31 March 2014

Science Museum of Virginia's 8K fulldome theater upgrade gets good press

Inside the 8K dome at SMV - E&S Digistar 5 system
There's a new 8K system in the fulldome theater universe. It was unveiled officially to the public in Richmond at the Science Museum of Virginia in March. While there are now hundreds of digital dome video ("fulldome") systems around the world in planetariums, science centers and entertainment venues, very few of them (at this writing, fewer than 10) are 8K.

Very few cinema systems of any kind are 8K, in fact. This leading edge digital cinema technology has not yet been widely seen even among the industry, but in our observation, those who witness 8K tend to agree that it sets a new benchmark for visualization, and that it may even meet the very exacting standards of giant-screen film exhibitors planning digital conversions.

Evans & Sutherland, a leading provider of fulldome systems (background: E&S was one of the breakthrough pioneers in the heyday of computer graphics), boasts two recent 8K installations on two continents: in the US, at the Science Museum of Virgina (Richmond), and in Switzerland, at the Museum of Transport (Lucerne). (And if you're still wondering what the heck "8K" means in this context, check out this background article from E&S.)

One of the things a digital theater brings is versatility. For a planetarium, going digital means the ability to take audiences through data sets using real-time image generation, and to screen fulldome shows, which include astronomy and earth science titles created specifically for the 360-degree hemispherical fulldome display, as well as fulldome conversions of documentaries such as the two that SMV is currently featuring: Wildest Weather in the Solar System (produced by National Geographic), and Great White Shark (produced by Giant Screen Films).

In addition to this kind of traditional educational programming, digital systems allow planetariums and other dome theater operators to explore alternative content options such as concerts, opera simulcasts, live performance and multimedia shows - and to collaborate with local arts organizations for other creative and theatrical uses of the space.

In Richmond, the SMV upgrade has caught the attention of the press and enthusiasm of the community, as shown in this array of recent articles, below. -- J.R.

'The domed screen is part of the Science Museum’s $60 million fundraising campaign, which is aimed at rebranding the state institution as the “marketing agency for science.” More than half of that money — $36 million from public and private sources — is already in hand'... Richmond Times-Dispatch, "Science Museum of VA pulls wraps off 'The Dome,'" Louis Llovio, March 14, 2014

'You sit in comfortable rocking chairs with cup holders, surrounded above by a quarter acre of screen — the Old Dominion's largest — comprised of 480 fitted aluminum panels. The new, five-unit Christie projection system can throw out 29 million pixels' ... Richmond Magazine, "The New Hotness: The Dome takes The Hat over the Moon," Harry Kollatz Jr., March 14, 2014

'The Science Museum of Virginia invited members of the media and friends to an early morning preview on March 14 and the capabilities of the new Dome stunned and wowed us all...over and over.' ... Richmond.com, "Dome at Science Museum of Virginia outta this world," Phil Riggan, March 19, 2014

14 January 2014

IMERSA Summit 2014 "Shaping the future of digital immersive spaces"

The 8K fulldome theater at Fiske Planetarium in Boulder, Colorado USA
Many 2014 Summit details are now available from IMERSA, a trade group exploring the potential of immersive digital experiences, especially dome cinema (fulldome). March 6-9 in Denver. Headline speakers include Ian McLennan, Dr Donna Cox and SIGGRAPH president Jeff Jortner.

Highlights:

Dr Donna Cox, keynote
Planetarium Budgeting session with Ian McLennan and Mike Murray
McLennan & Murray (Clark Planetarium) will show how to plan for great content along with a facility's other needs.

IMERSA to share new research at 2014 Summit
Empowering "Research Bytes" from Paul Fraser (Blaze Digital Cinema Works), Mark Petersen (Loch Ness Productions), Dario Tiveron (Fulldome Database) and Mark Dvorchak (Pro Forma Advisors). Session produced by Chris Hill of Sliced Tomato Productions and Alan Caskey of Holovis.

