May 12, 2013
May 8, 2013
March 29, 2013
February 19, 2013
keep reading this article here: http://conversations.nokia.com/2013/02/18/lights-mobile-action-the-amazing-evolution-of-smartphone-film-making/
February 9, 2013
keep reading this article here: http://artpulsemagazine.com/the-aesthetics-of-cellphone-made-films
January 21, 2013
Beneath the surprising, sometimes perverse surface of i&I’s art, lie the related convictions that only the ultimate spiritual Younity is real and that only his own sensibility can be a source of knowledge.
The concerns, emphases and preoccupations of i&I’s poetry give rise to characteristic techniques – hyperbole, startling conceit, dramatic contrast – which appear regularly throughout the period and give it a distinct identity when set against the African renaissance poets, with their more strict submission to the controls of decorum and common sense.
i&I is a man of language, a prey to despair and a rival of God, whose ambition is to create the ever-elusive – not Mallarmè’s “the book”, but the book which, once read, would not contradict the creator even by its “impression”, the book that would remain alive, ever-changing, moving, ageing, never fixed on the page as a given, signed, complete Youniverse.
But every book must die when the pen stops writing, ink is the blood of sin (i&I’s history book is streaked with blood), and the writer who stops writing is the murderer of his own art as soon as he ceases to invent. i&I well knew this successive death that catches up with the writer; every book of his, as soon as he had finished it, disgusted him, like a corpse, and sent him on eagerly to the next that was not yet written.
The need to speak, to hear the spoken word with its assurance that he was alive – to say merely “i&I am he who writes” – was what drove i&I to seek out and invent a kind of writing that would not stop its evolution and development once the writer had left it, which would continue developing because it contained an infinite supply of meanings.
May 4, 2012
SMS SUGAR MAN is a feature film that incorporates new cell phone technologies in a highly innovative manner.
The film is not only actually shot on cell phone cameras, in itself a revolutionary breakthrough, but the cell phone plays a vital role in driving the film’s narrative – in effect functioning as a dramatic character.
All the lead actresses carry a cell phone and constantly film each other. Thus the traditional cinematic practice of having a “cast” who are invisibly filmed by a “crew” of technicians – is radically subverted.
In SMS SUGAR MAN cast and crew fuse – the actresses are in control of filming each other – and in monologue scenes, -themselves.
This conceptual leap mirrors the tremendous empowering effect that cell phone technology has had on our every day lives.
The plot of the film is entirely driven around the potential that cell phones have to enable us to explore new forms of communication and new ways of representing ourselves. The consequences of these innovations are hardly studied as yet, and SMS SUGAR MAN makes a contribution to our understanding of how significant cell phone technology has been on the evolution of our social development.
Cell phone media have become so much part of our daily living that it would be impossible to conceive of an urban environment without them. SMS SUGAR MAN is a prescient glimpse into the near future when all our most basic relations with each other are informed by cell phone use, including sexuality and spirituality.
February 11, 2012
this article first published here: http://cinemiz.net/cifj/?p=1385
December 20, 2011
December 5, 2011
The first feature film shot entirely on a smartphone will have its theatrical premiere in Los Angeles on 16 December.
Olive, billed as a film about “a little girl who transforms the lives of three people without speaking one word”, was filmed on a Nokia N8, which was double-taped to a set of traditional film-camera lenses.
In an interview with the Los Angeles Times, director Hooman Khalili described how he had to hack the phone to turn off its auto-zoom and auto-focus features in order to get the technology to behave as he wanted. “The camera thinks it knows what you want to focus on,” he said. “But it doesn’t know.”
The rest of the film’s production was more conventional. Khalili hired a casting director, location scouts, make-up artists and a Hollywood star (two-time Oscar nominee Gena Rowlands), bringing the total budget up to $500,000. The money was supplied by Chris Kelly, former chief privacy officer at Facebook, when Nokia turned down Khalili’s request for funding.
While he is the first to go full-length, Khalili is not alone in experimenting with mobile movie-making. Oldboy director Park Chan-wook announced that he was filming a 30-minute short on the iPhone earlier this year. His film, called Paranmanjang (Korean for “a life full of ups and downs”), is a fantasy horror about a troubled father-daughter relationship.
