Sunday, June 26, 2005

Breather: Design Conference:

Breather: This design conference examines the new studio. Multi- disciplinary interface brings into focus the design complexities of connection, contact and interaction. The interface explores how computation changes designs imagination of these complexities and their translation into the making of the material world. We propose for consideration an image of the world as an interface. In the new studio small can be big; really big.

Computation changes how design works, more importantly it changes how design thinks. Computation transforms one practice into another: cinema into architecture, product design into philosophy, urban planning into advertising. Design is an expertise in points of contact, in the interfaces between people, systems and effects. In our network culture, contact is condensed into buttons and icons, menus and dashboards, and into familiar pathways and fast surfaces, diagrams and directions.

At the Breather conference we have invited designers and artists who work with many kinds of Interfaces-- virtual and tangible, portable and environmental-- in ways that move us emotionally and physically. We have asked them to demonstrate their expertise in conceiving and critiquing the interface. What is the new studio? Can small be big?

Saturday, June 25, 2005

Bruce Mau: Lifestyle

Philosophy

1. It takes two (or three or four). Collaboration is our wellspring - both within the studio and without. We enter into projects looking for the work that lies between our clients' ventures and our studio practice, finding that area where we can make the greatest contribution. This inevitably results in our opening up a terrain we can't enter into alone, and the absolute necessity for collaborative efforts.

2. We see projects, not accounts. This follows from the first point and explains why many of our clients have been with us for a decade or more. Zone, the Art Gallery of Ontario, the Getty Center, Gehry Partners, all have stayed with us because our methods respect the integrity of their projects. Our clients come to us with ambitions that we can build on. They are ongoing projects that are never "closed".

3. We see readers, not viewers. We privilege the receivers of our work as readers - as people who are intelligent and appreciative of subtlety. Doing so expands the possibilities for more sophisticated levels of communication - for active involvement rather than passive reception - which in the end gives our work greater resonance and a more lasting effect.

4. The root of studio. We look at the studio as a place of study in service to its projects. Admittedly, this is partly selfish, a product of the desire for continual growth and a constitutional aversion to complacency. Our projects, and the intensive research we favour, provoke us to learn about the world, and we are enriched and changed by that level of engagement. But this rigorous process has also proven to be the way to produce the best people with the highest capacity for tackling the most difficult projects. It is a process that produces work that cannot be arrived at by other means.

5. Re-Iteration moves design upstream. Solving a design problem is not a linear practice; it's an iterative one. Rather than focusing at the outset on producing that "perfect" thing, our method is loose and consequently very productive. All of the "what" questions are asked through a process that sketches out possibilities to their logical conclusions. We visualize a range of ideas to the point that we can say to our clients, "this is actually what you are asking us to do." This affords our clients the ability to see business decisions and their attendant implications early in the process - before design of the end product even begins.

6. Upstream the water's deeper. Rather than flowing down river, we prefer to labour against the current, to resist the simple solution, because that's where we find the real opportunity within a project. It's also where our contributions will have the greatest resonance.

7. We love things. And we love making them. We aspire to a level of quality you could call perfection, but it is more multifarious than that word implies; it comes out of a real love for the tactile object, for things that are beautiful, clever, unexpected. One of the ways this is manifest in the studio is that we make production part of the process - our creative input does not cease until the receiver sets their eyes or hands upon it.

8. The studio is not a tree. The studio's trajectory could best be described as rolling. Our capacity is constantly evolving in response to projects undertaken and as a defense against unhappiness. Our collective desire is to maintain a long life of real contribution - something we cannot maintain through repetitive practices. We want to grow in terms of what we are capable of, and technology has complied by advancing to the point that such an ambition is attainable.

9. We're claustrophobic. Not unrelated to the statement above, but with an addendum. Actually, it is the crux of the practice: we don't like boundaries. What drives client/studio collaboration is that we say, forget about what is usually done in this situation, let's look at what makes the most sense, what is the most exciting, what produces the best results, what is the most beautiful. If we feel we are contributing something of value, our ambition has no boundaries.

Thursday, June 16, 2005

Mosaic

Brisbane writer-director Aaron Catling states that he believes in ‘thinking outside the paradigm which has defined Australian film-making for the last decade or more.’ That much is evident from his uncharacteristically brave and intelligent debut feature, which is marked by long takes, an episodic narrative and startlingly naturalistic performances. Candice (Candice Storey) is raped at the age of 14 by her Dad’s best friend, nice Uncle Ray Day (Justin Scott), after he pops into her bedroom to have a chat and wish hergoodnight. Over months and years it becomes obvious that Candice has never told her father (David Nichol) – and that her relationships have become profoundly affected by the experience. The film’s explosive climax occurs on her wedding day. Made entirely independently – that is, with no federal or state backing – and shot on HD (High Definition), Mosaic is one of the Breather's most exciting discoveries – a compelling Australian drama that is adventurously conceived and marked by an uncompromising purity of vision. Following a recent wave of low-brow Australian comedies, Catling’s film is uncharacteristically serious and thoughtful in both style and content. The writer-director says that he has always found inspiration in the details of life, the little moments that go unnoticed. This quickly becomes obvious in Mosaic. Ray’s sweet talking of Candice slides so subtly – and insidiously – into assault that it is impossible for the viewer to say where one ends and the other begins. Catling believes in actively challenging an audience’s preconceptions, requiring them to be active in their viewing. In following Candice’s story over the ensuing years Catling withholds narrative information that more conventional film makers would see as necessary, to home in on the emotional essence of his scenes. At one point he sends the camera sweeping around in 360 degree arcs, leaving viewers to pick up crucial visual information as the camera sweeps by. It’s a sign of a film-maker prepared to take stylistic risks.

