Interview with the simpatico animator Nina Paley about how her award-winning, feature-length film Sita Sings The Blues is blocked from distribution because of copyright restrictions on music used in the film:
VEB FILM Leipzig - Open Source Film Netlabel
Stefan Kluge in VEB FILM Leipzig, 2011-09-05
Tim Baumann, one of the few Open Source Filmmakers, just released three different sounddesign version of his 93 minutes feature film Valkaama in HD under a Creative Commons BY-SA license. Valkaama was an impressive project & Tim also did some detailed Free Culture research, you can grab a copy of his diploma "Open Source Film Geschäftsmodelle".
"By making these files available we are now officially ending the Valkaama project. It has been a great time working on Valkaama and a great experience being part of the first to create and share Open Source feature films. The website will stay of course online and I will be monitoring the website's forum occasionally to keep it free of spam and to answer comments or questions.
So from our side this is a goodbye. We hope you enjoy(ed) watching the movie and if you haven't downloaded it yet you can get the DVD or your HD copy here.
Over and out :)
Tim & The Valkaama Team"
Stefan Kluge in Biker's Soul, 2009-11-20
I'll try to get at a cleric involved in every future film project of mine, since our Open Source road trip documentary „Biker's Soul” has been blessed from the beginning, while our sci-fi feature film „The Last Drug” is giving me nightmares for years now.
It's completed and going straight to the pressroom. The netrelease under a Creative Commons license will follow in early 2010 - as soon as I come up with a sponsor. Meanwhile, let me share some production details:
CameraI have been using the Sony PDX10P for 3 films now. It's a 1/3" chip 3CCD handycam - technically outdated, but still in use in a certain niche, last time I saw it was in Long Way Round. I can still recommend it for productions like these - it's extremely robust, tiny & handy and has a great full automatic mode, which I almost always used, since it's so reliable. Colors are good, sharpness is okay for SD and auto focus is fast and precise with some faults at extreme back light.
What I don't like anymore is SD resolution: I'm missing the sharpness, the possibility for jump cuts, keying and motion stabilisation. Another drawback is the bad low light capability - if you are gonzo filming on a trip like this there are always low light situations where you just can't pull out a video light. If you are on a tight budget and you can live with these limitations: the camera sells for under $1000 on eBay - I found it always better to buy outdated professional equipment than the newest consumer stuff for the same price.
For my next road trip documentary I'm thinking about experimenting with a Canon EOS 5D Mark II. Not a dedicated video camera, but I have the feeling, that you can achieve extremely interesting esthetics, that will work excellent in a gonzo style documentary.
Color CorrectionI did the color correction in Adobe Premiere and all it took was a correction of the RGB curves. Maybe some saturation adjustments here and there.
My 63 minutes project file was very unstable after I put those effects on every clip. More than 20 crashes a day was quite common - I was hoping CS4 would be more stable, but I have to admit that my editing workstation is an antique 2GB Dual Core E6600. My new system is about to arrive, now that I finished the post production, how stupid is that.
After rendering I'm running every frame through a Photoshop Action as well, using the new "vibrant" adjustment to desaturate everything but the skin tones. My color correction school was this: Professional Photoshop: The Classic Guide to Color Correction. I don't like the writing style but I learned a lot.
EditingI like Adobe Premiere. Quite unstable when you max out your system, but it perfectly fits my workflow: SD capture here, HD capture there, this codec here, that codec there, drag in some internet files, edit in photoshop and throw it back in a second, create some minor animations - it always works the way you expect it. I'll stick to Premiere.
In January I'll get back to our feature film production The Last Drug. I learned quite a lot with this documentary - although I didn't expected to. I hope this will help me getting The Last Drug done - I certainly feel the urge to get my hands on it again.
Jesus, this text reads like shit. I'm just to tired to write a proper english right now.
Stefan Kluge in VEB FILM Leipzig, 2009-08-26
Animator Nina Paley turned into a Free Culture activist after she was harassed by a major label, releasing her feature length animation film „Sita Sings the Blues” last year.
Nina just released the complete sources under Creative Commons by-sa!
Stefan Kluge in VEB FILM Leipzig, 2009-08-07
On Saturday there will be a Creative Commons Day in Hamburg, Germany, with films, lectures, presentations, live music & party.
The event was organised by the Pirate Party, which also did a nice Open Source open air film festival in Hamburg last year - we received some great feedback back then.
„Route 66” will be screened at 2 pm - admission will be free. Sounds like a nice event, I'll try to be there at the after party.
Tim in VEB FILM Leipzig, 2009-06-03
Guest article from Open Source filmmaker Tim Baumann of the Valkaama Open Source film project
An important part of what the whole Open Source Movie thing is all about is to enable others to use the material we produce for their own purposes. And one really great example for such a usage of Valkaama is West Latta's tutorial on how to make a film score on audio tuts+. So let's shortly analyse why an Open Source Movie like Valkaama which uses an OS compatible license such as the Creative Commons by-sa is needed for people like West to safely use external clips in order to do such great stuff as film score tutorials.
Liberal licenses like the Creative Commons licenses you can apply in order to give others the freedom to use your own creative work within a safe legal framework. The license hereby clearly states the DO's and DON'Ts when it comes to handling the material. So why is an Open Source compatible Creative Commons license the best choice?
As you probably know there are 6 standard CC licenses which consist of one ore more of the following modules or conditions: by (Attribution), nc (Noncommercial), nd (NoDerivs) and sa (ShareAlike). If you now make some research you will quickly find out that most of the few free movies you can find on the web are using the condition nd, and almost all of them the condition nc. So why is that counterproductive for people like West? And furthermore, why he couldn't make his tutorial without access to the movie's sources?
First of all free movies licensed under nd conditions don't allow you to make any modifications to the material. Hence they are useless for any reuse, remix or mashup and... no tutorials with these. Second of all, the nc module is quite a trap. On the webpage West's tutorial is published it is possible to gain access to premium content (source files, bonus tutorials and more) by paying a monthly fee. Although this particular tutorial which uses scenes from Valkaama is freely accessible the fact that it is also offered within a commercial framework clearly infringes the nc term. The same applies to the small commercials displayed on the webpage.
Well, so much for the licenses... As for the sources, why exactly are they needed? The reason for this is quite simple, yet important: the source tracks containing the dialogues can be downloaded separately from our FTP Server. Since they aren't mixed with music yet, you can simply add another film score without having to separate voice and music before. A task which is nearly impossible by the way.
- Tutorial "The Process of Score Composition" Part 1, Part 2, Part 3, Part 4
- Tutorial videos on vimeo: First draft, Final score
Note: This version of scene 56 still has some color grading issues we're trying to fix in the forthcoming BETA of Valkaama.
(cc) by-sa valkaama.com
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