Olive will be screened at the Laemmle Fallbrook 7 cinema in West Hills, LA, making it eligible for consideration in the Oscars race. The first five minutes of the film are available to watch above and on the official Olive website.
this article first published here: http://www.guardian.co.uk/film/2011/dec/02/olive-film-shot-on-smartphone<.a<
November 10, 2011
October 17, 2011
Q: What motivated the idea of adding cameras to mobile phones? How and where did the trend start?
A: When you think about it, it’s a very natural evolution. Mobile phones are all about communication. Voice and text messages can only go so far in relaying information. As the saying goes, “a picture says more than a thousand words”. Actually, I may not agree fully on that statement, but often a picture can convey information much more effectively than words or text.
Philippe Kahn is generally attributed with inventing the mobile phone camera in 1997, although one should perhaps note that his invention was a camera accessory for mobile phones. Sharp was the first company to develop a mobile phone with a digital camera integrated in 2000. At this time it was popular amongst youths in Japan to use photo machines, similar to common ID photo machines, but aimed at printing “fun” pictures. The quality of these prints were rather low, but they were still very popular and available nearly everywhere.
The first cameraphones were rather expensive and aimed at a more “mature” group, but the image quality was rather poor and the resolution low. So the high-tech buyers were disappointed in them. But the youths, who were used to the lower quality of the photo prints, didn’t mind much and soon they were popular in this demographic group for which they weren’t originally intended.
Even though the success of cameraphones in Japan can be attributed to that it’s a country where new and advanced tech is adopted early, I don’t think that’s necessarily the only reason. Cameraphones have been a success worldwide with very little variations. I think it’s more attributed to the basic appeal of images, of how they can be used to capture a moment. Mobile phones have two big advantages over digital cameras, and that is that people normally always carry one so they’re always at hand when something happens that you want to record. The second advantage is that the mobile phone is of course first and foremost an communications device, so it’s possible to send your pictures or videos to friends as soon as you’ve recorded them.
Q: Video recording requires instantaneous processing of enormous amounts of information, how does SonyEricsson overcome this obstacle on such a small unit?
A: The W900i has a dedicated chip that allows for recording and playback of 30fps QVGA video. It does make the W900i a little more expensive, but it also gave it an edge that few competitors could rival at the time it was released on the market.
Q: Can you explain the technical elements of the phone of the specific Sony Ericsson W900i, that was used to shoot SMS SUGAR MAN? Both video and audio?
A: Sorry, no. But we do have white papers available that covers the technical aspects in general terms.
Q: To the best of my knowledge, at the time of filming Smssugarman, the Sonyericsson w900i was the first mobile phone camera to feature adjustable/auto focus. How did you achieve that?
A: Well, that’s one example of when we’ve had great help of one of our mother companies – Sony has a long experience in digital cameras. It’s definitely an advantage that they are able to provide us with a lot of technology and insight in that area.
Q: Can you describe the optical part of the camera? The choice of lens size and glass quality?
A: I’m afraid that’s outside my area of expertise. We have an dedicated optics team that are responsible for the camera and lens so I’m not directly involved in that.
Q: Can you describe briefly the compression (H263) and recording format that you chose to use in the W900i (frame rate, file size, compatibility, etc.)
A: H263 is a low-bitrate encoding that was originally developed for video conferencing, but later was found to be suitable for video in phonecams. The file format, .3gp is a standard that is supported by all the market’s big phone manufacturers and operators. Part of it’s purpose is to ensure compatibility, so that a video recorded in one mobile phone can be sent and viewed in another regardless of manufacturer or net.
Q: Most phones do not record at 30 fps. The Sony Ericsson W900i does. Why did you go for such a fps design?
A: Besides being an Walkman-branded product and thus audio-focused, the W900i was also created with the intent of giving an (at the time it was released) unparallelled imaging experience that could do the large 2.2 inch display justice. It was to that end that the camera components were chosen. Like I mentioned before, the W900i makes use of a dedicated chip for encoding and decoding video for better image quality.
