already established fame in the mainstream, there is that virtual call toward what is next, what is possible, what if I were to create a new world what would it be like, who would I invite.....

To me, this is the way of machinima, beginning with its backstory of what was, evolving to its capture of what is, and transcending to its cinematic destination of what might be.


You have to look beyond what you see, to understand what is possible.

Sonicity :)

photo credits:
Sonicity Fitzroy - DDU photos:  paparazzi entrance to Club Lipstick, Secret Rehearsal Room (Belinda Barnes), Eye-Shaped Cinema, Lipstick Tower, and press shot (below - DD's Nick Rhodes, DDU's Chrissy Welinder, Lowe Runo and Sonicity Fitzroy) from Nick Rhodes' interview.
Cover image courtesy of Best of SL Magazine and Duran Duran.

Forthcoming, Machinima: The Art & Practice of Virtual Filmmaking (McFarland, Fall 2011) by Sonicity Fitzroy and Lowe Runo (Forward by Persia Bravin). The Professional Machinima Artist Guild graciously provides syndication of Sonicity’s blog Magnum: The Machinima Review to AviewTV.com

3rd Annual Cheesecake USA Machinima Tribute

Happy Fourth from Sonicity

The old adage is a picture is worth a 1000 words.   So I suppose a video falls within that category to some extent, as a moving image.  This is my third annual Fourth of July CHEESECAKE Virtual Tribute Video.  You might argue whether or not you consider this worthy of viewing, and I would not debate you on that.  But I would add, always be sure to have fun with your tools.

Media making should be fun, and sometimes you just have to play.  If you love media, you will breathe life into all you do.   My biz partner, Lowe Runo, and I recently completed the book, Machinima (due out later this year) - and you know what - I needed a break!!!   I didn't go anywhere this holiday, no exotic travels not even in SL, but I had a good time filming my friends and editing, and I feel all the better for it.

This machinima is merely intended as a fun video of celebration of good times with friends.  Pushing aside politics for a weekend, and economc woes, and definitions on the art and practice of machinima , I am merely focusing on the fact that it is the USA's birthday weekend.   This is how I choose to celebrate the Fourth of July.  I hope you smile a bit, and maybe think "What if - what if - I did a silly video with my machinima skills.  Do I dare?"    My lesson in this column - never forget how to have fun with media, no matter if it is machinima, radio, photography, etc.

Catch my TRIBUTE MACHINIMA on FLICKR.  And Happy Fourth of July to Americans whereever you are.  And to the rest of the world, may you find something special in your life every day.

Sonicity


Forthcoming, Machinima: The Art & Practice of Virtual Filmmaking (McFarland, Fall 2011) by Sonicity Fitzroy and Lowe Runo (Forward by Persia Bravin). The Professional Machinima Artist Guild graciously provides syndication of Sonicity’s blog Magnum: The Machinima Review to Aview.TV/Sonicity/

Happy Happy Rez Day, Lowe Runo

A tribute to Lowe Runo, founder of the Professional Machinima Artist Guild and the Second Life Machinima Artist Guild.

You say it's your rez day.  Whoot!  Whoot!
Saying Happy 5th Rez Day to Lowe Runo, of Lowe Runo Productions LLC.  As you most likely know, Mr. Runo is my book co-author and biz associate in the machinima and media world.

We just learned today from our publisher that our book cover has been completed! That's a nice surprise for Lowe on his special day!

http://www.mcfarlandpub.com/book-2.php?id=978-0-7864-6171-4


:)  Soni


BTW, here's Lowe's thank you video to all his friends, a reflection of his five years in SL.
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Forthcoming, Machinima: The Art & Practice of Virtual Filmmaking (McFarland, Fall 2011) by Sonicity Fitzroy and Lowe Runo (Forward by Persia Bravin). The Professional Machinima Artist Guild graciously provides syndication of Sonicity’s blog Magnum: The Machinima Review to Aview.TV/Sonicity/

Virtual Success for the 3rd Annual MaMachinima Festival

Once again, producers, performers, and supporters gathered together for a world-wide screening of machinima in all its forms.  The MaMachinima Festival ran Saturday, June 18 to Sunday, June 19 (Friday/Saturday, RL) in Second Life at The Linden Endowment of the Arts Theatre.   This screening is extremely critical in that it celebrates the depth and breadth of machinima, in all its styles and production platforms.   Chantal Harvey (above), founder and CEO of the MaMachinima International Festival (MMIF), is instrumental to the coordination of this real life, real time event in Amsterdam as well as in Second Life.   Amsterdam, as a RL mecca for machinima, has become pivotal as a location for the annual screenings, with Chantal having worked as a filmmaker there during her career.  

