A bear walks through the Banff National Park in the Canadian Rockies and is ensnared in a trap where she is tranquilized, tagged, and collared with a GPS device. She has now become Bear 71, and joins a group of wired wildlife who document the interactions between nature and their increasingly encroaching human neighbors. Bear 71 is a new interactive project produced by the National Film Board of Canada’s digital studio, and includes an interactive web documentary site, a social media microsite, and a live installation piece that launched in conjunction with the Sundance Film Festival.

The main part of the project consists of an interactive web documentary created by NFB’s Jeremy Mendes and Leanne Allison, which introduces viewers to Bear 71 and then drops them into an interactive map of the Park, where they encounter other wired creatures that live in Bear 71′s home range: golden eagles, Big Horn sheep, wolves, and deer mice, all similarly tagged and under surveillance. The animals’ movements can be seen as they move about the park, and clicking on their markers reveals a video feed and information about the animal. Viewers can click on their own marker as well, which launches a group of surveillance feeds including their own (the site requests access to the viewer’s webcam and microphone, which can be denied) and any other viewers who happen to be browsing the site at the same time, tagged and tracked like the animals. Landmarks such as the freeway and railroad that run through the park can be seen, cars and trains moving on them as the animal’s markers cross back and forth, highlighting one of the project’s main points: when technology and the wild intersect, it is often to the detriment of the wildlife. There are also video feeds and observation points marked on the map, showing actual pictures and videos from their real-life counterparts in the Park.

While exploring the interactive map, the story continues from Bear 71′s point of view as she describes life for herself, her cubs, and the other resident animals, narrated by Mia Kirshner (The L Word, 24). During the narrative, Bear 71′s marker can be followed as she moves through the forest, in line with the story. In one of her stories, Bear 71 explains how the trains often spill grain onto the tracks, tempting bears to go onto the tracks to eat the grain only to be hit by subsequent trains. During this, if the viewer has followed her marker, the train goes by in pixelated form, backed by a sound effect track. In another, Bear 71 talks about swimming in the lake as the Banff park rangers look on (having tracked her there), and her marker can be seen moving through the map representation of the lake. The entire story is 20 minutes long, and afterwards the viewer is left on the map to explore at will, or to replay the story.

There’s an additional social networking layer to the story, centered around @iambear71 on Twitter, a Tumblr blog, and a microsite where visitors can role play as one of Banff’s wired wild animals. Selecting an animal displays a screen capture from a video feed, facts about the creature, and the ability to tweet as the chosen animal.

The highlight of the project is the art installation, which made its debut at the Sundance Film Festival’s New Frontier in Park City, Utah on January 20th and was on display through the 29th. Co-created by Lance Weiler (Pandemic 1.0), the installation has a large screen which shows surveillance videos of the wired animals alongside viewers of the website, a larger version of the window seen on the main website when the viewer clicks on their own marker. Along with the surveillance screen is another large screen playing the interactive documentary as seen on the main website. Unlike the online version, the installation uses an iPad to add an additional layer of augmented reality by allowing the viewer to use the iPad’s camera to “select” one of the trail markers, and view the video recorded from that trail marker’s camera. Also included with the installation are an actual trail cam from Banff, and a tree brought over from Banff, stripped to resemble a bear’s rub tree. The installation can now be seen at the Utah Museum of Contemporary Art through April 19.

Bear 71 is a unique and powerful way of telling the story of a bear under the influence of human technology, using that same technology as the medium. By adding viewers as markers on the map alongside the video feeds from animals and fellow visitors to the site, Bear 71 allows its audience to watch surveillance of fellow participants while at the same time being subject to surveillance. The pervasiveness of observation throughout the story helps to bring the viewer deeper into the story, nurturing a deeper sympathy and connection with the wild’s wired animals.

