₂ IMPULS: Virtual Worlds

For this second impulse I listened to a Ted Talk about virtual worlds, and how people experience them in different ways. The talk was split into three sections, each being an interview of someone telling the listener about their unique stories. This will be a short summary of their parts, followed by a summary of the topic.

The first interviewee is Wes Looker, a writer from a small rural town in the US. He recalls his experience growing up, being the smallest guy in school and often getting bullied. Because of this, he found himself retreating into his own fantasy worlds and reading books to escape into other places in his mind. He did this until 1998, when Ultima Online was released. It was one of the first online multiplayer games, which allowed him to connect with people from all over the world. He played the game for the next 5 years, which allowed him to look past his small town, even learning lessons for life while growing up with the game, all through his virtual connection to others.

Cass Marshall is a writer at polygon, and she talks about her story next. Her general message is much of the same as the first one. She used the online game Sea of Thieves as a counterpart to being bullied and dealing with being on the spectrum. For those reasons she felt more at ease in online environments, where she met 2 other people with whom she grew closer sharing online memories in games. In these safe spaces she could leave her comfort zone and be herself around them, exploring her identity and grow as a person. Through this she learned not to see the physical and virtual as something separate, as in both of these worlds the people are the same, making the barrier almost nonexistant in the end.

The last story is the one of Russel Quinn. Russels grandmother and mother died in the same year, while he also had to undergo surgery to remove a kidney stone. Russel had been making interactive stories before, and also found himself using this hobby to help himself deal with these tragic events. He spent the next 3 years rebuilding his last year with them as a game. While his wife was worried that dealing with it this way would be unhealthy, he immediately felt at ease when being taken there through his 3d work. He recreated game mechanics according to what had happened to him and his family during that time. In the game you play as all 3 characters: Russel, Linda and Jone. Toggling between their perspectives, you take the role of their family, to make the most of a bad situation, take care of each other. The project turned into something meant for people in similar situations, to give them new ways of talking about it. To learn how to deal with grief. Artists and musicians often deal with difficult situations through their art, but through videogames you get to experience and feel as a character. Recreating his mother in the game was the last thing he did, as it was the most difficult to him. When he eventually got to it, it ended up better than he was expecting, giving him emotional distance and the ability to process his experience almost as someone else, to practice sitting through pain. “Anyone else can do that too, but only if they want to, as it is a place you can always switch off.” – he says

This was a surprisingly touching listen, which focussed less on the technical aspects of virtual realities, and much more on how it makes people feel, and which positive responses it can trigger. While this is not directly relevant to my topic, it is nonetheless important to always keep such aspects in the back of our minds.

Further interest

https://link.springer.com/article/10.1007/s00127-021-02110-z

https://metaverseinsider.tech/2022/10/31/new-virtual-reality-app-retreat-transforms-personal-growth-and-self-improvement-education/

https://oxfordmedicalsimulation.com/healthcare/how-virtual-reality-creates-a-safe-space-for-learning/

https://www.worldywca.org/team/virtual-safe-space/

₇ What is Virtual Reality?

Nowadays, virtual reality has almost become a buzzword due to its repeated use in headlines, discussions and various news outlets. Consequently, we have become somewhat accustomed to hearing or reading about the topic, but are we all familiar with what it actually means? This blog entry aims to clear up any uncertainties about the basic definition of virtual reality and its possible use cases.

But what exactly does the word virtual reality envelop? What is the deciding factor that makes something a “virtual reality”? For this, there are various definitions which of course more or less differ in some areas, but come to a rather decisive conclusion overall. One point that could be made for the first uses of virtual reality, which by todays standards can be considered rather humorous, is the 1896 screening of footage of a train approaching the camera directly. Back then, it caused the entire audience to jump out of the way or run out of the room in fear of getting struck by said train. While this has turned into more of an urban legend over time, a simple cinema screen can hardly be considered virtual reality today.1