Steering an immersive dome theater toward success
Brian Wirthlin (Seiler Instrument, Photo Alchemy), Ian McLennan, Berend Reijnhoudt (Omniversum), Dan Neafus (Gates Planetarium, Denver Museum of Nature & Science)

The Pros and Perils of 8K - IMERSA Summit 2014 Finale event
Transportation will be provided to travel to Fiske Planetarium in nearby Boulder on the evening of March 9. Fiske recently unveiled a new 8K Sky-Skan fulldome system. Refreshments, screenings, facility tours and a panel discussion are all on the program.
Ian McLennan

As there are only a handful of 8K fulldome systems in the world, the evening at Fiske is a valuable opportunity to see one of the first 8K installations in North America up close, and see screenings of 8K content and hear from 8K suppliers and 8K system owners and operators.

The 8K event at Fiske is part of the overall Summit program, but tickets will also be made available for those who wish to attend it as a separate event. Inquiries: info@imersa.org

Professional Development sessions, Thurs-Fri, March 6-7. Experts will discuss tools and techniques, and there will be case studies of recent award winning fulldome shows that are also featured in the Summit's evening screenings.

Dr. Donna Cox, keynote
Jeri Panek
The first lady of science visualization. She will be introduced by Jeff Jortner.

Jeri Panek of E&S to receive lifetime honors at IMERSA Summit 2014
She's credited in "Wrath of Khan" and she was part of the pioneering development of computer graphics and personal computing at the University of Utah in the 1960s and '70s. Sometimes called the "Queen of Digistar" in reference to E&S fulldome systems, Jeri's career will be celebrated.

More stories and links concerning IMERSA Summit 2014:
Award winning fulldome shows to be screened at IMERSA
"Dream to Fly" from The Heavens of Copernicus
Summit 2014


Full schedule overview: IMERSA Summit 2014

Registration, hotel & other basic info: IMERSA Summit 2014

Meet the IMERSA Summit 2014 organizers! 

Speaker gallery! IMERSA Summit 2014 (downloadable photos with bios)

23 August 2013

The infinite design diversity of Jeremy Railton and EDC

Railton, right, discusses a project with Chris Stage
I profiled design legend Jeremy Railton and his company Entertainment Design Corp. for InPark Magazine:

...What Railton and his team learned in Asia has brought about a shift in how they approach design for this market, and how they interact with clients. “Very early on, I was given good advice by Hee Teck Tan, CEO at Resorts World Sentosa. He said, ‘Jeremy, forget about all this arty, subtle stuff: Asians like bright and loud.’ It was excellent advice. I’m sort of a loud kind of guy – I always loved rock and roll concerts and variety television. I like the bright and loud and shiny. I do come from central Africa.”

The Chinese respect for maturity has stood Railton in good stead. “I feel I get a lot of respect because of my gray hair; it makes them feel comfortable. I feel like a strong, reassuring hand, the voice of experience. They are nice to Alex and Chris, but I get the attention. In the US it’s the other way! They smile and nod at me, and then talk to [EDC's 'young guns'] Alex [Calle] and Chris [Stage].” ...

Click here to read the complete article

Special effects pioneer Ron Griffin of Attraction Services talks about his work

Judith Rubin: You were on the team that built the gigantic, animatronic owl for the Electric Daisy Carnival, a 3-day music festival held recently in Las Vegas. This was a high-profile success and images of the owl have been all over the media. Tell us about it.  

Ron Griffin: We were approached by Gary Goddard’s entertainment and design company, The Goddard Group, for Insomniac Events to build a 35-foot-tall, 80-foot-wingspan, animated owl for the event, which would see an attendance of over 300,000 over three days.

The creativity of the owl concept and the plan for its use as a key element in the festival were fantastic. The bad news: We would have only six weeks to design (mechanically and electrically), build, test, ship, and install him. We were cautious at first about taking this job – but it was the kind of big challenge that we love to solve. Working with Goddard and Insomniac, we were able to form a plan that we felt would succeed even in the short timeframe allowed.

Six weeks! Our approach had to be simple, yet provide the desired look and animation. It had to use components that we could get quickly and that we knew would work. 

Click here to read the complete interview. 

