COVID Dystopia screened at Cleveland International Film Festival

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The Cleveland International Film Festival was impressive. Granted COVID Dystopia didn’t win any awards, but it was an honor just to get to show it there.

There were some amazing shorts in the After Hours Short Film block that COVID Dystopia was shown in. Bounce House by Callie Bloem and Christopher J. Ewing won the award for the best After Hours Short. It featured a post apocalyptic world with giant sloths and of course a bounce house.

I think my favorite was The Looming by Marsha Ko. It features a stellar actor who is truly haggard in his look. He lives alone and occasionally talks to his Alexa device. Alexa failed several times in different horror films, usually turning off the lights when the character desperately needs the light on. I can identify since I now live alone and occasionally open the front door just to listen to the security system say, “Front door open.” She isn’t a great conversationalist but its what I got.

There was a talk back after the screening and I was surprised that there were a bunch of questions about COVID Dystopia. I of course talked about the beginning of the project in March of 2020 when I started doing a painting a day about the pandemic.

One woman wanted to know if there would be a longer form of the project. My answer to her was that the long form project would be a book which I felt no one actually would want to see but I feel it needs to to be made for people 100 years from now. She raised her hand and said she would certainly get a copy. Now that I have a potential sale, it is time to create the book.

Someone else asked about the music and I got to promote Andy Matchett and the Post Apocalyptic Rock musical, Key of E. I couldn’t believe that the mic kept being handed off to me. I got flummoxed by a multi point question but think I answered it in the end. While COVID Dystopia was being shown a large group of people in the row in front of me started waving in friends. By the time they were all settled the film was over. Perhaps COVID Dystopia presents too much too fast. Next time around I need to make something with a straight forward narrative structure.

While doing the sketch above of the Allen Lobby, I had to swing my filmmaker lanyard behind my back since it got in the way of my sketching. As I was finishing up, an usher walked up behind me and asked if I wanted my lanyard scanned. It turned out a long line had formed all around me, and the audience were about to go into a screening. I asked what film was being shown and one of the ushers laughed. The film was, Humanist Vampire Seeking Consenting Suicidal Person. The title probably sounds better in French. It sounded good to me, so I went in. I sat way in the back of the theater, away from the crush of the crowd. As the lights went out, my glasses fell to the floor. I got on my hands and knees to find them using the faint light from my iPhone but with no luck. I sat through the whole film wondering where the glasses could be. Reading the captions was a challenge but the message of the film was not lost on me. I loved it. At the end of the film, when the lights came back up, I found my glasses which had bounced one seat over. I later saw the vampire actress walking in the lobby. I couldn’t help but stare, her porcelain face was as white and frail as in the movie. If only I knew French.

At the Shorts Jury Awards and the Shorts Audience Choice Awards, I got to see all the winning films. The winner for best animation was Anita Lost in the News, a film about a failed emigration of a family out of Iraq. It seemed to be stop motion animation with the family being created out of newspaper clippings. I don’t think there were many animated films. All the films I saw in the tow days I was at the Film Festival were live action documentaries or narrative films.

COVID Dystopia: Babies bursting Into Flames

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This scene from COVID Dystopia has hand drawn flames. I later started doing flames using distortion tools in After Effects, but these flames work just fine. I see no reason to go back to make these flames like the other more digital flames. The film has a mix of techniques used to create flames.

COVID Dystopia faced two rejections from film festivals yesterday. It is the flaming baby no one wants to hold. To counter the rejections I researched festivals I would like to submit to next. The only response to an indifferent world is to press ahead.

On April 12, COVID Dystopia will have screened at the Cleveland International Film Festival. It is part of the After Hours Part 2 Shorts block. I will be flying in to attend the screening. I am hoping to sketch the theater before the screening. Since I will be traveling light, I will not have my art stool so I will get some exercise as I stand to do the sketches.

I will be bringing 5 by 8 inch poster cards that have the lyrics on the back. The printing job by Fed Ex Kinkos is horrible. The type was printed as a dot screen and is barely legible. Anyway I want to get rid of these 40 or so cards and print up better cards. I also have about 50 “COVID is not done with us” buttons. I don’t know if there is a place to leave this free swag but I will find out. Is it cold in Clevelend, Oh God I hope not.

COVID Dystopia will also be streaming on CIFF Streams online from April 14, 2024 – April 21, 2024 (Part of short: “After Hours Shorts 2”). Tickets for online viewing are $14.

COVID Dystopia: Tanks Attack

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This shot from COVID Dystopia has tanks on the streets of New York City firing up the invading virus’ as they float down the side streets. I like how the shot is working.

The entire film was altered to get rid of he snap zoom effects between shots. Those snap zooms were the original reason I wanted to create the film but I am realizing the intensity and speed need to be dialed back a bit for the average audience to have any chance of digesting all that is being thrown at them.

A random Facebook message from a follower in South Africa convinced me to slow things down a touch. He said his wife kept asking him to freeze frame the movie so she could see all the details in each shot. I recognize that people might miss many details, but that is true to the times where the 24 hour news cycle keeps churning out viewpoint weather true or not and the internet further distorts simple truths.

