Kim Baumann Larsen and Angela Amoroso, co-founders of Digital Storytelling spoke to us about this year's seminar and about the fast growing sector of VFX and 3D technology in the Nordic region.
For further information click: http://www.digistorytelling.com.
What is the background information on Digital Storytelling and what are your main activities?
KBL: The idea for Digital Storytelling was born over a campfire in the High Sierras in California. It was a result of a kind of vacuum left after the 3D Festival in Copenhagen ended in 2004. We saw that there was a need for an annual meeting spot for those involved in visual effects in film and television in Scandinavia.
AA: Norwegian Film Development now part of the NFI thought the idea of a cross disciplinary event was just what the film community needed at the time, and we have been collaborating on arranging this seminar with good support from the NFI ever since our first seminar held in April 2006.
KLB: Until now we have focused on the annual seminar with relevant workshops. We are now starting to set up smaller events and workshops throughout the year. For example, in collaboration with the NFI and the Association of Norwegian Cinematographers, we hope to hold a workshop and Master Class on DSLR Cinematography with filmmaker Philip Bloom in May. We have a new camera technology which will make film as a medium available to larger groups, lowering production costs and changing the way film can be made. We have received a lot of positive feedback from Nordic colleagues who wish to attend.
This is your fifth edition. Inviting Oscar winner Robert Stromberg is quite a coup...
AA: We believe and hope that Digital Storytelling has a good reputation. It is a very personal and intimate high quality event. We have an extensive international network, thanks to one of the co-founders of Digital Storytelling, Eric Hanson who is a veteran in visual effects in Los Angeles. The first year we invited the well known production designer Alex Mc Dowell (Charlie and the Chocolate Factory) who is now director of "5D The Future of Design "conference series in Los Angeles. Alex has spoken kindly about Digital Storytelling and knows Robert Stromberg.
Tell us about the programme and how you selected the case studies?
KBL: For us it was pretty obvious that Avatar was going to be a "game changer" as it proved to be, but we took a chance. We wanted a theme that reflected 3D or stereoscopic 3D film into new dimensions and how this would serve to move the story and design of visual effects forward. Since we are fortunate to have Norwegian vfx talent, Theodore Groeneboom working in London and vfx supervisor Colin Doncaster, a Canadian working in Norway both of whom have worked on Avatar, it was natural for us to ask them to present their work and views.
The ‘Norwegian VFX Omelette' has become an annual session with short presentations of works by Norwegian 3D and VFX studios. In addition to the "usual suspects" as Storm Studios, Gimpville, Placebo Effects and Storyline (formerly Chimney Pot) this year we are also presenting Morten Skallerud (Camera Magica) and Atle Ellingsen and Thomas Berland fra Bug in Bergen who share some of their new stereoscopic 3D (S3D) projects.
AA: Finnish stereographer and filmmaker Kasimir Lehto contacted us after reading about the Digital Storytelling seminar. The rules of cinematography change when one goes into a stereoscopic third dimension, so it is important that we also look at this creative aspect of film production and for us that those working in all areas of visual communication - not only VFX artists - are represented and that our experience and thoughts are anchored in the real world of Scandinavian film.
3D is a new trend, boosting cinema attendance around the world. What are the best Nordic companies working in this field and how is the sector developing in the Nordic region?
KBL: Yes you are right. 3D clearly influences ticket sales on a world wide basis. And now there is an increasing interest in remaking some old 2D movies into S3D. We do not believe this is the way to go. There is a great deal of new knowledge and craftsmanship that has to be built up in all sectors of film production, and we see that many Scandinavian companies are now working with research and development projects as well as actual 3D productions.
AA: The market for S3D commercials will contribute in driving the development forward at a rapid pace and the possibility of experiencing sports and cultural events in S3D. Keeping in mind of course that S3D is just another tool with which to tell a story, not the story itself.
KBL: In Sweden VFX companies like Syndicate and Stopp have initiated projects involving S3D, and we hear that there are three or four possible S3D projects in the making in Denmark. In Norway Bug AS in Bergen, the first company out with a S3D commercial in 2006, are now working on an animated feature in S3D. Storm Studios is making an animated short in S3D. In addition there are a number of other Norwegian VFX and 3D studios as Gimpville, Stripe and Netron developing their stereoscopic expertise.