Source: ARGNet

Barry Watson (“Samantha Who?”) and Mia Kirshner (“The Vampire Diaries”) star in a summer romance – fifteen years in the making – as star-crossed lovers who finally share that very special first kiss as they unite to save their childhood camp, in “Kiss At Pine Lake,” a Hallmark Channel Original Movie World Premiere Sunday, May 6 (8p.m. ET/PT, 7C). Watson and Kirshner are joined by Bill Engvall (“The Bill Engvall Show”), Matty Finochio (“Sanctuary”) and Victoria Bidewell (“Fringe”).

On the last day of camp, fifteen year old Luke Garvey and Zoe McDowell are about to share their first kiss, when they are interrupted by Zoe’s dad (Engvall). Now, fifteen years later, destiny is about to come calling. Luke (Watson) is now a philanthropic entrepreneur, who recently purchased his uncle’s Camp Pine Lake for sentimental reasons, only to find out the camp may get shut down for safety code violations; and Zoe (Kirshner) is the point person in her upscale development firm assigned to convince the new camp owner, who prefers to remain anonymous, to sell his land. As she prepares to head back to camp, Zoe confesses to her best friend Erica (Bidewell) she is sad to hear Camp Pine Lake is rundown and she thinks often of Luke, her teenage crush.

When Zoe arrives, she is stunned to learn that Luke is the new owner. This changes everything for Zoe when she realizes Luke isn’t interested in making a profit, he wants it to stay open. But feeling cornered by her boss, Zoe agrees to use her friendship with Luke to their advantage. As the two get reacquainted, Zoe feigns support and Luke misunderstands, thinking she is there as an investor. But as the conversation drifts to their teenage years, Zoe gets upset with Luke, as too many memories come back and she runs away, dropping her cell phone. With time running out and only two weeks to bring the camp up to code, Tommy (Finochio), Luke’s right-hand man and accountant suggests selling to a developer, who Luke immediately recognizes as the logo on Zoe’s cell phone. Luke is disgusted with Tommy for going behind his back and he feels betrayed by Zoe. Zoe apologizes for not being truthful about the development deal and asks for a second chance and for their “first” kiss. As they rekindle an old flame,

Zoe agrees to help Luke save their childhood retreat.

“Kiss at Pine Lake” is a Pine Road Production. Thomas Thayer and Michael M. Scott are the executive producers. Harvey Kahn is the producer. Michael M. Scott also directed from a script by David Golden.

Source: The Futon Critic

Edmonton might not always come to mind as a hotspot for shooting movies, but our city is earning its stripes in the film industry.

Last week, Parish of Christ Church, 12116 102 Ave., played host to the cast and crew of I Think I Do as they shot scenes for the upcoming romantic comedy by Panacea Entertainment and locally-based Rocky Mountain Picture Company.

Producer Darren Arsenault says Edmonton is a film-savvy city with loads of talent.

“When we’re looking at a community that’s really open to film, Edmonton really does stand out,” he says. “It has an amazing history of shows (made) here.”

Arsenault says Edmonton has everything a filmmaker needs.

“The fact that we’re in Edmonton and it has everything available to us is a great opportunity, but it’s not restricting us to be able to show these products and these films to the world.
“I haven’t been this relaxed in a set and had this much fun since I did The L Word. And that’s a huge thing for me. Working on this film has made me love my job even more than I loved it before.”

FORGED A RELATIONSHIP

Aresnault and his team at Rocky Mountain have forged a relationship with local schools like NAIT, Grant MacEwan and Concordia to let students get a foot into the film industry by working on set with movies like I Think I Do.

“It not only helps the students see what it’s really like and know if they want to continue … but it also creates a magic sparkle in the eyes of the experienced veterans who love to pass on that information. And that’s a relationship that we’ve worked very hard at, and is very important to us,” Arsenault says.

I Think I Do is a relationship tale that follows three sisters while the middle one, Julia, excitedly anticipates her dream wedding until disaster strikes.

About 95 per cent of the cast and crew is from Edmonton, but the film has drawn some well-known talent from elsewhere.