Q: Today, most editing software come with codecs used in mobile phones video recordings. Does Sonyericsson collaborate with post production software creators such as Final Cut, Avid or Adobe?
A: Yes. For example, current Sony Ericsson camera phones ship with PC software from Adobe for editing and organizing photos. We don’t include any specific video editing software right now though – or maybe I should add, “as far as I know”, because we produce a lot of phone models, and in different parts of the world, and I’m not personally involved in all of them.
Our application planners are constantly talking to partners, potential partners and other interesting third-party developers to see if there are interesting software we could include, and also to help them support (for example) the codecs and formats we use in our phones for better compatibility.
And of course, some of the larger operators supply their own customized software packages.
Q: LG already have a 5 mega pixel camera out. What significant improvements in terms of the quality of the optics used and picture resolution are you planning in the near future?
A: That’s a sensitive area, so I can’t mention any specifics. We are looking into a number of interesting techniques and hardware.
In more general terms, you can see that the mega pixel race is still ongoing. You mentioned the 5 Mega pixel LG phone, but Samsung have a 10 Mega pixel phone that is sold in Korea.
Also, camphones with optical zoom are starting to appear, which is nice although it does require more space for the camera lens in the phones. I’ve also seen that several vendors employ various real-time or post processing image filters to help improve image quality.
Q: Most of the design is around amateur users. Have you or will you be looking at professional users in the future?
A: We have a wide product segment – from basic phones that are mostly for talking and sending SMS as well as advanced smartphones that are more like mobile computers and are aimed mainly for business professionals. Cameraphones are available on nearly that whole spectrum, and how advanced they are varies depending on the price range and whether or not they’re mainly aimed for imaging use or not.
Still, the vast majority of our customers are amateurs users and that is something we must take into account when designing the products. And as a result, it’s mostly also that kind of people we perform studies and product tests on, since they’re usually chosen to be representative for the overall market.
That said, I have occasionally consulted professionals and semi-professionals when doing the design. I think it’s them that has has the best potential to give me insight into the problems, advantages/disadvantages and workarounds that they need to consider on a daily basis.
Q: Seeing that there is a growing use of mobile phones in professional image recording what channels do you have available for professional users/cinematographers/filmmakers to communicate with you, give feedback or get help?
A: Aside from our normal support functions such as call centers and webpages, we don’t have any forum specifically for professional filmmakers.
Q: In relation to the above question how can you create a forum where filmmakers collaborate and interact with independent developers to design applets and modify the recording settings on the phones?
Q: Is the video recording software of the W900i and its predecessors open to modifications – such as manual aperture control, gain and effects?
A: On the W900i, no. But in our later models the camera can be controlled by Java programs, so it’s fully possible to develop your own customized camera interface and controls, given that you have the programming skill. More information is available at: http://developer.sonyericsson.com/site/global/techsupport/tipstrickscode/java/p_camera_control_jsr234_jp7phones.jsp
And since the Java interfaces is constantly being updated and extended, I dare say we can expect a lot more control over the camera to be added in the future.
Q: Do you think that in future models the camera part of the phone and especially its optics will work as a detachable unit, so that users could use different lenses with the camera?
A: Right now I don’t think that’s very likely. It is a little too specialized use case, and generally people aren’t too keen about having detachable parts on their phones since they’re apt to be lost.
I still wouldn’t rule it out entirely though, and there might be solutions that circumvents the problems. For instance, Kodak recently released a compact digital camera with two lenses – one normal and one for wide angle shots.
Q: What is your vision of cellphones as viewing platforms for movies and mobile TV?
A: Well, first of all I think it’s important to understand that viewing a movie or tv on a mobile phone is a new way of experiencing media. It is not done in the comfort of your home – or at a cinema. Occasionally people might want to view a full lenght movie or a longer tv-show – for example on a longer train trip. But the main use case for viewing media in a mobile phone is as a short timekiller. Most operators and tv-producers are starting to realize that content needs to be formatted – and produced – specially for the smaller screen. In a way, it is perhaps more similar to teather than movies in that the actors need to make sure gestures and expressions are very visible (or audible).