06 June 2013

David Bowie is opens at the V&A and Sennheiser audio is the co-star

David Bowie is, co-curated by Geoffrey Marsh and Victoria Broackes, opened to the public on March 23, 2013 at the V&A Museum in London. In a blend of attraction design, exhibition design and theater, David Bowie is presents two galleries of memorabilia and costumes from Bowie's substantial personal archives. A Bowie exhibit would neither be complete nor satisfying without music, and state-of-the-art audio technology is integral to the presentation. Most of the displays, videotaped performances and interviews are coupled with zone-specific audio delivered via personal headsets. The headsets come off for a climactic, immersive concert experience in the second gallery. Sound experience by Sennheiser - the TEA member company provided its guidePORT and Auro 3D systems, plus support services.

The 300+ objects on display include Ziggy Stardust bodysuits, set designs created for the Diamond Dogs tour, storyboards, handwritten set lists and lyrics and some of Bowie’s own sketches. Visitors may want to keep an eye out for Brian Eno's “Heroes” synthesizer in the concert area - an artifact Marsh called our attention to. Our own favorite stop was the kaleidoscopic video presentation of “Star Man” - Bowie's breakthrough, 1972 Top of the Pops performance. All in all, the exhibit contains some 4 hours' worth of material, which the average visitor will spend about 90 minutes browsing. David Bowie is will finish its V&A run August 11 and then head to half a dozen additional venues around the world, starting with Sao Paolo.... Click here to read the full article in the May 2013 Lighting&Sound International magazine.


22 April 2013

From the Archives: Judith Rubin's articles on LiveDesignOnline

Articles from 1999-2001 during the period I was "Themed Entertainment Editor" for Entertainment Design magazine, now known as LiveDesignOnline. At the time, I worked with editor David Johnson, who is now the publisher. Some of the projects covered here are now gone entirely and others greatly changed, but it's interesting to see the forerunners of trends and technologies that are fairly common in projects today, and the names of familiar companies and people.  -- J.R.








05 December 2012

Letter from Museum Day - IAAPA 2012

Ford Bell, president of AAM. Photo: Judith Rubin
AAM's big tent
We visited Orlando for the IAAPA Attractions Expo and attended Museum & Science Center Day on Nov 13. IAAPA (International Association of Amusement Parks & Attractions) has long hosted the largest trade event for the attractions industry, and in the past 10 years has expanded its reach beyond the realm of parks into educational attractions and museums. A Zoo & Aquarium Day is also part of the program. This year's Museum & Science Center Day had a completely full house. Among the attendees were designers, architects, media producers, economic analysts, event producers, exhibit fabricators, museum operators and theme park operators.

The opening address was from Ford Bell, president of the American Alliance of Museums (AAM). The organization recently changed its name, swapping out Association for Alliance. Why? Bell explained that the terminology change signaled a change in the structure of the organization, retooling itself to spread a “bigger tent,” be more inclusive. The intention is not just to add more members, but to deepen relationships with other groups having similar interests and magnify the visibility and lobbying power in the face of shrunken Federal assistance. AAM has likewise changed its institutional membership tiers for inclusiveness, offering at the lowest level a “pay what you wish” membership and setting the highest at $5,000 (down from $15,000) which can be upgraded to an all-staff package. Alliances with other groups include crossover accreditation and best practices programs with AZA (Association of Zoos & Aquariums) and AASLH (American Association of State and Local History). Other efforts include outreach to engage other categories of stakeholders such as museum trustees. “We are fighting for a very pathetic sum of money,” he said, pointing out that Federal funds for museums total $60 million annually. AAM will make the most of its “big tent” to boost its annual Advocacy Day in Washington DC.

Ike Kwon, Guy Labine, Cynthia Sharpe (Thinkwell) and John Robinett
Measurements
In a subsequent session, John Robinett of AECOM, which has done numerous attendance studies for museums and cultural institutions, showed ways to obtain meaningful stats that can be used to make peer comparisons and examine such things as the differing behavior patterns of residential markets to tourist markets, the ratio of visitation to exhibit square footage, the operations cost per square foot (most museums come in about $80-$100 per square foot) and evaluate admission prices. Robinett's fundamental graph showed the declining attendance curve of the museum that fails to reinvest on a regular basis – he maintains that museums should follow the practice of successful theme parks - reinvest yearly and take a close look at how to maximize earned income (“retail performance is a missed opportunity for a lot of museums”, enhance the perceived value to the visitor and increase per-capita spending.