Director's Bio
Aaron Catling

Aaron Catling has directed several short films and documentaries: Hello Goodbye (01), I Say Yes, You Say No (01, documentary), The Camera Never Lies (02), One Shot (02), The Middle Man (0

Thursday, June 09, 2005

Lightroom; home of the opening Party


Lightroom in the Spring
Originally uploaded by lightroomstudio.
Be there!

Sunday, June 05, 2005

939-630


939-630
Originally uploaded by lightroomstudio.
Don't get locked out-- attend Breather 2006

Call for Entries

Submitting Films to the 2006 BREATHER FESTIVAL


2006 SUBMISSION DEADLINES AND FEES
If your film is completed, send it in early! We don’t offer early notification, but this option saves you money.

FEATURE and SHORT FILMS- $30 ENTRY FEE



ACCEPTED FORMATS
We accept submissions on VHS or DVD. VHS can be in PAL or NTSC, but all DVDs must be Region 1 or 0/NTSC.
For exhibition at the festival, your film must be on 35mm, 16mm or Sony HD Cam. If you have made your film in a different format, you must convert to one of these three.

FAQ's

WHEN ARE THE SUBMISSION DEADLINES AND WHAT ARE THE FEES?

These are the dates your packages must arrive at our office in Decatur, Georgia. These are not postmark deadlines.

EARLY SUBMISSION DEADLINE: If your film is completed, send it in early!

U.S. & INTERNATIONAL FEATURE FILMS & DOCUMENTARIES

U.S. & INTERNATIONAL SHORT FILMS

OFFICIAL SUBMISSION DEADLINE: This is the deadline for films submitted in good standing to arrive in our office. We are open until 6 pm, so you are welcome to bring it by. We appreciate timely submissions so that we can carefully and thoroughly consider your work.

ALL U.S. & INTERNATIONAL SHORT FILMS

U.S. & INTERNATIONAL FEATURE FILMS & DOCUMENTARIES

SUPPLEMENTAL MATERIALS DEADLINE: This is the deadline to upload pictures, cast list, long and short description, rights available, director bio and headshot to the website. We prefer this information be uploaded, not sent on paper. If you have an actual photographic production still without a corresponding high resolution digital file, you may mail it in with your submission.

WHAT ARE THE FESTIVAL PROGRAMS?

PREMIERES: An Invitation-Only category of Galas and Special Events featuring films from established directors and production companies.

DRAMATIC AND DOCUMENTARY COMPETITION: One of the best-known and most publicized categories of the festival, exclusively featuring films made in the United States. In this program, 4 Dramatic films and 4 Documentary films compete for Jury and Audience Awards in each category. To be considered for the Dramatic and Documentary Competition, your film must be a WORLD PREMIERE. Films that are not world premieres will be eligible only for other programs in the festival. Eligibility requirements are strictly enforced. Please read these requirements before screening your film at other festivals.


NON-COMPETITION SECTION: A section dedicated to the promotion of independent film. Eligibility requirements are not as strict as the Competition sections - films are allowed to have screened at two other film festivals.

MIDNIGHT SCREENINGS: A series of films that play well at midnight. These are often edgy, sometimes shocking, most always fun. A good place to find the new cult classic.

SHORTS: Culled from the more than three thousand submissions a year, approximately 20 shorts are selected to play before features or in one of five programs. This is a popular and exciting section of the Film Festival that has launched the careers of many writers and directors. Short films may have screened at other festivals, but not been broadcast on television. They may have been broadcast on the Internet.


DO I HAVE TO PICK THE PROGRAM I WANT TO SUBMIT TO?

No. If your film is selected for the Festival, our Programming Staff will determine which program best suits the project. The important thing is to complete the application in its entirety so we have all the information we need.

IS ELIGIBILITY DIFFERENT FOR EVERY PROGRAM?

Eligibility does change per program.
No films may have been broadcast on television. Feature films in any category may not have been broadcast on the Internet. Short films may have been broadcast on the Internet.
Premieres is by invitation only.
Dramatic and Documentary competition films must be world premieres.
Except for short films, films in any of the other programs cannot have played in more than two other festivals. Short films are not limited by the number of festivals at which they have been screened.
Please be aware that in all categories, world premieres and U.S. premieres are preferred.