Another thing to note is that much of what is called Mobile TV today is actually streamed media, which generally has a rather low quality since it’s highly compressed and this affects the viewing experience. “True” Mobile TV, DVB-H, is broadcast much like ordinary TV, which allows for better quality and higher framerate. In recent tests conducted in Stockholm, it became evident that people actually viewed Mobile TV for longer periods than was previously expected – 15 minutes in average.
Q: Can you comment on the revolutionary idea of users being in control of the production and distribution of their own mobile content?
A: Wow, that’s not an easy question to answer shortly. The success of such websites as YouTube has proven that the need for people to express themselves by moving pictures are almost as big as that for still pictures. And not to forget Podcasts and video blog sites as well as sites devoted to fanfilms. And these are just a few of the ways basically anyone with the time and interest can publish their own works.
It is also interesting to note that the costs for equipment needed for producing at least near-professional-quality movies or shorts have dropped to price ranges that amateurs can afford. You can even find free alternatives that in many aspects are on par with professional software. Two examples that comes to mind is Jashaka (editing and effects system) and Blender (3D modeling and rendering), both of which are open projects.
Q: Many short films and user generated content have been shot with Mobile Phones. Is this the first feature film to be shot using mobile phones as the cameras?
A: I’ve seen a music videos shot with cameraphones (SonyEricsson K750i phones actually) – and films including short sequences shot with cameraphones – but to the best of my knowledge SMS Sugar Man is the first feature film shot entirely with cameraphones.
Q: The phone has become a universal tool, with the camera as an integral part of it. How did you approach the design of the phone with cinematography in mind, bearing in mind that it was shot in December 2005?
A: To be quite honest, cinematography wasn’t our first priority when designing the W900i. Our main concerns was that it should be easy to record a video and to send it. But nowdays, almost all our cameraphones has an video editing application integrated called VideoDJ. With it you can do some basic editing, like cutting, mixing different clips together, adding text and sound et cetera.
Q: What tests etc did you undertake whilst designing the camera?
A: At Sony Ericsson we employ a user centered design philosophy. In essence, we design the interface, test the design on real users in our usability lab and then iterate the design according to the feedback. In parallell to this the technical teams conduct their tests on the hard- and software, such as the camera optics, the interface responsiveness et cetera. It’s a always ongoing process that continues even between projects.
Q: And where do you want to evolve to, what is the future of recording sound and picture on phones?
A: I don’t expect we’ll ever be truly able to compete with professional camera or video recorders, because unlike those devices a mobile phone is not dedicated to a single task (recording video or taking pictures), so we always will have to make compromises in the design. For example, phones are expected to be as small and light as possible, but it is an advantage for a camera to have a little more weight and size, since it makes it steadier to handle.
But image resolution and quality will inevitably increase, as well as FPS and overall capabilities.
We can certainly compete with small compact cameras. Like I’ve mentioned previously, two big advantages of mobile phones is that you always carry them with you – so why bring a second camera? And the possibility to instantly send your pictures and videos to your friends that makes it more than just a camera, but also a communication device. Or even publish on-line if you like to.
Q: Do you think SMS SUGAR MAN will revolutionize the future of filmmaking, and if so, in what way?
A: I think that SMS SUGAR MAN is a pioneering effort that is important since it proves what is possible to achieve if you just dare to do something a little different, hopefully leading the way for others to follow. Time will tell, but it could very well be the start of a wave of new indie films.
On an more artistic level, I do admire the way you’ve managed to make use of the limitations of the medium and turn them into advantages. From what I’ve seen of it, SMS SUGAR MAN has a very distinct look and feel to it.
Sony Ericsson Mobile Communications
Joakim works as an interaction designer at Sony Ericsson, and is responsible for the usability – or, in other words, the usefulness and ease-of-use – and design of the camera interface. He spends a lot of time thinking about how to make the camera phones easier to use and how to best add new features and functions.