But also this festival speaks to the artistic potential of the film form, machinima in and of itself, given that Northern Europe has had a long tradition of forwarding art through new technologies.  Overall, more than 50 short films were featured.  The producers came to center stage to discuss their motivations behind their machinima stories and their technology practices to their fellow filmmakers and viewers internationally.   

It was good to see machinimists Phaylen Fairchild, Pooky Amsterdam (and her associates), Toxic Menges, Al Peretz, AnimaTechnica Ataro Asbrink, Cecil Hirvi, jjcc coronet, Flimsey Freenote, Hypatia Pickens, Kate Fosk, Larkworthy Antfarm, spyVspy Aeon, and others on stage and/or among the filmmakers in the audience.  

I attended, along with Machinima Artist Guild Founder Lowe Runo, to see the works of so many good and talented people who have helped to mature the art and practice of machinima, and in doing so we hoped to pay tribute to those who contributed to our forthcoming book on machinima this fall.   

 The MMIF was a virtual feast of all genres of machinima, showcasing hours of films made through Second Life, but a significant portion of the festival was dedicated to those machinima made through Moviestorm and iClone.    The audience loved it all - no matter the platform!

MMIF is a reference point for those interested in machinima filmmaking.  The selections capture the range of machinima’s potential as a technology and storytelling agent. So many stories came to life during the festival, projected on the big screens within the beautiful LEA dome theater as the viewers immersed themselves into the visual treats before them.    

 Breathtaking and credible, to hilarious and engaging, so much talent in one room – thanks Chantal and your crew for making this possible.  I have no reservations saying, "no Buts about it, a wonderful event" - once again!!!

  

And special thanks to Aview.TV founder for being supportive of machinima.

For more information about the annual event and other machinima activities sponsored  by Chantal Harvey, refer to the organizational site at http://MMIF.org.

Kudos to all involved!  Look for more pics in the July issue of Best of SL Magazine :)  Soni

Forthcoming, Machinima: The Art & Practice (working title, McFarland, 2011) by Sonicity Fitzroy and Lowe Runo. The Professional Machinima Artist Guild graciously provides syndication of Sonicity’s blog Magnum: The Machinima Review to Aview.TV/Sonicity/

First Ladies of Lighting: The Original Windlighters

Jennifer Tipton is one of the First Ladies of Lighting.  I am not talking about the invention of electricity or any gadget.  Tipton, as one of the first women light designers, found a way to fuse fog and light in a brilliant manner to set the stage ablaze.   I am honoring a woman who is internationally renowned in her field of expertise - lighting for the stage, studio and dance.  Although she has no affiliation with Second Life, to me, she is one of the original windlighters.  Let me explain...

We rarely think what's behind the magic of cinema.  Magic - in all its broadness and derivatives - is the idea behind this year’s Second Life 8^th Anniversary beginning June 21^st.  Second Lifers, in particular, are so accustomed to technology and special effects that we take magic for granted.   

Women in the Spotlight
The history of lighting is a fascinating study, and it is amazing to hear the stories of those early women pioneers in lighting such as Loie Fuller (1852-1928) and Jean Rosenthal (1912-1969).  It is both AMUSING and AMAZING to see the magic behind what was accomplished so long ago for what we can do now much more easily with computer technology.   Yet, I venture to say some of their tricks are relevant today, and it is always good to learn from the masters of the trade.  For now, however, I must press forward with a bit about another talented woman of light, Jennifer Tipton.   For more about Fuller and Rosenthal, go to The Light Fantastic.

Why Ms. Tipton? 

I was invited to write several entries for The Multimedia Encyclopedia of Women in Today's World.   I am a professor, so that is what I do sometimes.  Occasionally I come across a fascinating individual, and the project takes on new meaning.  I begin to see parallels in their career with other media makers and innovators of technology.    Tony Award winner Jennifer Tipton was my assignment, among other leading ladies of media.   Tipton’s talent in lighting is well known in the worlds of dance, opera and theater.   

