Issue 76

An important part of ANAT’s activities is our continuing focus on introducing creative practitioners to emerging technologies with the potential to inform and transform practice. (more…)

When you watch a television or cinema screen, you are experiencing a film within the context of the room in which it is being shown. The viewer focuses on the screen with their central vision whilst the vast majority of their peripheral vision remains unengaged. People working in film sound, however, know about the importance of addressing the peripheries of the senses. (more…)

This issue of Filter Magazine documents and explores ANAT’s DomeLab 2010, an intensive, strategically-focused residential workshop for mid-career filmmakers emphasising a trial-and-error approach that prioritised risk-taking and experimentation over finished product.

“What these early live-action experiments most have to offer is the beginning of an immersive film vocabulary”. Lab tutor, Hue Walker, 15 March 2011

“Exploding the Frame” is a term coined by Academy-Award filmmaker Ben Shedd, one of the ANAT Dome Lab tutors, in his ground-breaking 1989 essay of the same name.

Fulldome Cinema is a new media format, whose screen language remains largely undefined.  As the Production Designer at the Melbourne Planetarium, with over five years experience in the creation of fulldome content, I am continually challenged by the medium.   (more…)

You could think of live action fulldome cinema as being like the current fashion for 3D cinema: while 3D may be novel or exciting for an audience, not every film needs to be in 3D, and 3D doesn’t make everything automatically better.  (more…)

The virtual orchestra is a tour-friendly, audiovisual installation that my company, MOD Productions, created as a pilot project for the Australian Chamber Orchestra. The purpose of this pilot was to test the viability of producing a portable, interactive and educational promotional tool that was adaptable for different environments.   (more…)