Satisfying the many
Ike Kwon, director of guest operations at San Francisco's California Academy of Sciences (home of the Morrison Planetarium) talked about strategies that the museum had employed in order to maintain visitor satisfaction in the enviable position of huge attendance numbers. Before the museum was rebuilt (the previous structure was damaged by earthquake), its average yearly attendance was 80,000, reported Kwon. “Now we do 8,000 in 3 weeks and are creeping up on 7 million attendance since opening [in 2008],” he said. He illustrated the problem with an example from the planetarium: the bundled ticket option covers a visit to the Morrison, but throughput in the dome wasn't sufficient to meet demand, meaning that some visitors would not get the full value of their ticket. They analyzed theload/unload p ace and created a shorter planetarium show to facilitate a 30-minute cycle. This adjustment was one of many implemented in a full-scale overhaul of operations with the goal of improving the guest experience, based on a model Kwon had learned in his days in the hospitality industry. The process relies heavily on input and suggestions from staff who deal with day-to-day issues.

Know your value
Guy Labine, CEO of Science North in Sudbury, Canada, talked about how the museum used the results of an economic impact assessment conducted 5 years ago to attract more government funding and more than double the proportion of earned income relative to total budget (from 30% to 70%). The study revealed the true extent of the museum's role in the community and of its contributions. “We found that Science North is a main driver of the city's economic tourism engine,” he said.

Tom Mehrmann
Doing things right
Ringing the leadership bell was luncheon speaker Tom Mehrmann, Chief Executive of Ocean Park Corporation. Regarding Ocean Park Hong Kong's significant recent expansion and 8 years of growth, he noted how decisions were made and strategies put in place to keep the park open during expansion, to differentiate from the competition (Disney), to empower employees and “break through the wrong kind of thinking.”

One intriguing guest services policy: There is $250 available to any employee on the property to tap in order to solve any guest issue on the spot, rather than send the issue, along with the weary guest, up through the chain of command. He remarked on how judicious the employees are with these funds.

As did previous speaker Ike Kwon, Mehrmann conjured the hospitality industry as a model. His example of gracious, empathetic service: the Ritz Carlton. He put emphasis on the value of personal, handwritten thank-you notes.

His talk was peppered with maxims such as “managers do things right; leaders do the right thing,” “not for profit is a tax status, not a business plan,” catch employees doing things right,” and “listening lavishly; responding with focus.”

Mehrmann also shared some of his favorite keys to success, with examples of how they'd been implemented at Ocean Park Hong Kong. 1) Be hungry for change. Example: When the park achieved its goal of 7 million attendance early, it was necessary to get rid of all the branded “7 million” coffeemugs. 2) Be innovative. Example: Ocean Park's very successful commercial campaign that juxtaposed human behavior with interesting counterparts in the animal world, and “changed the way our market saw and interacted with us.” 3) Be disruptive by nature. Examples: Ocean Park's “Aqua City” commercial, for which a custom song was composed that became a popular ringtone, how an Ocean Park K-pop spoof video had gone viral, and how the park's Halloween Bash and promotions had brought record attendance numbers and helped establish the holiday in Hong Kong. 4) Be genuine, not just generous. Example: Ocean Park's corporate social responsibility programs, and special discounts for locals, the disabled, seniors and low income residents.

Mehrmann's final list: the 10 qualities he looks for when grooming new leadership in the company: Curiosity, Sense of responsibility, Sense of humor, Passion, Courage of convictions, Initiative, Creativity/innovation, Sense of urgency, Persistence and Confidence.

Mehrmann began his tenure with Ocean Park in 2004. He started his career in the theme park industry in 1977 as a park attendant at Knott's Berry Farm, working his way up to the position of Vice President of Park Operations and Entertainment in 1996. He was with Six Flags Marine World as Vice President and General Manager in 1998, and was appointed VP and GM of Warner Bros. Movie World (Madrid) in 2000.