Think The Nutcraker for stage and television, then think The Paul Taylor Dance Company, The Metropolitan Opera, the American Ballet Theatre, and so forth, and you will begin to understand how accomplished she is as a lighting designer.    She is known for her use of color and ability to make lighting breathe and dance on stage and film.   She has more than once stated that light is visual music.   It is no surprise then - that now 73 - she is also renowned for her lighting expertise in multimedia interactive performances.  She recently worked with Indonesia artist/dancer Sardono W. Kusmono.

White Magic

Next time you see white light and machine fog envelope a stage or a scene in a movie, think of Ms. Tipton.  In her case, she sought a way to cloak the entrance and exit of the dancers on stage.   Believe it or not, it was a revolutionary application of an existing technology, and it was used In The Upper Room (1986), performed by The American Ballet Theatre at New York City’s Center:


“The dancers are invisible until they are picked out by Tipton's precise, razor-sharp lighting. It's a simple effect, familiar to anyone who has driven a car on a foggy night,” explains art columnist Michael Bierut.  He continues, “[I]n the hands of this brilliant designer the results are as mesmerizing…dancers seem to materialize out of nowhere before your eyes every few seconds. Tipton's lighting is the kind of magic that delights you even when you know how exactly the trick works.”

It is not a matter of unleashing smoke across a space; it is the talent to be able to craft it within the lighting design.  I am not crediting her for creating the smoke machine but merely illustrating here how she thought out of the box – and how lighting can be crafted within an environment.  By the way, the first fog machine was introduced in 1979, with little history to be found on the inventor.  Lighting has always been a bit of trickery among the best lighting designers.

Mood Lighting

To Tipton, light is an emotional experience, and she is able to sense it like one would hear music.   That is her analogy, not mine. She has trained many of the prominent lighting designers, and won the MacArthur Foundation’s Genius Award and the Dorothy and Lillian Gish Prize for her exceptional skills and passion in her field.   She became intrigued by lighting during college, and it was a path few take, and perhaps it seemed less glamorous to many who would prefer center stage. Yet she caught the attention of the world, and made a career out of a road less traveled. 

Future Lighting Designers
It is something to think about as machinima filmmakers.  What might you contribute to the field of machinima?  Sometimes we get caught up wanting to be the producer or the talent, but in reality there might greater talents within us – if we consider what we really like about the process of making a film or bringing a theatrical event to life.    What is it that we enjoy most about watching and producing a film or live production: is it the sound, lighting, costumes, writing, animations, etc.? 

Tipton has prepared countless students on the magic of lighting at the Yale University School of Drama, but remains active in her profession.   Simply put, you might say that Jennifer Tipton still lights up the stage, the studio and the world.  

Further Readings
Acclaimed Theater Lighting Designer Jennifer Tipton to be honored with the 2001 Dorothy and Lillian Gish Price, http://gishprize.com/pdf/2001_tipton.pdf

Bierut, Michael. Designing Twyla Tharp’s Upper Room. The New Design Observer, November 6, 2005, http://observatory.designobserver.com/entry.html?entry=3797

Jennifer Tipton. MacArthur Fellows. Mac Arthur Foundation, September 2008, http://www.macfound.org/site/c.lkLXJ8MQKrH/b.4537293/

Stoudt, Charlotte.  Jennifer Tipton lights up REDCAT, and many other stages.  Los Angeles Times, Entertainment, September 11, 2010, http://latimesblogs.latimes.com/culturemonster/2010/09/jennifer-tipton-at-redcat.html


The light fantastic - Fuller, Rosenthal & Tipton: beginning with Loie Fuller in the nineteenth century, dance has pioneered the development of twentieth-century stage lighting, http://www.thefreelibrary.com


http://wn.com/Jennifer_Tipton (Jennifer Tipton interview video)

Photography by Sonicity, and thanks to model Bel Barnes for helping out with the shoot. 


Until next time....

:) Soni


Forthcoming, Machinima: The Art & Practice (working title, McFarland, 2011) by Sonicity Fitzroy and Lowe Runo. The Professional Machinima Artist Guild graciously provides syndication of Sonicity’s blog Magnum: The Machinima Review to Aview.TV/Sonicity/