October 4, 2011
The Arterial Network and the DOEN Foundation call for submissions of short films shot on cell phones for its first Mobile Phone Film Competition. The films will be evaluated by experts in various fields and public awareness and participation will be increased by on-line voting. So, anyone with a cell phone will now be able to become a filmmaker in the Arterial Network/DOEN Foundation Mobile Phone Film Competition. The festival aims at providing an opportunity to anyone to create and capture images to tell a story using mobile phones, the most accessible technology on the African continent.
Prizes for winners are as follows:
First Prize: 1000 Euros
Second Prize: 500 Euros
Third Prize: 250 Euros
Audience Choice Award: 150 Euros
Other prizes such as filmmaking training opportunities for the winners are currently being negotiated.
General Submission Guidelines
1.Films may be on any theme but they must be original and tell a story (no documentaries or citizen journalism pieces will be accepted at this stage).
2.All films must be shot by cell phone to be viewed on a cellphone or computer screen.
3.Film may be submitted in French, English, Swahili, Arabic or Portuguese.
4.The running time for films may vary in length from 60 seconds to a maximum of 300 seconds (5 minutes).
5.Only work created by Africans living on the African continent will be considered.
6.Work submitted without a submission form will not be considered.
7.Films may only be in a Quicktime or Windows Media Player format.
8.File size must not exceed 10MB
9.Screen dimensions must be: Width = 320 pixels, Height = 240 pixels
Submissions must reach Arterial Network on or before 31 October 2011. Films may only be submitted electronically.
Download the Film Competition Application Form from here
Arterial Network reserves the right to select the best 10-25 films submitted and compile a collection for the purpose of promoting African filmmaking – and the winning entries in particular – on the African continent and internationally at film festivals and other distribution outlets. To this end, the copyright of the film will remain with the copyright holder/creator but Arterial Network may use the work for non-commercial purposes.
Arterial Network may disqualify entrants who go against the stipulated guidelines and the terms outlined above
more information here: http://arterialnetwork.org/page/competition
August 30, 2011
read the full article here: http://mystechblog.com/post/9308390962/mobile-entertainment-africa-day-1-summary
August 17, 2011
July 27, 2011
first published here: http://entertainment-africa.com/wp/aryan-kaganof/
July 14, 2011
June 23, 2011
In 2006 mobile phones out numbered the volume of digital video, film and still cameras sold worldwide and industry forecasts 2 billion camera phones in the market by 2014. The ubiquity of mobile devices has seen a proliferation of mobile media practices encompassing a range of established practices as well as demanding new approaches. This book will locate mobile media in the intersection of several fields in the creative and cultural industries. It will provide a survey of contemporary mobile media practices including moving-image and filmmaking, pervasive and locative media, collaborative authoring, photography and sound art. This book will begin by tracing the brief history of mobile media, look to define its key terms and concepts and review the current state of literature and critical output. Case studies will describe a diverse set of creative practices from both industry and artistic practice. These will detail the ways in which mobile media attempt to engage and involve audiences in new ways and explore the new emerging mobile aesthetic.
Dr. Chris Fry is an artist and teacher living in London. He currently teaches at the University of Westminster on the Contemporary Media Practice course, within the School of Media, Art and Design. His PhD investigated the role of audiences in pervasive and locative artworks, the abstract for which was published in the Leonardo Electronic Almanac. Current research interests include belief in interaction and how audiences understand their role in interactive artworks.
Dr. Max R.C. Schleser is a (mobile) filmmaker and Senior Lecturer at Massey University, who explores mobile devices as creative and educational tools. His portfolio (www.schleser.co.uk) includes various experimental and collaborative documentary projects, which are screened at film and new media festivals in the UK and internationally. His PhD mobile feature film Max with a Keitai (www.mobile-mentary.co.uk) is included in the public film archive in the Forum des Images in Paris. Max conducted his PhD research entitled Mobile Mentary – Mobile Documentaries in the Mediascape in the Centre for Research and Education in Arts and Media (CREAM) at the University of Westminster in London. Max is the co-founder of FILMOBILE (www.filmobile.net). His publications include Journal of Media Practice, VJ theory, Culture Visuelle and a chapter on “Mobile Creativity” in Mobile Learning: Pilot Projects and Initiative (edited by Retta Guy).
