Chronique D’un été by Jean Rouch
Cinema Verité – where reality is filmed and conversations are real. Nothing is meant to be set up. It has it’s roots in anthropological studies.
Winter is coming and snow has fallen on the local peaks and then melted again. The temptation to go snowboarding in real life is back. While waiting to go and do sports in the real world Ubisoft give us the opportunity to simulate the experiences of snowboarding, skiing, base jumping and paragldiding.
I know three of these sports. I ski, I snowboard and I recently tasted my first paragliding flight.As I watched the trailer above and Jack Septiceye’s video of the game it reminded me of so many of the extreme sports videos I have watched. It also reminded me of the FIFAD event as well as the Montagne En Scène events. It pays a nice tribute to the culture of snowboarding and extreme sports that many of us have grown up with. It also harkens back to the days when I would edit the events that are mentioned in the trailer to this game.
This would be a good game to have in the chalet while waiting for the snow to fall or the conditions to improve.
I understand why the game filled me with passion. I liked seeing places that we know. It’s because the game developers are in Annecy so they’re playing in the same landscape as us. They’re snowboarders and skiers so they understand the sensations and they’re trying to emulate them in the game. When watching the paragliding sequences I like that we hear the flight computer’s beep as you ascend at different rates. It’s one aspect that you really notice the first time you try paragliding. That’s a nice touch for the game.
From the videos I have watched so far it looks as though they have managed to capture all of these sensations in the game. This looks like a really enjoyable game to play. The game should provide people with a nice amount of escapism. As they get used to the controls and as the community for this game grows so the ties that bind this community will grow. It looks excellent.
The tapeless workflow is a term used to describe video production without the use of tapes. That is to say that from the point the material is recorded in camera to the point it is distributed it never changes from being data. In other words television production has become a profession of data managment as some would say.
A few production companies came to give demonstrations of their tapeless workflow system, at least in broad terms. Red Bee and Virgin Media showed how they have collaboratively brought the post production process to being a tapeless one. In order to do this good networking capability is needed and so is storage. They had to digitise over 40,000 tapes as well as face many more challenges.
Some of these challenges have to do with meta data. Everyone is used to dealing with tapes. you shoot your material, you label it for post production and then store them for later use. When dealing with data though the mentality is different. Some productions have shot straight to P2 cards, backed up the day’s shoots to external P2 hard drives before sending them from China to London for example. Of course when doing this everyhting must be planned ahead.
Part of this planning has to do with the compatibility between recording format and editing. If you get this wrong then you either don’t get the quality you were looking for or you slow down the process. That was part of a case study between Panasonic and two of it’s camera’s during a shoot in China.
The second example was between Red Bee Media and Virgin Media in relation to the creative Village. The idea is that when the material is ingested by Red Bee media it’s saved to a central server from which it can be accessed by a number of workstations, from transcribing to tapelogging, editing and producer’s work stations. it also has to be available in two buildings.
There are a number of advantages to this workflow. The first is that the work is available to the producers when they have the time to check the material rather than when everyone has ten free minutes. As a result the editor can edit a rough cut and a number of producers at up to two hundred workstations may check the edit and say whether they like it. If they don’t then it’s quick to make any changes that are required. It also means that there’s far less mess and expensive equipment is not tied up.
When you’re working on post production dubbing to tape used to take a lot of time, real time and with DVD it’s quickly a messy affair. Files in an edit folder are far easier to deal with.
I really like the idea o the tapeless workflow and i’m going to work on that for my own work, first with affordable equipment and then work my way towards more fun alternatives. It’s what we expect. No more ingestion time, no more dubbing time, just straight editing, agreement and finally output to a number of formats. Of course that’s not as easy as it sounds but post production companies are working on making this a smoother process.
Soon I may have internet access in my halls again and at that point the writing will begin again. it’s hard to be inspired in a library. On the positive side I’ve watched up to three new documentaries since last night so I’m wondering whether to look at the origins of french and English cinema.
I had some inspiration whilst attempting to watch Nightmail by Grierson.
Tonight I shall be watching Philibert’s L’empire des Sourd, documentary I recently read about.
I went to see Borat and it’s really amusing, a good excuse to laugh for more than an hour.