Figure 1: A scene out of L’Arrivée d’un train en gare de La Ciotat, 18962

The modern definition of virtual reality is much more focussing on immersion and interaction. For something to be considered VR today, it has to be a computer simulation resulting in a 3D visual (or otherwise stimulating) environment. This immerses the user in a virtual world, with a range of sensory in- and outputs, which shape the experience in real time. The more of the signals are sent, the higher the resulting immersion will be. Typically, this is achieved by a headset which covers the users eyes and plays back footage of whichever environment the user is supposed to find themselves in. The second tool is usually some form of controller or glove, which copies the users movement and allows them to interact with virtual objects. These instruments build the base for the users telepresence (the feeling of “being there”). This feeling can be expanded and reinforced though various technological means.3

Figure 2: A man exploring a virtual spaceship4

This has been a very general overview of what VR means. In future posts I will dive further into the topic and provide insights into different aspects, closing in further on my own approach. Seeing the difference between those two very different worlds of what could be considered “virtual reality” at the time, while taking into accoun the reasonably short time that has passed inbetween, holds exciting possibilities for future development in this area of technology.

Sources

3. Lowood, Henry E.. “virtual reality (VR).” Encyclopedia Britannica. Last modified November 18, 2023. https://www.britannica.com/technology/virtual-reality.

1. Virtual Reality Society. “History Of Virtual Reality”. Virtual Reality Society. Accessed November 24, 2023. https://www.vrs.org.uk/virtual-reality/history.html.

Images

4. Derks, Lauren. “VR 고글을 재생하는 남자”. Unsplash. Posted March 18, 2019. https://unsplash.com/photos/man-playing-vr-goggles-bCdIx5LjrYo.

2. Grundhauser, Eric. “Did a Silent Film About a Train Really Cause Audiences to Stampede?”. Atlas Obscure. Posted November 3, 2016. https://www.vrs.org.uk/virtual-reality/history.html.

₁ IMPULS: Viva Frida Kahlo

As a first impulse and a kind of retrospect I would like to present my visit to the Viva Frida Kahlo exhibition in Vienna, which serves as a perfect introduction and insight into the fascinating potential uses of VR/AR and immersive experiences in general.

The exhibition presents itself in a format that has now been used to portray great artists and topics, including Van Gogh and Tutankhamun – and of course the artist Frida Kahlo and her story. Kahlo’s life story and artistic works were presented in various digital formats – on the one hand, the digitized paintings were projected onto the walls and floors of the exhibition hall using high-performance projectors, creating the opportunity to move freely through the artist’s visual world in this space.

On the other hand, there was also a VR experience in which visitors wearing VR glasses embarked on an approximately 10-minute journey through parts of Frida Kahlo’s life. The fascinating thing about this exhibition, both the immersive room projection and the VR experience, was the extent to which an actually empty room, a hall without any exhibits, managed to create an entire, three-dimensional visual world of images. By picking up typical elements from the art and style of Frida Kahlo, a colorful picture of the artist and her works was created, who, in addition to her quite colorful-looking art, had a life marked by illness/injury. In particular, the view through the VR glasses, in which you sit in Frida Kahlo’s bed and “fly” through her life, created a closeness that made it possible to identify with the artist’s life and thus also to understand her works.

This exhibition really serves as the perfect first example of my series of extended and virtual realities, as it just barely leaves the “real” world, expanding upon it through various means, immersing even people who usually would not be in touch with such technologies.

Further interest

https://frida-kahlo-wien.reservix.at/

https://www.museumnext.com/article/how-museums-are-using-augmented-reality/

https://www.adobe.com/max/2021/sessions/creating-an-interactive-augmented-reality-art-exhi-l487.html

https://www.atelier-lumieres.com/en

Blog #4 – What is a good research paper, article, or book?

In the proseminar for our thesis we were asked to find several recourses to begin our master thesis and here are some find I did:

First I found this paper: Cinematic study of TikTok mobile app.

But I quickly found out that’s its not the right article for me. This article shows that up to date data is harder to find. This article is from 2019 and is already outdated a TikTok changed already a lot since that so the article is not very relatable any more.
They talk about that all the videos have a different playback speed than other video apps and that video’s only take 15 sec. Which is not the case anymore there are still videos of 15 seconds but there are also videos of 30 and 60 seconds and even videos of 3 up to 10 min.

Even though the article is outdated there is still some information that is still in use. Users still imitate videos of others to jump on the trends. It’s important to look for these trends and try to flip it so it will work with your kind of content and your brand (Autumn Klein,2019)

I have the feeling this paper is more explaining what TikTok is in a basic way than actually going deeper into specific information that you would want to find if you are searching for Paper with TikTok as platform.

