Author Archives: Michael Korican

About Michael Korican

A long-time media artist, Michael’s filmmaking stretches back to 1978. Michael graduated from York University film school with Special Honours, winning the Famous Players Scholarship in his final year. The Rolling Stone Book of Rock Video called Michael's first feature 'Recorded: Live!' "the first film about rock video". Michael served on the board of L.I.F.T. when he lived in Toronto during the eighties and managed the Bloor Cinema for Tom and Jerry. He has been prolific over his past eight years in Victoria, having made over thirty-five shorts, won numerous awards, produced two works for BravoFACT! and received development funding for 'Begbie’s Ghost' through the CIFVF and BC Film.

Attend platform will allow filmmakers to connect directly to cinemas

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Jeremy Kay reports on Screen Daily that Former top exhibition sector lobbyists unveil digital marketplace to boost theatrical supply.

“The Attend platform will champion mid-range films that have largely disappeared from cinemas, as well as international films seeking release in North America, and films that typically receive limited theatrical release and could reach broader audiences through data-driven theatre selection, scheduling and marketing.”

Some features:

  • Filmmakers will be able to upload details and materials of their films directly
  • Exhibitors will be able to search the database
  • The platform will recommend films to exhibitors based on the preferences of their theatres and audiences
  • The platform will facilitate the logistics of projecting films in cinemas.

The Attend platform is being developed by The Fithian Group of John Fithian, Jackie Brenneman and Patrick Corcoran.

Dozens of filmmakers support the concept, including Ted Hope and Steven Soderbergh.

Read an in-depth interview with The Fithian Group for more.

My take: this solves the “supply to theatres” issue, by cutting out distributors. I’d love to see some Canadian cinemas join — not that I have anything against Canadian distributors — it’s just that Canadian filmmakers have historically been shut out of Canadian cinemas by American distributors. How ironic that this American initiative might solve that for us.

Calls for an indie film marketplace and discoverability

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Brian Welk reports on IndieWire that Study Reveals Untapped Market of 40 Million People Who Will Pay for Indie Films on Streaming.

He sets the context with:

“After a decade of massive growth, the indie film industry hit its peak in 2017 with just over 200 independent films in theatrical release. That’s also when streaming began to make itself known in a very big way, and the number of indie films in theaters began to plummet.

Netflix and the like spent a few years gobbling up indie movies out of festivals, but that’s dramatically slowed since 2021. Viewership for indies on streaming dipped from 30M in 2020 to just 18M by 2022. Indie films — and the audience for them — are being left behind.“

Former Sundance Institute CEO Keri Putnam led the “US Independent Film Audience & Landscape Study” a 118-page report available at indiefilmlandscape.org and believes there’s a massive audience waiting for indie movies because the biggest challenge facing independent films is finding them.

Her key recommendations for the indie film sector are:

  1. Combat market fragmentation with a new, consolidated streaming destination
  2. Invest in Theatrical Exhibition: Build data and marketing capacity at Festivals and Independent Cinemas
  3. Invest in 21st Century Streaming Public Media and Include Scripted Films on PBS
  4. Leverage Free, Mass Market Platforms: Build a field-wide vertical on a mass-market free streaming platform
  5. Expand and Engage Audiences of Color
  6. Thoughtfully enlist Brands and Philanthropy to Fund Production and Marketing
  7. Innovate on Sector-Wide Marketing
  8. Deepen and Enrich Engagement with Younger Audiences and Fan Communities
  9. Conduct More Research and Share Data Across the Field
  10. Build a Trade Organization to Facilitate Field-Wide Research, Innovation, Public Policy Advocacy

Read the full report.

My take: an indie film marketplace and discoverability. Yes, the two things every indie filmmaker wishes for. I know I’ve been searching for the last twenty years however it’s almost impossible to accomplish in this digital age, which is maddening because digitization was supposed to level the playing field — but what happened was that everyone made their own field. “Build it and they will come” is almost never true now.

Telefilm 2023-2024 Annual Report: Talent Fund analysis

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Telefilm Canada has released its 2023-2024 Annual Report. Over the next weeks, I’ll dig deeper. This week: the Talent Fund.