19 November 2012

Spotted at IAAPA: special venue cinema figures Huggins, Schklair, Katz, Fraser, Najar and Yellin

Some familar faces from the world of special venue cinema and 3D production were seen during the IAAPA Attractions Expo last week. I caught a few snapshots in mediocre 2D. Ammiel Najar topped me with his amazing 3D captures.


Paul Fraser of Blaze Digital Cinema Works, Steve Schklair of 3ality Technica, Charlotte Huggins of Rhythm & Hues, Mark Katz of National Geographic Cinema Ventures

Steve Schlair and Judith Rubin. Photo by Ammiel Najar
Steve Schklair and Charlotte Huggins.
These relationships date back to the 1980s. Huggins was a rising star producer with Boss Film Studio. Schklair was making some of his first 3D films with Infinity Filmworks. Katz and Fraser were both started with IMAX Corp. in the late '80s. 

Schklair and Huggins moved on to great successes in bringing 3D production and production tools to the world of feature films. Huggins produced Journey to the Center of the Earth, among others (she has been described as "the most prolific producer of 3-D motion pictures in the world"). Schklair founded 3ality Technica and catalyzed an explosion of 3D native capture for film and television. His company was named one of INC 500’s fastest growing businesses in 2011. Now, these 3D pioneers are each finding their way back to the special venue attractions industry and hence, IAAPA - where the best place to shmooze is at the booth of the Themed Entertainment Association, where these photos were taken.

Paul Fraser is a consultant to the special venue cinema industry, with a focus on educational content and digital dome presentations. He is an adviser to
IMERSA.org, which promotes digital dome formats (aka "fulldome"). Fraser and Katz are both active within the Giant Screen Cinema Association and museum cinema industry. Katz has been most visible lately as the head of theatrical distribution at National Geographic Entertainment and one of the driving forces behind National Geographic’s Museum Partnership Program. More details are in this recent article by Joe Kleiman, for InPark magazine.



I've had the honor to interview both Schklair and Huggins for InPark Magazine cover stories. Huggins appeared in issue #39, and Schklair in issue #42.
Doug Yellin of Matilda Entertainment and Steve Schklair
Ammiel Najar of Graphic Films and Steve Schklair

Schklair connected with some of his fellow alumni at the USC School of Cinema/TV, Doug Yellin and Ammiel Najar. Yellin was involved on Edmonton's Capitol Theater, a project that combined the restoration of an historic theater with a 4D cinema installation, detailed in this IPM article by Joe Kleiman and myself

Ammiel Najar is a fixture in the giant screen cinema industry, with 26 years producing for Graphic Films, including such classic titles as Africa the Serengeti, Ring of Fire, Alaska: Spirit of the Wild, and Seasons.

Judith Rubin at IAAPA 2012. Photo: Ammiel Najar.

Leafing through my back issues of World's Fair magazine, I found, in the April-June 1990 issue, the item I wrote about Infinity Filmworks back when Steve Schklair and Keith Melton were running it together (Keith is still there, at the helm). It was part of an article about Osaka Expo 90:

..."In its pavilion, Sumitomo Corporation showcases a 16-minute, ballet-fantasy film entitled 'To Dream of Roses,' starring Marianna Tcherkassky of the American Ballet Theater. The soundtrack is performed by the London Symphony Orchestra. Visitors follow a path through the pavilion's outdoor rose garden to the columned entrance of the building and into the 400-seat theater. 'Roses' was produced by Infinity Filmworks, using high-definition video technology. Shot through two cameras, simultaneously matting together the images of the dancers with the fantasy backgrounds, it was then transferred to 70mm film. The finished product has a look unlike standard film, video or television, that may be a prototype of future screen entertainment..."

The film was produced in partnership with Douglas Trumbull; Steve was co-producer and DP. It is said to be the first film ever to be photographed in high-def and released on large format (70mm) film, as well as one of the first to utilize real time live compositing and real time motion control.