Introduction – Creative Mobile Media Practices
Editors Chris Fry and Max Schleser
The introduction will outline and situate contemporary Creative Mobile Media Practices. Within the very recent history of this new media, the different waves in Creative Mobile Media Practice will be explored in an international context. This chapter begins by discussing the Early Mobile Mediascape drawing upon the pioneering work created in the years 2004-2008. This leads into the description of a ‘Second Wave’ of practices in this interdisciplinary field, exploring the more recent developments in the years from 2009-2012. This chapter will locate mobile practices in both the independent sector and the creative industries as distinct from other and previous forms of media practice and look to define the key terms within the outlined field. The chapter will conclude by surveying the diverse and disparate literature and research in the field. The work produced in research centres and media labs, as much as the work exhibited at mobile art and screened at mobile film festivals, emphasises the need for an engaging discussion to unlock the potential of mobile media. As a continuously developing field mobile media practice is envisioned as a median, which draws together established disciplines. These are reflected in the clusters outlined in this book. The mobile device has transformed from a communication tool to a media form defining mobile characteristic practices and aesthetics, which are explored in the following.
Cluster: Collaboration and participation
This cluster deals with the referenced and supposed democratisation and inclusion through wider access to modes of media production. The case studies and projects in this chapter aim to demonstrate how mobile media are facilitating new modes of expression for specific communities and groups. Furthermore this cluster will illustrate how pro-d-users imported innovation into the mediascape in alternative domains to the industry dominated discourse.
Cluster: Space and place
With the emergence of web 3.0 mobile devices have become creators of content for an Internet of Things. Location aware technologies have become key elements in social media. This cluster aims to look at the prospects and possibilities which came along with the implementation of GPS and locative technology as a standard feature in mobile devices. It will look at practices that were developed alongside industry development and in particular at practices that aim to create new notions of space and place.
Cluster: Mobile Lens Media
Since the first mobile camera phone appeared in Japan in 2000, a series of mobile photography and mobile filmmaking projects were screened and exhibited internationally. This cluster will provide an overview of the new emerging definitions (cellpfilms, mobile-mentary, micro-movie) and aesthetics of mobile lens based media. The work that surfaced in the last decade will be described through case-studies in an international context. These will illustrate how artists, independent filmmakers and photographers developed new lens based media practices.
Cluster: Mobile AV, network and cross-media
This cluster will explore mobile media practice through the tradition of audio-visual media in the context of audio, film/moving-image and performance studies. This cluster aims to explore the mobile visual communication. It will survey recent network and cross-media projects and illustrate how mobile media become a significant new screen format.
Towards a mobile mediascape
Editors Chris Fry and Max Schleser
This chapter will provide a summary of the outlined new emerging practices. Furthermore it will evaluate mobile media under the aspect of the changing mediascape as a whole. It will examine the common themes and threads in the outlined clusters and define its position within media, arts and design.
Today’s Word — Nomophobia
Nomophobia, according to this story in the UK’s Evening Standard, the fear of being out of cell phone signal range, or of letting your phone die for lack of charge.
It’s all the rage:
More than 13million Britons fear being out of mobile phone contact, according to research.
Keeping in touch with friends or family is the main reason why they are so wedded to their mobile.
More than one in two said this is why they never switch it off.
One in ten said they needed to be contactable at all times because of their jobs, while 9 per cent said that having their phone switched off made them anxious.
Experts say nomophobia could affect up to 53 per cent of mobile phone users, with 48 per cent of women and 58 per cent of men questioned admitting to experiencing feelings of anxiety when they run out of battery or credit, lose their phone or have no network coverage.
The Post Office questioned more than 2,100 mobile phone users. Stewart Fox-Mills, the company’s telecom expert, said: “Nomophobia is all too real for many people.
Hi, my name is Todd, and I have nomophobia.
It seems strange to be so reliant on something that I lived without for the first 28 years of my life. I first bought a cell phone in 1998. We moved during the infamous US West, now Qwest, strike and were unable, for weeks, to get a land line hooked up. Consequently, our mobile addiction was born.