This film has had a 17% success rate in getting into festivals. Those are slim pickings. The list of rejections is immense. I had tow festivals reject the film yesterday. Facing so much rejection eventually wears you down. But when I get a rejection I research a new festival that might accept the message and I also refine and improve shots. I hope I am polishing a gem and not something that everyone hates. From curse words in the lyrics to very adult themed images, I know I am facing an uphill battle. The audience is out there however I just need to find them. This will be a year of patience and perseverance.

In two days I fly to the Cleveland International Film Festival where COVID Dystopia will screen at 9:50pm. This is the first Academy Award qualifying festival that the film has been accepted into. Hoping to make the most of that 17% acceptance rate.

 

COVID Dystopia: Flesh Dropped Like a Waterfall

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The full lyrics for this shot of the film, COVID Dystopia are, “Flesh dropped like a waterfall from every Nazi face.”

I hand animated the candle falem in this shot and the flames around the edges of the Constitution were animated in After Effects.

Rudy simply rotates a bit using a depth map. I am considering opening his mouth a bit and it might be good to hand animated a couple of drips flowing downward. If I fully animate the hands that might help as well. The consideration is always weather the move is actually needed.

I am going through the whole film now and making sure the camera moves work the way I want. Since I deleted all the snap zoom effects there are often hold at the beginning and end of each shot where those transitions happened. I just need to expand each of those markers out for the duration of the shot.

As I am doing all those camera move tweaks I am also compiling a spreadsheet so I can keep track of all the things I might consider improving in each shot. I will go back through all these posts since I often shared those considerations here.

This past week I have been swamped with moving the studio but now I can start animating again. I watched the film through this morning without the snap zoom effects and it is starting to grow on me. By the end of today I hope to have any camera move timing issues cleaned up. I also need to finish cleaning up the Times Square Hazmat shot. I am just making sure the line work in that shot is crisp. They say you learn from your mistakes. Well on this film, I seem to have made every mistake possible.

COVID Dystopia: Hazmat Cleanup

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This scene from COVID Dystopia was animated at a resolution of 1920 by 1080. Unfortunately when scaled up in After Effects the line work became pixelated and blurry.

To fix the animation I had to re-import the blurry mp4 file into Callipeg and clean it up. This involved going back to the original art to find the high resolution bodies and go through frame by frame adding them over the blurry footage. The three guys to the left have been reworked and I have two more to do.

I had almost finished the scene earlier in the week but I pinched all the separate layers together so that it would play back correctly. Callipeg has a glitch where layers that are not completely filled with art will cause the program to flicker on playback.

I discovered that several of the layers had shifted by a frame or so causing the clean up animation to fall out of sync with the blurry footage. Then the program wouldn’t let me move anything. I decided to start over and avoid merging layers. I am living with the flickering effect since I know that it will render correctly in the end.

I have just two more hazmat suited guys too go. I should finish tonight. However I plan to head out today to go to a solar eclipse viewing party. The plan is to sketch the crowd outside looking up. I don’t have protective goggles, but I will be sketching the people not looking up. At least I think I can resist looking up.

COVID Dystopia: Virus Over Manhattan

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In this shot from COVID Dystopia, a huge virus enters screen left and settled in over Manhattan. Animation was done in After Effects. The only possible thing that could make ths shot better would be for the shadows of the skyscrapers to change as the virus settles over Manhattan. I don’t think that is needed however.

I have one more day of working on a shot that has given me hell. I will write about the trails and tribulations tomorrow. Today I should be moving the last of the art and a filing cabinet into the studio. Then I can relax and start hanging paintings. I also have a small Mexican fire pit int he backyard and I plan to burn some paper items from my past.

I have started putting events on my calendar which should be good to sketch. Since I am animating I keep canceling any sketch outings.

I arranged all my sketchbooks chronologically yesterday. They were well organized through 2016 but then the system had been abandoned. I decided to arrange the books bases on the date of the last sketch in the sketchbook. I think the sketchbooks b=prior to 2016 had been arranged according to the date of the first sketch in the sketch books. I have a sketchbook in my bag now that was started way back in 1981. It fell off my bike as I was starting a cross country bike trip. Someone found it in the snow and packed it away in their garage. 30 years later they realized the book was signed and they returned it. When I finish the last sketch in that sketchbook the date of the last sketch will affect how I catalogue it. Is this the right system? I don;t know. Life is short beginning or end of a sketchbook, even with a 30 year gap is a infinitesimal fraction of time.

 

COVID Dystopia: There Were Lasers

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This scene from COVID Dystopia has an alien virus enter from the top and fire off one large laser blast. The explosion quickly expands. It has always bothered me that the scene cuts on the blast and that the farm house is unaffected.

If I go back into this scene it will be to animate the farm house exploding. That is a tall order, but could also be quite fun. The advantage is that the are probably only 6 to 12 frames that need to be animated.