Julia is played by Toronto-born Mia Kirshner, who has starred in several films including Exotica and The Black Dahlia, as well as acclaimed TV shows including 24, The L Word and The Vampire Diaries.

Identifying as a “fiercely proud Canadian,” Kirshner says the local crew is the nicest she has ever worked with.

“I haven’t been this relaxed in a set and had this much fun since I did The L Word. And that’s a huge thing for me,” Kirshner says. “Working on this film has made me love my job even more than I loved it before.”

Kirshner brought her pet dog on the trip, who will also have a spot in the film.

She says Edmonton is a very versatile city, and she has taken a liking to Credo Coffee, local clothing store Coup Boutique, and the Queen of Tarts bakery.

“There’s a real thriving film community here that I didn’t realize was here,” Kirshner says.

Julia’s sisters in the film are played by Jenny Cooper and Sara Canning, who is also cast in The Vampire Diaries.

A THANKFUL DIRECTOR

The crew has shot at several locations in Edmonton, including Jasper Avenue and 104 Street and the Whyte Avenue area.

Edmonton-based director Dylan Pearce is thankful for the mild weather and lack of snow he has faced for most of the shoot.

“With that in mind, there were talks of making it into a Christmas film. I’m really glad we didn’t have to do that,” Pearce says.

I Think I Do will run on W Network in Canada and Lifetime in the U.S. in the summer or fall.

Source: Edmonton Examiner

The trip to the “wild” holds a romanticized spot in the minds of families across the world, but just how wild are campsites and national parks with roads and railways traversing them?

A new interactive, web-based documentary is trying to challenge the notion of pristine valleys and mountains by putting the viewer in the shoes of an original resident of such a valley: a grizzly bear.

Bear 71 is a 20 minute Canadian interactive documentary currently making waves at the Sundance Film Festival in Utah’s Park City. The project charts an uncomfortable course by coupling voice-over narration by a female voice meant to represent the bear with surveillance camera footage from many points throughout Banff National Park.

By following the bear from the moment it’s snared, tranquilized and collared to the moment it meets its demise, the audience builds a nearly inevitable attachment with the bear as it describes motherhood, adapting to new situations (“There’s nothing natural about a deer taking an overpass”) and generally coming to terms with the fact that more and more humans are encroaching on what feels less and less like her home.

The documentary brings to light a number of problems with the current situation in Banff. Perhaps chief among them is that not only are humans infiltrating the park at an alarming rate, but that trains and trucks carrying grain throughout the park leak, drawing bears and other animals to the high speed, relatively high traffic roads and rails.

Bear 71 is created by Leanne Allison and Jeremy Mendes. The bear is “voiced” by Mia Kirshner and the script was written by JB Mackinnon.

The project is by the National Film Board of Canada’s digital studio, NFB Interactive, a collective that’s made previous waves in the space with Welcome to Pine Point and Soldier Brother. The interactivity of the project is certainly innovative, as it blends a linear story with a choose-your-own-gloomy-side-story user-friendliness, but the introduction of choice can dilute the impact of the main storyline, as the adventure-game aspect of the project doesn’t necessarily enhance the viewer’s sympathy with the animals.

We’d love to see a version of the short that is made up entirely of curated surveillance footage with consistent narration, but the version currently presented is definitely worth a look.

Source: Huffington Post

There are many bizarre sights parading before the viewfinder of a Sundance Film Festival visitor, but the indoor tree imported from Banff and the bear cage outside the library are two of the more cryptic signs of unfettered creativity sprawling around Park City.

Part of a National Film Board interactive film project called Bear 71, the cage and the tree are more than publicity props; they’re symbols of a larger work that aims to jolt the viewer into a different state of awareness about the natural environment, and our relationship to it.

“In our modern age, it’s hard to know where the wired world ends and the wild one begins,” says co-creator Leanne Allison, half the filmmaking team behind the Gemini-winning Being Caribou.

“This whole thing started with a huge collection of trail photographs gathered in Banff National Park. These were images that were not framed by people. They were sort of nature uninterrupted.”