For my next blogs I want to find a list of good resources about TikTok, Instagram or more on social media campaigns. Or maybe take inspiration directly from the source, but than its always the question if its a good and reliable one.

Sources:
Kurzrock, Ethan. (2019). Intensified Play: Cinematic study of TikTok mobile app.


Impulse #2 TikTok Ted2023

Content was based on people that you knew. Change that to content that you like.

Mission of TikTok: inspire creativity and bring joy.

  1. a window to discover
  2. A canvas to create
  3. Bridges for people to connect

Its easy to gain views on TikTok because you don’t need a big following.

The algorithm learns what to show to the user. Recommendation algorithm.

The app is taking over the whole screen space, a lot of people using that window to discover new things in their lives. People find communities over the recommendation algorithm. TikTok gives small businesses and creators a voice that they otherwise wouldn’t have.

On other platforms you already have to be kind of famous otherwise it’s very hard to get discovered.

You have to have a message that resonates with people than it will create the virality itself.

The rest of the talk was more about safety of TikTok and awareness for addiction for children. TikTok doesn’t want to create addiction and have different versions for younger users and show warnings after a longer period of using the app to get up and do something different.

TED. (2023, 21. April). TikTok CEO Shou Chew on its future — and what makes its algorithm different | Live at TED2023 [Video]. YouTube. https://www.youtube.com/watch?v=7zC8-06198g

Blog #3 – Acht van Bladel Social-Media Campaign

Here is a recap of the social media campaign for the Acht van Bladel 2023:

Goals:

1. Brand awareness:
– Post reach: Get as many people as possible to reach with our posts.
– Follower: Instagram: started with 508, now 1094 followers
TikTok: started with 0, now with 1001 followers

2. Manage brand reputation:
– Brand mentions and relevant hashtags: Get as many people to mention @achtvanbladel 
– How often are people talking about us, special reach out.

Also got a special report in the official UCI Jury report of the event. That the social media this year was outstanding and this is a good example how other races should spend more energy into their social media aswell. The UCI is trying to put races for juniors like this on the map. And how we tackled the social media this year was the way to do so they said.

The UCI, Union Cycliste Internationale, is the international organization of the cycling sport. It oversees and regulates all cycling disciplines, establishes rules, organizes international competitions, promotes global development of the cycling sport at the international level.

3, Improve community engagement:
As much as possible
Here are the average results of the social media posts:

Instagram Reels
LikesViewsCommentsSharedSaved
475238732314
Instagram Photos
LikesReachComments
858030
TikTok
LikesViewsCommentsSharedSaved
38957623813

As you can see Instagram reels and TikTok have more potential than a photo posted on Instagram. Further you can see that there are very little comments in all the posts we posted. Maybe that is something to work on.
We also put a lot of effort in the after movie which is mostly to show other sponsors what kind of event the Acht van Bladel is. That’s why performance is less important but here are the results from that:

202220232024
YouTube30119??
Instagram9902869??
Facebook16001700??

Reparation before the event:
Since we also made the after movie of the 2022 edition, we knew a little bit what to improve but not to every detail. In 2022 we only made an after movie and did nothing with the social media so that was completely new.

Team:
Director/ Preproduction/Camera/Edit/Social media: Kris van Hout
Camera 2: Mirre Roymans
Social media 1: Nele van Hout
Social media 2: Richard Caddock
Drone: Ruud Hooijen
Photographer: Peer van Rooij

Planning
I didn’t do the whole campaign on my own but I was the “director” if that’s the right word. But I also did most of the preproduction work. We rented all the gear so we were fully equipped for the weekend.

DP 7588 Panasonic S5 body
LO 8372 Fader ND 82mm Kenko / Hoya
LP 7239 Panasonic Lumix S PRO 70- 200mm f/2.8 OIS
AM 8112 SD card 128GB 95MB/s
We also used the Panasonic S5 from my cousin (Mirre)

For social media we looked deep into similar similar cycling tour account to come up with inspiration and saved already a lot of music so we could use it on-site. So, we have a list of wished content what we wanted to post. The only thing is that we had to get those right shots.