Telefilm links the Talent Fund with Talent to Watch, its first feature program. They report:

  • “Through the generosity of its donors and partners from across Canada, the Talent Fund raised $270,600.”
  • The Talent Fund invested $300,000 towards the $3,600,000 invested in 18 first features in 2023.
  • “In total, the Fund financed 7% of the Talent to Watch program in 2023-2024.”
  • “The Talent Fund has a balance of close to $50,000.”

You can read the full annual report here.

My take: as a Certified Independent Production Fund, the majority of the Talent Fund‘s past funding came from “CRTC tangible benefits” from major Canadian media companies and other media funds; private donations continue to be minimal and fund perhaps two documentaries a year, or one+ narrative feature films. The allocation of some of the new online streaming tax to the Talent Fund will be critical for its continued existence. See The Path Forward.

Any pose in MJ: ECU on a detail and then ZOOM OUT

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Glibatree (Ben Schade) recently implored on YouTube: Do THIS to Create Amazing Poses in Midjourney!!!

The problem with a lot of image generators is that they love selfies: front-facing portraits. But what if you want a profile? Ben has a two-step work-around:

“Generate a close-up photo of your subject’s ear and then use the editor to zoom out and create the rest of the image.”

He explains:

“The reason this works is because what Midjourney needed was a pattern interrupt. Take advantage of its usual way to generate images by finding the usual way to generate an image with a more unusual focus. It’s better to choose a focus that is already often viewed from the angle we want.

  • focus on a ponytail if we want to see the back of someone’s head
  • use a receding hairline to see someone from straight above
  • focus on the back pocket of a pair of jeans if you want the…
  • I wouldn’t recommend looking up someone’s nostril (I mean it’s an angle that works but I just wouldn’t recommend it.)

The point is we can generate any of these things using extremely simple prompts and get very unusual angles to be seeing a person from. And then starting from there once we have the angle well defined we can simply zoom out and make our chosen feature less prominent by changing our prompt to something else and so in the new image the angle we wanted is extremely well defined not by tons of keywords but by the part of the image we already generated.”

This works for Expressions as well. He explains:

“If we start with a photo of just a smile or just closed eyes or just a mischievous smirk, Midjourney will spend all of its effort to create a high quality closeup version of the exact expression we wanted that now, in just one more generation, we can apply to our character by simply zooming out.”

My take: thank you, Ben, for cracking the code!

Drama is not selling

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Naman Ramachandran reports on Variety that Sales Agents Shift Away From Drama Films Amid Market Challenges: ‘It’s Led Us to Diversify Our Slate’.

“The global appetite for drama films has significantly diminished, according to a panel of international sales agents at the BFI London Film Festival.”

He quotes Sophie Green, head of acquisitions and development at Bankside Films, as saying: “The big sort of takeaway at the moment from the market is anything but drama. That really is kind of like double underlined everywhere that we go.”

Drama has become increasingly difficult to finance and sell, leading to a shift toward genre films and comedies.

My take: the pendulum swings this way and then that way. Dramas will be back, but perhaps they demand too much empathy from audiences just right now.

The numbers behind Telefilm’s Talent to Watch 2024-25 projects

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Telefilm Canada has selected 17 Talent to Watch projects to share $3.45 million from 150 submissions.

It’s quite revealing to look at the numbers in detail.

Let’s start with Genre.

Documentary 8
Drama 4
Science Fiction/Fantasy 3
Drama-Comedy 1
Thriller 1

Province?

Quebec 7
Ontario 7
British Columbia 1
Alberta 1
Manitoba 1

Let’s look at Language next.

English 9
French 3
English/Sudanese Arabic 1
Portuguese (Azorean dialect)/French/English 1
French/English/Algonquin 1
French/English 1
French/Creole 1

And let’s finish up with Stream.

Filmmaker Apply-Direct 11
Industry Partner 3
Festival 2
Indigenous 1

In addition, if Gender is assumed from names and excluding Executive Producers:

Female approx. 25
Male approx. 15

Some observations:

  • The number of submissions rose almost 20% from last year.
  • Non-fiction continues to be almost as successful as Fiction.
  • Almost all of the successful projects are from Quebec and Ontario.
  • Almost one third of the successful projects include world languages in addition to English and/or French.
  • The vast majority of successful projects continue to be Filmmaker Apply-Direct.
  • Less than 20% of the successful projects are from Industry Partners.
  • Women far outnumber men and other expressions of gender.
  • No projects are selected from Atlantic Canada.