Essentially low-resolution stills gathered from motion-activated cameras in the wild, the images showed a variety of animals simply doing what they do, from crows and eagles to foxes and bears.

The bear was the central motivator for Allison, because she and her husband, Karsten Heuer, a park ranger in Banff, had been following her moves for years.

“Bear 71 was collared at the age of three around Banff, and was watched every single day of her life, so we know a tremendous amount about her,” says Allison, as she sits in the half-light of the Bear 71 installation at New Frontier, a space at Sundance dedicated to pushing the envelope of art and technology.

“We had enough images and information to really tell the story of her life, but we didn’t really know the best way to do it. The images were such low-resolution, we knew it wouldn’t lend itself to a big-screen treatment. So we had to find a different way.”

Enter Jeremy Mendes, a Vancouver-based artist and three-time Webby Award winner with a special talent for interactive work.

“I drove out to Alberta and met Leanne, and when I saw these images, I knew right away that it was bizarre: It was surveillance equipment, essentially. These are the same cameras we use on ourselves. They’re the same cameras in Times Square and 7-11,” says Mendes.

“I thought, ‘This is a technology story about us and this bear.’”

Once Mendes and Allison figured out their overall narrative thrust, they needed someone to put it on the page. They turned to J.B. MacKinnon, co-author of the bestselling 100 Mile Diet.

“He was perfect,” says Allison. “He shared the same values and he grasped what it was that we were trying to do.”

“We prepared an outline and did all the research, and realized this was a story about communication. It’s about the communication humans use, and the communication animals use,” says Mendes.

“That’s why the tree is here,” says Allison. “It’s a rubbing tree. We always thought it was only bears that used the trees, but all the animals use them. And if you look at the trees on a map, it looks like a network.”

Call it the natural bulletin board, or deciduous Internet, but the scents tell each animal’s story to other animals — very much the same way we use Facebook of Twitter to keep tabs on other humans.

“Humans probably had the same ability to understand that information before technology removed us from the natural world,” says Allison.

To bring home this idea of humans detaching from animal instinct, the creative team turned to Loc Dao, head of the NFB’s creative studio.

Dao helped them plug in all the different wires, and come up with the finished multimedia project, which goes far beyond the Sundance installation. Bear 71 is an all-encompassing digital experience that you can imbibe here, in the flesh, or remotely via a computer by visiting the film board’s website.

In the half-light of New Frontier, the visitor walks into a room of screens projecting the series of stills, as well as the “film” featuring the voice of Mia Kirshner as Bear 71. There are also iPads to ensure the viewer-participant becomes a part of the installation itself, as well as the tree.

It’s such a different approach to filmmaking and art, that it may take a while for the average Joe or Jane to take it all in, but that’s kind of the point: We’re only half-awake to our animal nature, and all our ambient technology only serves to shove us deeper and deeper into a state of instinct denial.

The team behind Bear 71 hopes to slap us into a higher state of awareness about our connection to the natural world, because, whether it’s directly, or indirectly, we’re definitely having an effect on the creatures around us.

Allison points to the roadways and railways that bisect Banff National Park. They may seem entirely benign, but the toll they take on wildlife is incredible — not just as roadkill, but territorial patterns.

“By putting in overpasses and underpasses on the highway . . . the government realized they were actually saving money, because there weren’t so many accidents and closures.”

She says she hopes the owners of the railway, Canadian Pacific, adopts a similar approach, because there’s so much grain on the tracks, it’s become a central feeding source for the animals along the corridor. And that’s not good for anyone.

“In the end, this all comes back to us . . . the humans, and how we identify with the natural world. We think we aren’t really part of it, that we’ve separated ourselves from it, but one way or another, we’re all in this together.”

Bear 71 will be part of the New Frontier program at Sundance until it heads to the Utah Museum of Contemporary Art. You can visit and become part of the Bear 71 experience by logging in at bear71.nfb.ca.

Source: Vancouver Sun