17 August 2012

Remembering 3D cinema artist Dominique Benicheti

Dominique Benicheti holding the rare 9.5mm Pathe-Baby movie camera
Lawrence Kaufman, president of the National Stereoscopic Association, wrote this article about the late Dominique Benicheti. I was fortunate to meet Dominique at Futuroscope in 1994 and see some of his films there. He was a brilliant, lively person who instantly engaged people in deep, fascinating conversation. --J.R.

Dominique Benicheti
I was saddened to hear of the passing of Dominique Benicheti last year. I received the news very late, when a friend of a friend passed it along. Dominique had worked on "iDance Machine - Nothing Personal" with Bruce Austin. I recently saw this music video at 3D-Con, which is planned to be turned into a feature film. Director Dan Harris said Dom was a pleasure to work with. He storyboarded the entire video for 3-D. Director Harris also said that on the shoot, he had at least three stereographers, which he was likely not to do again. Dominique was always trying to get more depth and one of the other stereographers was always trying to decrease the depth. I have not been able to find too much about Dominique's life or passing. There seems to be very little information in the Internet about Dominique.

I did find out from French Film director and producer Pascal Vuong, through Olivier Cahen that Dominique died of a violent and sudden cancer. He was buried at "Pere Lachaise Cemetery" in Paris at the end of July 2011. “During the ceremony, many testimonies and tributes from all over the world have been gathered and told, all telling how great was Dominique, not only professionally but humanly.”

La Revole, French Musical, A Fairy Tale
I met Dominique Benicheti in 1999 when he visited the United States of America trying to find releasing for his 3-D short "La Revole."  Dominique was very lively, interesting, fun and excited about 3-D, so we became fast friends. I was able to see this film at a private screening at the Sunset Screening room following the Large Format Cinema Assn. (LFCA) annual conference, which Dominique was attending. He visited again in 2000 with a 5/70 mm print of "La Revole," which was shown at the Academy of Television Arts and Sciences Leonard H. Goldenson Theatre during the LFCA annual conference. La Revole is the popular term for the feast of the last day of wine harvest in the Beaujolais region. “La Revole,” was called the first French 3-D musical. Running 18 minutes, it was shot with the Stereovision lens. I had recently visited Futuroscope, Dominique had worked there and on many films. He told me to look him up when I returned, but I never did make it back. 

Bruce Austin, Eric Kurland and Ray Zone are planning a tribute to French 3-D cinema perhaps featuring "Pina" and a tribute to Dominique.

What I know about Dominique:
Dominique was a producer, writer, director and technician, he directed and/or produced more than 40 films; documentaries, scientific and animation. He may best be remembered for his very first film, a 1972 feature film "Le Cousin Jules (Cousin Jules,)" which won the Special Jury Prize and The Ecumenical Jury - Special Mention Prize at the Locarno International Film Festival and the Interfilm Award at the Mannheim-Heidelberg International Filmfestival. The Internet Movie Database (IMDB.com) only lists that film: http://www.imdb.com/name/
nm0071165/ 

He studied at the National School of Applied Arts, National Superior School of Fine Arts and High Cinematographic Studies in animation film. He had taught documentary film making at Harvard University for two years and was there for three more years as research associate in engineering at the Jefferson Laboratories for experimental physics, developing a human-appearance robot for television.

Dominique had written and directed at the Harvard Smithsonian Center for Astrophysics, producing a 30 minute video “Light Games: 5 Experiments About the Inverse Square Law” to initiate the teaching of astronomy in US high schools and colleges. He also wrote screenplays for "Little Lady Chip," which had been planned for a 3-D feature and a treatment for a planned large format 3-D fairy tale musical "A Double." 

La Revole Photo Strip:
1) It's us, the Grape Pickers!
2) I'm Ceres, Goddess of Wine Harvests...
3) Blackberry, violet, cherry, cassis Moulin-a-Vent year eighty-six...
4) Take the cluster in your hand, but you don't crush the fruit!
5) And when the baskets are full, we have to call up "Jarlot!"
6) Oh! This Bocuse pumpkin soup!
7) I would happily give two months of my lifetime, to have this Beaujolais in my glass right now. 
8) I was holding my word, you were so impatient... 
9) Do not drink milk tonight!
10) In a pretty country, All embroidered with vines...