Further we had all the routes of all the stages but we had to figure out a good schedule to get as much footage as we could in the short period of time.

All with all we made already a lot of progress compaired to 2022 but there is still a lot to improve for the next edition.

Sources:
https://blog.hootsuite.com/smart-social-media-goals/
https://www.instagram.com/achtvanbladel/

Impulse 3 – Curious Refuge Podcast Ep. 01

For this impulse i wanted to spend some time getting to know the minds behind the Curious Refuge team. The first episode is less of a podcast and more of an interview of Caleb Ward, founder of Curious Refuge, conducted by Shelby Ward. The episode seems to have been aimed as an intro to the topic of AI in creative workflows, especially in Hollywood.

Content

C. Ward states in the beginning, that AI can be useful in many ways, a VFX artist may use it to help with code, a creative director may use it to come up with an idea and so on. Generally, AI at the moment is more like a creative assistant, more specifically, a hungover assistant as per C. Ward. User input is still vital and many AI tools still need to be used diligently and thoughtfully.

C. Ward goes on to tell the story about how his first big AI film project, Star Wars by Wes Anderson Trailer | The Galactic Menagerie, went viral and gained media attention from the likes of the Hollywood Reporter, and ultimately sparked the idea and funding of the Curious Refuge bootcamp centred around AI filmmaking.

The next major point Ward makes is claiming that AI art is just as valid as other art forms, comparing it to the computer as a tool, saying that just by sitting in front of a computer no art would be made, and that it’s all about the person creating the art as well as the person consuming the art. He defines art as something that’s created by human skill and evokes emotion.

They also speak about the arguments that AI art is killing art, and that it is trained on art by artists that may not consent to that usage. C. Ward says that art is definitely not the death of art and compares it to other times in history where new methods and technologies emerged to create art that were frowned upon, but have never ‘killed’ an art form. They more or less ignore the legal consequences of AI training data, saying that it’s being figured out at the moment. As far as the morality of the situation goes, they say that AI generations are always novel in the way that they will never recreate any of the images it was trained on, but always combine many aspects of the billions of parameters and data it was trained on.

They also speak about AI stealing or replacing jobs. C. Ward thinks that AI primarily replaces repetitive or tedious tasks, which in his opinion is a good thing. Secondly, he says that AI will replace some jobs, just not as soon as anyone thinks and says that it will overall improve most jobs, rather than completely replace them. I’m inclined to agree, I think it’s just a tool that we need to use as efficiently as possible and has the potential to remove some of the more tedious tasks about many jobs. I’m thinking that AI will not cause a big deletion of jobs, but rather a shift of tasks done by humans vs. computers. C. Ward gives the examples of studios using 3D scanned people as background actors, freeing background actors to focus on roles where they are in the centre of the action. I’m not sure if it’s the best comparison but it’s fine for now.

They go on to speak about Hollywood production pipelines and AI’s position in that. C. Ward says that the jobs will stay the same, but that AI will be another tool in the belt of professionals. Meaning there will be a producer, and then a producer that can use AI. Ultimately this has the potential to even the playing field between bigger clients and smaller clients, and improve production quality across the board. He does emphasise that AI does require a lot of creative vision and finesse, so it is only a sort of add-on skill for someone who is already skilled in their field.

S. Ward asks how to stay grounded in times where technologies evolve so quickly that, as an artist, one has to stay on ones feet to keep up with the new tools and trends to stay relevant. C. Ward recommends going back to traditional approaches, to keep active physically, to go to art museums and spend time on things that inspire and not necessarily have anything to do with AI.

How to stay relevant is another argument, of course C. Ward recommends you sign up to their newsletter to stay up to date, but also mentions other creatives like Theoretically Media and Matt Wolf, both of which produce fantastic quality films and share their knowledge about the current state of AI openly.

The podcast closes with C. Ward answering some rapid fire questions:

Q: Is AI dangerous for the creative industry?

A: No

Q: Is AI art real art?

A: Yes

Q: Are AI artists less creative?

A: No

Q: Is AI the end of Hollywood?

A: Hollywood is the end of Hollywood.