I finished refining all the timing of camera moves through out the film yesterday. I want to finish off the clean up of the hazmat suit Times Square clean up crew. I cleaned up two of the hazmat suited workers last night but I have like 6 more to go.

Two drinking mugs that came to the new studio in the move. I have been using a white one with orange inside the cup every day. I woke up this morning and for the life of me, I can not find it. I know I drank from it at dinner last night. I wandered through every room looking at every surface where I might place a mug.

I must be going nuts. I finally gave up and started using the second mug which is a black coffee mug. I don’t know, but when I drink Mountain Dew out of the black mug, the Dew looks dark and menacing. I am used to my Dew being a bright nuclear glowing green.

I have two other white mugs that I now use to store things like scissors and X-Acto blades. One cup shouts CALM and the other shouts CREATE. I think I will use one of those instead, but I can’t decide which message is most relevant. I will not decide today. I figure if I don’t think about the missing cup it will just pop up unexpectedly.

COVID Dystopia: Flesh Dropped Like a Waterfall

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This shot from COVID Dystopia pans down from the boat on the surface to a large COVID mine chained to the characters ankle. He sinks fast.

I am waving on the idea of having removed all the snap zoom transitions in the film. Maybe I should add back snap zooms between the different stanzas of the lyrics. In my mind the lyrics are arranges with an introduction which this scene is a part of, then year 1, year2 and year 3 of the pandemic. Of course the pandemic is still ongoing but that is the point of the lyrics at the end… “I can’t wait for the game to end so we can start it again.” In other words the game hasn’t ended. Or if you have a darker outlook, the game of life is not yet over.

While people are busy ignoring COVID, a new threat is spreading across America in the form of H5N1 or the Bird Flu. This virus has been around for decades but mostly effected birds.

Since January 1, 2003 to February 2024 there had been a total of 254 cases of human infection. Of those cases 141 were fatal. That is a fatality rate of 56%.

In the last week America dairy cow herds in distant states are becoming infected with the H5N1 virus. Herds have been infected in Michigan, Texas, Kansas, Idaho and New Mexico. Cats have also been infected. This is a very new development. Now a man has been infected in Texas. This is a very sudden timeline for the spread of the virus. The virus found in the Texas man was found to have a unique mutation associated with adaptation to mammalian hosts. In other words the mutation developed in the man and is not from a bird or cow. It is unclear if human to human transmission is possible. Some believe the man may have been infected through his eyes but influenza is traditionally an airborne virus. If the Centers of Disease Control and Prevention’s response to this virus is similar to their response to COVID we can expect things to continue to escalate. If the Centers of Disease Control and Prevention’s response to this virus is similar to their response to COVID we can expect things to continue to escalate.

An advisory has been issued to NOT drink raw milk and be sure eggs are fully cooked.

H5Ni symptoms:

  • Fever (100+ fever and chills)
  • Cough
  • Sore Throat
  • Runny or stuffy nose
  • Headaches
  • Fatigue
  • Eye Redness (conjunctivitis)
  • Difficulty breathing
  • Diarrhea
  • Nausea
  • Vomiting
  • Seizures

 

 

COVID Dystopia: Vaccine Inequality

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In this shot from COVID Dystopia, The hands animate as they flail and then sink below the surface. I like how this shot lines up with the sound effect in the music.

The woman just stays still but bobs up and down a bit on the water’s surface. It would be nice to fully animate the waves, but I don’t think I will go that far.

I am pleased with how the hand drawn splash animation turned out.

Since I went back through the whole film and took out the fast zoom transitions, there are a few glitches that I need to repair. I tried opening the Premiere Pro file this morning and got the threatening warning the the file is broken and can not be opened. I did manage to open it by going through the history of recent files however. I don’t know what that would work if the file is broken. I need to figure this out beg=fore I push forward. I have had too many instances where Adobe products cause permanent damage to a scene.

Today is actually the first day of the Cleveland International Film Festival. I am not flying up there until the end of the festival when my film COVID Dystopia will be shown during a late night screening. Ironically the festival chose to use the scene I am working on right now for the header to promote the film. I am hoping to finish refining that shot today.

COVID Dystopia: I saw Cthulhu Break the Surface

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This scene from COVID Dystopia shows a giant octopus though the lyrics refer to Cthulhu. A single giant tentacle raises an oxygen canister. This scene was first painted when India had people dying in the streets unable to get oxygen. A religious organization took it upon themselves to offer oxygen in the street.

Cthulhu, first created by H.P. Lovecraft was a gigantic entity worshiped by cultists, in the shape of a green octopus, dragon, and a caricature of the human form. My depiction doesn’t quite live up to that description but I felt it was close enough to tie in with Andy Matchett‘s lyrics.

I picket on particular oxygen canister to animate so that it would tie in with where I wanted the audience to be looking on the next scene.

I was surprised at how well the depth map worked on this scene, the Earth actually looks like it is turning and the foreground tentacles follow that rotation.

I am satisfied with the scene. All the tentacles could be animated but then the audience would not be sure of where to look. I am following the KISS rule. Keep It Simple Sally.