He went into special format films with Futuroscope (or Parc du Futuroscope,) the French theme park based on multimedia, as director, writer or consultant on 3-D movies and large format films. He wrote and directed “The Price of Freedom,” a 20 minute, 360o film about the Normandy Allied Landing of June 1944 for the 50th anniversary, shown at International Space Theatre Consortium (ISTC) in September ’94, held in Poitiers, France; it is currently at the Museum of Arromaches in Normandy.

He worked on a 20 minute double 70mm 3-D ride in pixilation about the 34,000 year old Chauvet Cave. He directed the documentary part of a 70mm 48 frames-per-second film about Poitou and he worked on the production of “Pathe-Baby,” a 3-D feature mixing fiction and reality, filming at least half of it with the Stereovision lens.

Dominique was preceded in death by his sister; Dom never married and had no children, so he left no heirs. Cedric Thomas is Dominique’s ‘spiritual’ son and is the executor of his estate.

His Special Format Films include:
  • “Safari 3D” Opticals; double 35mm 3-D, post-production
  • “Peugeot 3-D” Storyboard, stereography, post-production, opticals; 15 min., 3-D commercial
  • “Miko 3-D” post-production, opticals
  • “The Price of Freedom” Writer/Director; 20 min., 360o - Arromaches Musee du Debarguement
  • “Poitou” co-director; 20 min., 70mm 48 fps
  • “La Revole” Writer/Direcotr 3-D musical short
  • “Pathe-Baby” Writer/Direcotr; 3-D feature (completed?)
  • “La Grotte Chauvet” Writer/Director; 3-D ride, double 70mm, (completed?) 
  • "iDance Machine - Nothing Personal" stereographer, music video, planned feature.

More about the French Film “La Revole”
In the opening shot of the film, a sixty-ish traveler has fallen asleep reading a newspaper in the compartment of a train. A headline of the front page of the newspaper reads that a wind vane in the design of Ceres, ancient Greek Goddess of the grape harvest has mysteriously disappeared the night before in a famous village in Beaujolais.

While the train comes to a stop in the sunny countryside for apparently no reason, a beautiful young woman appears magically in the compartment and sits in front of the traveler. The train takes off and the traveler awakes startled. He sees the young lady, apologizes for having fallen asleep and introduces himself. He is Christian Marin, a well-known actor, invited to Beaujolais to share supper of the La Revole, prepared by Paul Paul Bocuse and presided by Bernard Pivot, his pals and very famous French figures.

He is very surprised to learn from the young woman that she is no less that Ceres, the real Goddess of harvest and that every year she comes down from her wind vane to check on the grapes and help humans to make the wine good. Charmed, the traveler invites Ceres to join him and his friends for supper of La Revole, fearing nonetheless that “They will never believe you’re a Goddess!” “Well then, we will tell them that I’m only your niece!” She answers back to him.

Meanwhile, a group of you grape-pickers are going to the vineyards, signing, laughing and having fun, as well as a young kitchen helper coming back from market, singing with his horses. Then in the kitchen of Paul Bocuse, Ceres mischievously gives a blind-tasting wine lesson to these knowledgeable older men, who are very surprised. But later she will be the one to take a lesson from Paul Bocuse himself, to prepare his famous Poularde a la Bocuse with a recipe read in verse by Bernard Pivot.

The last day of work completed, the grape[pickers come back for the famous supper. While waiting for Paul Bocuse, Christian the actor, Bernard Pivot, Ceres and others play riddles. Impatient, Bernard Pivot expresses his feelings. 

“I would have very willingly,
Given up two months of my lifetime,
To have in my glass right now
A sip, a taste of Beaujolais Nouveau!” 

Referring to Pivot’s famous TV show about books and language, Ceres takes his word for it and magically, to everyone’s surprise overnight and all by herself, she makes the Beaujolais Nouveau. 
Lawrence Kaufman