S. Ward continues to ask similar questions, and given that C. Ward is the founder of a company that is based on teaching how to use AI in creative workflows, his answers continue to be unsurprisingly in favour of the technology.

Thoughts

Overall the podcast is a nice introduction for people unfamiliar with AI, however it is quite biased in favour towards AI technologies, given that both the interviewer and the interviewee are founders of a company that profits off of the technology. They do offer some interesting arguments about how it may change the industry, however, which gives me some inspiration about where to potentially take the theoretical part of my master’s thesis. I would also love to conduct at least one interview for my master’s thesis, as literature takes so long to publish that by the time it is released, it may be outdated already and therefore interviews may be a better source for more recent information. This is of course also concern about the relevance of my thesis but I would prefer not to think about that for the time being.

Links:

The Podcast episode

Star Wars by Wes Anderson

Lord of the Rings by Wes Anderson

Theoretically Media

Matt Wolf

₆ Research Topic 180

As can be seen in all of my previous blog posts, I was first struggling a bit with finding a topic for my research and then started diving into Character Animation and the animation industry. Throughout the time since my last blog post I had that topic in the back of my mind and was still struggling when trying to think of ways I could take this topic further to make up a full masters thesis with my current and future knowledge. Whenever I thought about it I was quickly overwhelmed by the possibilities, until recently I was sitting at work and realized that I could just pivot to the topic I was working with at that moment: Virtual Reality.

Virtual Reality in what context?

During the past two years of me working at mindconsole1 I had the opportunity to come in contact with very different approaches to virtual reality and how it can be used in various contexts. The main area I found myself developing into was the gamification of real world tasks, mainly larger scale operations, ranging from a treecutting learning environment2 for the bfw3 all the way to a digital reconstruction of a part of berlin4 for the Berlin Fire Department5.

Figure 1: Treecutting environment in use6

During these projects I worked on the 3d construction of said environments, developing of functionalities and general project management. That is precisely why I decided that this type of work would be the perfect foundation for my master’s thesis.

Figure 2: The Berlin Ubahn station in the digital environment7

Further directions

Having this theoretical and practical knowledge as part of the thesis I would also like to branch out and take it further than that. What exactly that is going to look like will be decided in the future (and the next few blog posts), but overall I would like to analyse the topic in regards to the psychology aspect of such virtual training environments and possibly the way gamification can help shape important real life training digitally.

Sources

5. Berliner Feuerwehr. “Willkommen bei der Berliner Feuerwehr”. Berliner Feuerwehr, Accessed November 15, 2023. https://www.berliner-feuerwehr.de/.

3. bfw. “Home – FAST Traunkirchen.” FAST Traunkirchen, Accessed November 15, 2023.
https://fasttraunkirchen.at/.

2. Goebel, Tina. “Virtual-Reality-Training Macht Forstarbeit Sicherer.” science.ORF.at, October 7, 2023. https://science.orf.at/stories/3221561/.

1. mindconsole. “Work.” MINDCONSOLE, Accessed November 15, 2023. https://mindconsole.net/.

4. mindconsole. “BERLIN U5 STATIONS XVR ENVIRONMENT.” MINDCONSOLE, Accessed November 15, 2023. https://mindconsole.net/project/berlin-u5-stations-environment.

Images

6. Goebel, Tina. “Virtual-Reality-Training Macht Forstarbeit Sicherer.” science.ORF.at, October 7, 2023. https://science.orf.at/stories/3221561/.

7. mindconsole. “BERLIN U5 STATIONS XVR ENVIRONMENT.” MINDCONSOLE, Accessed November 15, 2023. https://mindconsole.net/project/berlin-u5-stations-environment.

IMPULS #5 – Mountainfilm Festival Tag 4

Der letzte Tag für mich am Mountainfilm Festival (Freitag) stand ganz im Zeichen der Kletterei. Ich habe mir einen Block mit drei sauberen Kletterfilmen angeschaut, hier sind meine Gedanken.


DNA

Als Teil von Reel Rock 17 begleitet dieser Film den Kletterer Seb Bouin bei einer der schwersten Routen weltweit – DNA 9a in der Verdunschlucht. Der Regisseur Josh Lowell hat hier meiner Meinung nach sehr gute Arbeit geleistet. Der Film war visuell sehr beeindruckend und gleichzeitig unterhaltsam, eine Kombination, die man im Kletterfilm nicht sehr oft findet.