The cynical might posit that Telefilm’s Talent to Watch program continues to compensate for the broader industry.

My take: this is the third year that filmmakers could apply directly and Telefilm has rewarded them well! Therefore, if you can apply direct, bypass your local industry partner, for odds of approximately one in nine.

Be the hero of your own story.

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Jason Hellerman reminds us on No Film School that No One Is Coming To Save Your Filmmaking Career.

He confesses:

“The hardest Hollywood truth I have had to come to terms with is that no one is going to come and save me.”

“I’m going to have to save myself.”

“I talk to so many young writers and directors who think someone needs to pluck them from obscurity so they can begin their careers. That’s just not true. Nothing is holding you back except your willingness to work hard and to create new things to show people. Start with small budgets, write things you can shoot. Then build from there. Get really good, get undeniable. Sure, to have a career in Hollywood a little luck is involved, too. But I am a firm believer in making your own luck.”

  • Keep learning.
  • Keep creating new things.
  • Keep putting yourself out there.
  • Be your own advocate and your own voice.
  • Stay relevant.

He concludes with, “It is on you. You’re the hero of your story.”

My take: I really needed to be reminded of this, this week. Thanks, Jason.

FaceFusion 3: the best free face swapper

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Tim of Theoretically Media has a great review of FaceFusion 3.0.0 on YouTube:

In it he discusses:

  1. How to install FaceFusion 3 using Pinokio
  2. How to face swap for video
  3. The limitations of FaceFusion
  4. Face swapping with AI-generated characters
  5. Lipsync
  6. Expression controls
  7. Aging controls

A huge bonus to this pipeline is face_editor. See 14:02 for tools to alter the many elements on faces, such as smiles, frowns and eye lines. Even age.

My take: we are way beyond deep fakes now. The ability to change expression is extremely powerful! Every performance can be altered.

Kling is redefining CGI, with Grading up next

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Tim Simmons from Theoretically Media just released a new look at Kling AI’s new 1.5 model:

In it he relates what’s new:

“1080p Professional Mode: Kling 1.5 now generates videos at 1080p resolution when using Professional Mode. While it costs more credits, the output quality is significantly better and sets a new standard for AI video generation.

Motion Brush: Kling has introduced Motion Brush, a long-awaited tool in the AI video generation space. Currently, it’s only supported in the 1.0 model but will be available in 1.5 soon. Stay tuned!

End Frames: End frames have been introduced in the 1.0 model and are coming soon to the 1.5 model, allowing for smoother transitions and more control over your videos.

Using Negative Prompts: Improve your outputs by adding negative prompts to filter out undesired elements. Copy and paste the following negative prompts into your settings:

ARTIFACTS, SLOW, UGLY, BLURRY, DEFORMED, MULTIPLE LIMBS, CARTOON, ANIME, PIXELATED, STATIC, FOG, FLAT, UNCLEAR, DISTORTED, ERROR, STILL, LOW RESOLUTION, OVERSATURATED, GRAIN, BLUR, MORPHING, WARPING”

Of particular note is the emotion it’s able to generate.

Plus, Tim signals that Kling is about to add a full-featured Video Editor. Stay tuned indeed!

My take: of course, some will lament these advances. Yes, tasks that workers once spent their lives performing are now accomplished immediately. Looking at you, Medieval scribe, hot metal typesetter, telephone exchange operator. More job transformation is sure to come. We are well into the Digital Age and its promise is bearing increasingly wondrous fruit.

Flux.1 prompting and guidance guides

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CyberJungle, the Youtube channel of Hamburg-based Senior IT Product Manager Cihan Unur, recently posted a great video on consistent generated characters.

There are lots of great insights in this 20-minute video. Two outstanding takeaways:

First: a prompting guide for Flux.1. At 15:28 he reveals three prompting styles: list, natural language and hybrid.

Second: a guidance guide for Flux.1. At 17:18 he shows Photorealistic and Cinematic images with a wide scope of guidance values. He posits:

“The essence of guidance setting is a compromise or a balance between photo realism and prompt understanding.”

See 18:36 for the Photorealistic results. He prefers a level of two.

See 19:54 for the Cinematic guidance level he prefers: again two.

My take: to me, too often generated images look over-the-top and so ideal, they’re unrealistic. The key seems to be dialing the guidance down to two. Who knew? Now, you do.