HOW DO YOU DISTINGUISH "SHORTS" FROM "FEATURES"?

The requirements are different for narrative films and documentaries.

NARRATIVE FILMS
69 minutes or less running length is considered a SHORT
70 minutes or more running length is considered a FEATURE
DOCUMENTARIES
49 minutes or less running length is considered a SHORT
50 minutes or more running length is considered a FEATURE

HOW DO YOU DECIDE IF A FILM IS "AMERICAN" OR "INTERNATIONAL"?

We don't necessarily make this distinction based on locations, actors, subject matter, or script.

Our general rule is any film with 51% or more American financing will be considered an American film. (If you feel your film is an exception to this rule, you may explain why in the text box that is provided on the application).


CAN I SUBMIT MY FILM WITH A "TEMP TRACK" OR "SCRATCH MUSIC"?

"Temp Tracks," "Scratch Music," or "Temp Sound" will be accepted. Again, you should always list directly on the tape box which elements are missing.

MUST I HOLD ALL THE RIGHTS TO THE MUSIC IN MY FILM?

Sundance is not responsible for the rights to the music in your film. You must secure permission from the owners of the music. Many rights-holders will offer the option of "festival rights" which are often less expensive.

DO YOU PROJECT DIGITAL AT THE FESTIVAL?

With the stability of digital standards and equipment changing every year, it is our policy to pursue the latest technology possible - which means we announce our digital projection options only to films that have already been accepted into the Festival, thereby allowing filmmakers and producers the digital choice as they make arrangements to screen at our venues.

As a reference point only, we have projected digital in the past in HD CAM format, Non-Anamorphic, and 1080i/16:9 60i.

HOW MANY FILMS CAN I SUBMIT?

As many as you like. However, each submitted film must have its own VHS tape or DVD, completed Submission Form, Entry Fee, and Supplemental Materials. DO NOT put multiple projects on the same screening tape or DVD (if you do – we will only consider the first project on your tape).

SO WHAT ARE YOU LOOKING FOR? WHAT KIND OF FILMS STAND OUT?

We celebrate the independent spirit of great stories. Diverse voices and films that push the limits of style and narrative also excite us.

WHEN WILL I FIND OUT IF MY FILM WAS SELECTED?

We will contact you via email the first week of April. Please make sure that the email address you provide will be operational at that time.


DO YOU ACCEPT SUBMISSIONS ON DVD?

Yes, but since universal technical standards don't yet exist for burning and copying DVDs, please read the following carefully. The Breather Film Festival invites all projects in all categories to submit on DVD with the following conditions:

DVDs should be submitted in plastic safe cases. These are the industry standard push-button hub, literature clip, full sleeve for artwork, dark plastic cases. Size is 5 1/4" by 7 1/2". No other cases of any kind will be accepted. If you do send an alternate case it will be discarded and replaced. Please don't waste money or efforts on artwork that fits other cases.

DVDs must be formatted for Region 1 or 0/North America. No other regions are accepted in the submission process, including international projects.

DVDs must be formatted in MPEG video using the codec of your choice. Neither QuickTime (.mov) or Microsoft (.avi) DATA files are accepted.

DVDs should not include labels or stickers of any kind: only laser printed artwork, if any, should be on the disc itself. Many consumer labeling products (like stickers) can actually damage the disc and make it unplayable in our systems. If you are burning a consumer disc please write your Project Title, Contact # on the disc with a black Sharpie pen.

PLEASE test your consumer-burned DVD on several makes and models of players BEFORE sending it to our offices. If in doubt, always send a VHS tape as back-up. Technical problems can delay the completion of your submission.

IF I SUBMIT MY INFORMATION ONLINE AND THEN DON'T SEND A TAPE OR DVD, CAN I GET A REFUND ON THE APPLICATION FEE?

No. The application fee is non-refundable.

If you need further assistance after reading the information above or would like to be put on the Sundance Institute mailing list call the Breather offices at 404-377-6889

The Captain says "I want to see you at Breather 2005"


DSC05268
Originally uploaded by lightroomstudio.
Be there to make history.

REGISTRATION

breather ATTENDEE REGISTRATION 2006

Mail this form with your check for $100.00 to Breather, 115 North Mcdonough Street, Decatur, GA 30030
Students with Valid ID: $50.00

________________________________________________name

________________________________________________company


________________________________________________address


________________________________________________


_______________________________________________email address/ website


_______________________________________________list of submitted works/papers

Welcome to Breather

This is the official site of the Breather design conference. This conference highlights film, photography new media and architecture. It precedes the Decatur Arts festival which attracts over ten thousand visitors to the Decatur Square.

location: Decatur, Georgia

sponsors: Lightroom.tv, ShadowlightPictures, Holiday Inn Select

registration fees: $100.00-- includes VIP party at LIGHTROOM studios-- see lightroom.tv
make checks payable to BREATHER

submitted works: short films, feature films, papers on design and film(4000 words max.), photography(framed)