Mir hat besonders gefallen, dass Lowell viel mit Gegenlicht gearbeitet hat. Vor allem während einer Szene gab es immer wieder Aufnahmen, die nur die Silhouette des Kletterers gezeigt haben. Farblich war diese nicht ganz abgestimmt mit dem Rest, aber sie stach auf jeden Fall heraus.

Die Musik hat mir auch gut gefallen. Hier war spannend, dass verschiedene Genres verwendet wurden. Manchmal wurde mit Rock und Hard Rock gearbeitet und manchmal konnte man nur Bass hören, was mir besonders im Gedächtnis geblieben ist.


Hang

Dieser (Studenten-) Film von David Stummer und seinem Team portraitiert den Grazer Parakletterer Angelino Zeller. Seit einem Paragliding Unfall sitzt er im Rollstuhl. Anstatt zu verzweifeln entschied er sich dazu, sein Leben in die Hand zu nehmen. 2 Jahre später ist er im Paraclimbing Team Österreich und einige Jahre später Weltmeister.

In diesem Film haben mich vor allem die Animationen überzeugt. Zum zweiten Mal ist mir nun aufgefallen, dass es oft eine gute Lösung ist, traumatisierende und schlimme Erlebnisse als Animationen in einem Film gezeigt werden. Ich finde, das ist eine super Möglichkeit uns Lösung auch hierfür Bilder zu haben, die dem Ganzen dann auch ein bisschen die Tragik nehmen.

Der Film hatte als Erstlingsfilm (ich glaube) natürlich einige Punkte, die nicht optimal gelaufen sind. Nachdem diese schon teilweise in anderen Impulsen erwähnt wurden, will ich mich hier nur mehr einen herausnehmen: Das Interview mit Angelino. Hier hat das Team leider die Lichtsituation falsch bzw. sehr ungewohnt gestaltet. Der Protagonist wurde nur von einer Seite mit einem sehr gelben Licht beleuchtet, aber von zwei Seiten gefilmt. Der Hintergrund war allerdings in einer anderen Lichtfarbe beleuchtet, was das Gesamtbild irgendwie komisch gestört hat.

Für meine Masterarbeit kann ich mir hier mitnehmen, mir auch gerne mal mehr Zeit für die Lichtsituation zu nehmen. Vor allem, wenn man mit Licht vor Ort konfrontiert ist zahlt es sich aus, die Interviewbelichtung da anzupassen.


No Bolts – Rissklettern um Innsbruck

Über diesen Film gibt es nicht mehr so viel Generelles zu sagen. Er war solide und hat mir von den Bildern her sehr gut gefallen.

Was mir allerdings sehr gut gefallen hat war, dass der Regisseur Jonathan Fäth einen etwas künstlerischeren Zugang zu diesem Thema hatte als seine vorherigen Kollegen. Er hat viel mit Overlay und Transparenz gearbeitet, was perfekt mit der Musik und den Soundeffekten abgestimmt war. Die Beleuchtung hat auch zum künstlerischen Aspekt beigetragen.

Vor allem seine Verwendung und das clevere Einsetzen von Effekten haben den Film aufgewertet. Für die Boulderszenen hat er zum Beispiel das Look and Feel einer VHS Kassette verwendet. Diese kleinen Add-Ons haben mir das Gefühl gegeben, dass er ein sehr gutes Gefühl für die Szene hat und dieses auch gut im Film umgesetzt hat.


Dieser letzte Block hat mir sehr gut gefallen und mich sehr für meine zukünftigen Projekte inspiriert. Die Filme, die gezeigt wurden waren sauber gemacht. Allerdings fällt mir auf, dass kein einziger der Filme, die ich bis jetzt gesehen habe, von einer Frau waren. Frauen waren immer an den Produktionen beteiligt, aber nie die Regie.

Ich finde, das sollte sich ändern. Auch deshalb bin ich so motiviert, mich im Bereich Bergfilm weiter zu bilden, zu probieren und Erfahrungen zu sammeln. Danke Mountainfilm Festival 2023 für diese Erinnerung!