A decade after hauling that giant phone in its snappy, fashionable holster, I now have a slim BlackBerry that rings with phone calls and buzzes with e-mail. I never turn it off. I set its alarm so it wakes me up in the morning. If I have to wait in line for more than 30 seconds, I pull it from my pocket and begin tapping away. I’m a loser, I know.
It’s handy. If a column idea hits me, I thumb it in and save it before I forget. I make lists and read newspapers online. I’m not sure what I’d do without it.
The I found out. A few weeks back, when I went fishing north of Decorah, I found myself completely out of cell phone service range. No bars, no calls, no e-mails.
I felt the symptoms nomophobia. Cold sweats, restless thumbs.
For one thing, my wife was home with a child getting over the flu and I realized she couldn’t reach me easily to give me sniffle-by-sniffle updates. Second, NCAA selection Sunday was just hours away, and I couldn’t get instant score updates.
But I adapted. I survived. I remembered a little something known to our primitive ancestors as the “collect call.” And when I couldn’t reach my wife at home, I called my parents to relay a message. It all worked out fine, and once I had made contact with my tribe, the absence of beeping and ringing and buzzing was welcome.
As we departed Sunday and climbed upward on a hilly road, my pocket buzzed and beeped for the first time in 48 hours. It told me I had a voicemail message from my very annoyed wife back on Friday, wondering why I hadn’t called. I’m no expert, but it sounded like classic nomophobia.
first published here: http://24hourdorman.wordpress.com/2008/03/31/todays-word-nomophobia/
June 20, 2011
MINA (Mobile Innovation Network Aotearoa) is an international network to promote cultural and research activities that explore and expand the emerging possibilities of mobile media in New Zealand. Mobile media present new opportunities for innovation in creative industries, with the potential to foster cultural and economic change and increase audience engagement.
MINA will actively curate developments in mobile media internationally with a specific focus on New Zealand and bring them to the public through screenings, symposia, workshop, publication and exhibitions, establishing a central focus for mobile media in New Zealand. MINA will inclusively connect audiences, mobile media creatives and researchers, enhancing greater opportunities for collaboration, community development and economic growth within the field of mobile media. For December 2011 MINA will curate a catalogue of national and international award winning mobile films, animations and installations for worldwide distribution to all platforms.
May 31, 2011
May 30, 2011
For the mobile movie maker!
PO Box 26243
Minneapolis, MN 55426
It’s finally arrived. Announcing the release of my new C.D -Ngoma/Poetry from a Smart Phone. Spoken word with an eclectic mix of Jazz,Funk,Gospel,Blues and even a little Country. Guaranteed to satisfy your musical palate. Available on-line at http://cdbaby.com/cd/ngoma2
May 25, 2011
Mon, 23 May 2011 11:29
For over 30 years Steadicam, a Tiffen brand, has transformed handheld shooting with its camera stabilising systems used by professional cinematographers and videographers. With the introduction of Steadicam Smoothee™ this technology is available for the new wave of smartphone video enthusiasts.
Based on the same principles as the big rigs used in Hollywood, the Steadicam Smoothee allows capturing video and still images without the shakes normally associated with taking hand-held video shot on the go. Set-up and ready to go, Smoothee works out of the box to allow Steadicam shake-free results from these portable cameras
Measuring 20.3 x 36.8 x 6.4cm the lightweight, affordable Smoothee is presently engineered to work with Apple® iPhone 3GS, Apple® iPhone 4, and FLIP Mino HD. More mounts for similar devices are in the pipeline. From novices to aspiring videographers, the Smoothee allows easy precise camera control, enabling a wide range of possible shots to create a richer experience and more versatile shots.
Steadicam’s renowned human eye-like ‘flying’ movement can be achieved with Smoothee. It allows shooting smooth videos anywhere – even while walking through scenes or crowds, doorways, up or down stairs, indoors and outdoors and over rough ground. The quick release mount enables instant swaps of camera supports between the Smoothee and any tripod. The patented quick release removable mount can double as a tabletop stand or be mounted to any tripod with a standard ¼-inch BSW camera mount.
The Smoothee is now available in the UK and throughout Europe.