I can't believe it took someone THIS LONG to do it for commercial purposes.
I did this as an undergraduate film student. I spent $250 on it !
I also made one that worked while you were riding the PeopleMover between terminals at the Airport
It seemed way too simple and easy to copy, so I didn't really pursue it. Especially after someone else did it for huge "art" project in NY around 1985. Nothing came of it. No interest.
It's just like a flip card, except it stays still and YOU move. cute eh?
One of my animation students made something similar where the "film" is on a large cylinder, you sit in the middle on an office chair and spin around. He called it the "Sick-O-Scope" I gave him an A.
aww man, talk about sour grapes! where's my Jack Daniels?
American Companies are shooting films and commercials in CANADA because they don't have to deal with SAG (Screen Actors Guild)
With SAG, you have to pay residuals for.....billions of years. And I know several people who just did a few National TV commercials and they live off those residuals checks. Very lucrative
In CANADA...they do a Buy Out for $3000. That's it. No residuals. They can run that ad or show that film whereever they want, as many times as they want and they don't have to pay residuals.
that's ONE reason that American Film Companies shoot out of the US. In Canada, they also get a "rebate" from the Canadian Government based on how much local crew and talent you use. This is NOT the refund of the VAT. This is a kickback from Canada for bringing them the work.
Its hard for an actor to seriously act terrified when some head on a stick representing a T-rex is chasing them.
They're actors. They're paid to look scared when a head on stick is chasing them. If they can't do it, they'll map a face on them of someone who CAN.
You're talking in 1980's terms.
Actors have been doing scenes reacting to a stuntman dressed in a green-screen suit for years.
take a look at the Television Commercial business.
(and I don't mean actors or "stars", I'm talking about the support crews)
I've worked there for YEARS. It's set up just like the "movie" business, but the jobs are shorter, the pay is higher. the days are just as long.
I work (or should I say used to work) on the Props, Special Effects end of this. Not computer special effects (those are called VISUAL EFFECTS), but live, in front of your face stuff.
I saw this coming YEARS AGO, but did not want to spend my days sitting in front of a computer screen getting carpal tunnel syndrome.
Everything I forsaw came true, but one thing I was wrong on: "They'll always have to shoot the real product" I thought. (This refers to....having to actually film the REAL food product, or the product boxes or whatever. This part of the shoot always get tangled in legal crap and clients mucking about)
I figured that they would NEVER get away with using CGI candy and food products.
I've made a good living making food products move about in appetizing ways to suit the director's and client's whims. And alot of other people have made careers doing mockups in short amounts of time and building models for filming and still photography. It's hard work on a tight deadline and you charge for it.
But no more.
While I still see many product shots using real food, many of the shots are ones I did YEARS AGO! They're using archived footage! It makes sense, but they NEVER used to do this. Plus a high percentage of the food shots I see are all digital...completely digital. No people. No actors.
Where's the Energizer Bunny? In the Computer.
Where's the Hamburger Helper Hand? In the Computer.
The people responsible for CREATING the content of the new commercials are all in their 20's. They grew up with computers, They like computers. They are comfortable around computers. They create concepts for commercials that are easy to execute digitally. One day, these people will be running Hollywood. "Live Action" will be a "novelty" at some point.
In fact, a CGI house asked me to bid on a project 3 years ago involving a factory scene for a kid's snack. I said "why aren't you creating all this stuff in-house digitally?"
Response: "The client wants the "novelty effect" of LIVE ACTION"
and this was three years ago!
Change is inevitable. Adapt or die. I've always understood those rules.
I've been adapting for years, and now it's time to change. There are too many talented people fighting for the same crumbs.
Slashdot Mirror
I did this as an undergraduate film student. I spent $250 on it !
I also made one that worked while you were riding the PeopleMover between terminals at the Airport
It seemed way too simple and easy to copy, so I didn't really pursue it. Especially after someone else did it for huge "art" project in NY around 1985. Nothing came of it. No interest.
It's just like a flip card, except it stays still and YOU move. cute eh? One of my animation students made something similar where the "film" is on a large cylinder, you sit in the middle on an office chair and spin around. He called it the "Sick-O-Scope" I gave him an A.
aww man, talk about sour grapes! where's my Jack Daniels?
With SAG, you have to pay residuals for.....billions of years. And I know several people who just did a few National TV commercials and they live off those residuals checks. Very lucrative
In CANADA...they do a Buy Out for $3000. That's it. No residuals. They can run that ad or show that film whereever they want, as many times as they want and they don't have to pay residuals.
that's ONE reason that American Film Companies shoot out of the US. In Canada, they also get a "rebate" from the Canadian Government based on how much local crew and talent you use. This is NOT the refund of the VAT. This is a kickback from Canada for bringing them the work.
You're talking in 1980's terms.
Actors have been doing scenes reacting to a stuntman dressed in a green-screen suit for years.
(and I don't mean actors or "stars", I'm talking about the support crews)
I've worked there for YEARS. It's set up just like the "movie" business, but the jobs are shorter, the pay is higher. the days are just as long.
I work (or should I say used to work) on the Props, Special Effects end of this. Not computer special effects (those are called VISUAL EFFECTS), but live, in front of your face stuff.
I saw this coming YEARS AGO, but did not want to spend my days sitting in front of a computer screen getting carpal tunnel syndrome.
Everything I forsaw came true, but one thing I was wrong on: "They'll always have to shoot the real product" I thought. (This refers to ....having to actually film the REAL food product, or the product boxes or whatever. This part of the shoot always get tangled in legal crap and clients mucking about)
I figured that they would NEVER get away with using CGI candy and food products.
I've made a good living making food products move about in appetizing ways to suit the director's and client's whims. And alot of other people have made careers doing mockups in short amounts of time and building models for filming and still photography. It's hard work on a tight deadline and you charge for it.
But no more.
While I still see many product shots using real food, many of the shots are ones I did YEARS AGO! They're using archived footage! It makes sense, but they NEVER used to do this. Plus a high percentage of the food shots I see are all digital...completely digital. No people. No actors.
Where's the Energizer Bunny?
In the Computer.
Where's the Hamburger Helper Hand?
In the Computer.
The people responsible for CREATING the content of the new commercials are all in their 20's.
They grew up with computers,
They like computers.
They are comfortable around computers.
They create concepts for commercials that are easy to execute digitally.
One day, these people will be running Hollywood. "Live Action" will be a "novelty" at some point.
In fact, a CGI house asked me to bid on a project 3 years ago involving a factory scene for a kid's snack. I said "why aren't you creating all this stuff in-house digitally?"
Response: "The client wants the "novelty effect" of LIVE ACTION"
and this was three years ago!
Change is inevitable. Adapt or die. I've always understood those rules.
I've been adapting for years, and now it's time to change. There are too many talented people fighting for the same crumbs.
I'm outta here.