Links

Josh Lowells Produktionsfirma

DNA trailer and more information

Hang voller Film

Mehr Infos zu No Bolts

IMPULS #4 – Mountainfilm Festival Graz Tag 2 (2/2)

Am 2. Tag des Festivals habe ich mir einen 2. Block angesehen, der auf jeden Fall einen separaten Impuls wert ist. Hier sind die Filme und meine Gedanken dazu.


Ephemeral

Wenn ich diesen Eiskletterfilm mit einem Wort beschreiben müsste dann wäre das EPIC! Vom bekannten Regisseur Alastair Lee gefilmt ist dieser 53-Minüter ein Meisterwerk gespickt mit Slow Motion, Hero Shots und geilem Licht.

Das Konzept dieses Films war außerdem spannend, weil der Filmemacher selber moderiert hat. Anders als beim Film Patagonian Spider, die Storyline war bedingt durch die persönlichen Erfahrungen des Filmemachers und hat nicht nur den Prozess des Filmemachens beschrieben. Dieser zusätzliche Layer hat es den Zusehenden ermöglicht, mit Alastair und seinen Fehlern und Versuchen mitzufiebern und hat den Filmemacher auf die gleiche Ebene gehoben wie seine Protaginisten.

Für mich als angehende Kletter- und Outdoorfilmerin war es natürlich besonders spannend, den Regisseur bei seiner Arbeit zu sehen. Immer wieder wurde er beim Abseilen gezeigt und man hat richtig mitbekommen, dass die Filmschaffenden in diesem Bereich selber athletische Fähigkeiten haben müssen, um überhaupt mithalten zu können. Auch die Problematiken von Gewand (wenn man sich mehrere Stunden beim Eiskletterfilmen nicht bewegt) und Wasserdichte wurden kurz angeschnitten.

Aber zurück zum Film. Die Aufnahmen waren nach anfänglichen Schwierigkeiten von Filmemacherseite total beeindruckend. Die Szenen waren fast immer ohne direktes Licht (oder ganz ohne Licht, weil der Schottische Winter immer wolkig ist und man beim Eisklettern die Sonne meidet), aber trotzdem hat es Lee geschafft, diese Umstände für sich zu nutzen und atemberaubende Stimmungen zu schaffen.

Eine Sache, die ich mir aus diesem beeindruckenden Film mitnehme ist, dass ich unbedingt Ansteckmikros für die Athleten bei meiner Masterarbeit brauche. In Ephemeral war ein großer Teil die hörbare Konversation zwischen dem Kletterer und seinem Sicherer. Durch die Ansteckmikros konnten die Zusehenden diese verfolgen und viel mehr mitfühlen.


Mountain Guides

Meine Impressionen zu diesem Film sind etwas kürzer, weil er solide, aber nicht sehr aufregend war. Der slowakische Film von Pavol Barabáš erzählt die Gratwanderung zwischen eigener Sicherheit und Klientensicherheit im Bereich des Bergführens.

Wie gesagt war der Film nicht besonders aufregend. Die Bilder waren zwar schön, aber der einzige Höhepunkt war eine Anekdote über die Bergführenden, die in den letzten Jahren verunglückt sind. Natürlich war dieser Moment mitreißend, aber nach dem überwältigend guten Ephemeral hat der Film nicht mehr so viel Eindruck hinterlassen.

Allerdings hat mich die Musik sehr begeistert. Sie hat immer sehr gut gepasst und mich an die Soundtracks und das Sounddesign vom Österreichischen Universum erinnert. Ich denke, die Produktion hatte hier genug Budget und Wissen, da auch Zeit und Expertise zu investieren. Auch das ist eine Sache, die ich bei meiner Masterarbeit gerne forcieren möchte.

Ich glaube, dass man diesen Film noch einmal ohne den ersten separat ansehen muss, um einen vollen Eindruck bekommen zu können. Am besten ohne, dass man davor schon 4 Stunden im Kino gesessen ist.


Alles in allem war dieser Block sehr inspirierend und spannend. Die Aufnahmen waren high-end und im Vergleich zu den beiden anderen Blöcken bis jetzt, gab es nicht viel Negatives, was mir aufgefallen ist.


Links

Pavols Website and other Work

More from Alastair Lee

Ephemeral trailer and more information