E-MOTION PROJECT
A NEW GENERATION OF CINEMATOGRAPHIC TOOLS
AND
A BRAND NEW CAMERA MOVEMENT
If you’re wondering at what speed in real time does the camera move in the video above, than you’re understanding just one of the technical advantages of this new cinematographic tool.
If you’re not sure if the camera is a dolly camera or a handheld camera then you’re on the right path to understanging what’s new in this directing movement.
But let’s take a step back.
The E-motion project was born four years ago from an inner directing need: to contaminate together in a unique language the precise and fluid camera movements, the handheld and the the swish movements.
As a matter of fact, until today the directing techniques had worked as the separate watertight compartments of a ship. When the camera is mounted on a dolly the movement is fluid without being able to change. If the camera is handheld it will always move in that way and so on. It didn’t exist a particular language or a tool able to be simultaneously empathetic and many-sided as the handheld, smooth and precise as a dolly and with a great repeatable mobility similar to a motion control. Neither existed a motion control able to move in real time with this blinding speed even between short distances.
The contamination of different styles and techniques is the exact process which all more ancient arts went through during thousands of years. Think about modern music, painting, or dancing. Now it’s the turn of the video, the youngest of all arts.
At the time I had this need, however, neither a cinematographic tool able to do that nor a film directing language exploring this direction existed.
After four years of development and thanks to some italian and german companies that supported my work, the E-motion was born:
E-MOTION TOOL ADVANTAGES:
Plus, thanks to its exceptional technical features, the E-motion is the only cinematographic tool able to unite for the first time the three kind of camera movements ( fluid, swish and handheld ) in a NEW FOURTH ONE that combines all three of the above mentioned.
This is the so called “E-motioning movement”.
The video shows the first baby steps of this new movement without any creative/narrative work behind. Never the less, we can still now appreciate a bigger variety of expressivity: from all the classical camera movements to a particular expressive form, more tangy, many-sided and abstract, which is able to represent in a better way the abstract world of our emotions.
That’s the reason of the terms E-motion for the new tool and E-motioning for the new directing technique.
E-MOTIONING MOVEMENT ADVANTAGES
• Larger possibilities of directing of actors emotions ( in the face and in the body )
Professionals such as Alex Brunori ( Executive Creative Director of McCaan Erickson Italy ), Italo Petriccione (Director of Photography for the Oscar Winning Director Gabriele Salvatores ) and Fabio Cenchetti (Director of Photography for the Oscar Winning Director Bernardo Bertolucci) have appreciated and supported this project. Even before the launching of the project, companies like Tod’s and Ducati cooperated ( Tod’s ) and has shown outstanding interest in his researches ( Ducati and Tod’s ).
The creative possibilities and the applications are several and most of them still unexplored.
For all these reasons and these advantages I imagine the E-motion project as the necessary starting point of the video applications of the future.
A NEW GENERATION OF CINEMATOGRAPHIC TOOLS
AND
A BRAND NEW CAMERA MOVEMENT
If you’re wondering at what speed in real time does the camera move in the video above, than you’re understanding just one of the technical advantages of this new cinematographic tool.
If you’re not sure if the camera is a dolly camera or a handheld camera then you’re on the right path to understanging what’s new in this directing movement.
But let’s take a step back.
The E-motion project was born four years ago from an inner directing need: to contaminate together in a unique language the precise and fluid camera movements, the handheld and the the swish movements.
As a matter of fact, until today the directing techniques had worked as the separate watertight compartments of a ship. When the camera is mounted on a dolly the movement is fluid without being able to change. If the camera is handheld it will always move in that way and so on. It didn’t exist a particular language or a tool able to be simultaneously empathetic and many-sided as the handheld, smooth and precise as a dolly and with a great repeatable mobility similar to a motion control. Neither existed a motion control able to move in real time with this blinding speed even between short distances.
The contamination of different styles and techniques is the exact process which all more ancient arts went through during thousands of years. Think about modern music, painting, or dancing. Now it’s the turn of the video, the youngest of all arts.
At the time I had this need, however, neither a cinematographic tool able to do that nor a film directing language exploring this direction existed.
After four years of development and thanks to some italian and german companies that supported my work, the E-motion was born:
E-MOTION TOOL ADVANTAGES:
Plus, thanks to its exceptional technical features, the E-motion is the only cinematographic tool able to unite for the first time the three kind of camera movements ( fluid, swish and handheld ) in a NEW FOURTH ONE that combines all three of the above mentioned.
This is the so called “E-motioning movement”.
The video shows the first baby steps of this new movement without any creative/narrative work behind. Never the less, we can still now appreciate a bigger variety of expressivity: from all the classical camera movements to a particular expressive form, more tangy, many-sided and abstract, which is able to represent in a better way the abstract world of our emotions.
That’s the reason of the terms E-motion for the new tool and E-motioning for the new directing technique.
E-MOTIONING MOVEMENT ADVANTAGES
• Larger possibilities of directing of actors emotions ( in the face and in the body )
Professionals such as Alex Brunori ( Executive Creative Director of McCaan Erickson Italy ), Italo Petriccione (Director of Photography for the Oscar Winning Director Gabriele Salvatores ) and Fabio Cenchetti (Director of Photography for the Oscar Winning Director Bernardo Bertolucci) have appreciated and supported this project. Even before the launching of the project, companies like Tod’s and Ducati cooperated ( Tod’s ) and has shown outstanding interest in his researches ( Ducati and Tod’s ).
The creative possibilities and the applications are several and most of them still unexplored.
For all these reasons and these advantages I imagine the E-motion project as the necessary starting point of the video applications of the future.
