Illustration: Adeline Pericart
Darklight invites applications for the position of Festival Manager to promote, organise and develop the festival and its on-going activities.
The successful candidate will have a strong track record in event management including social media, be highly motivated, capable of working on their own initiative and have excellent administration, organisation, communication and IT skills. A background in digital media as well as social media is highly desirable. The ability to manage finances, prepare funding applications, and establish an on-going sustainable fundraising profile and programme is a pre-requisite.
This position is for one year, which will include a period of part-time commitment and full-time work in the period leading up to the annual festival. A salary, commensurate with the duties and responsibilities of the position and the experience of the candidate, will apply.
Interested candidates are invited to submit their CV and expression of interest by 10 September to Nicky Gogan, Festival Director, email firstname.lastname@example.org.
We have 2 Season passes to give away thanks to the fine people at Darklight.
This year’s festival promises to be an amazing feast of independent, DIY, animation and artist films, alongside some excellent talks and workshops.
Check out http://www.darklight.ie/ for details of this year’s programme
To be in with a chance of winning, answer the following question:
Who is this year’s Darklight Guest of Honour?
email your answer plus a contact number to
Winners will be notified on Tuesday afternoon, 21st August
This year’s Darklight Festival will take place 23- 26 August in The Factory, Grand Canal Dock.
Tickets for this year’s festival can be booked online via entertainment.ie and the IFI (for selected Terence Davies screenings only). Ticket prices: €7.50 per event Ticket Deals: 5 events for the price of 4!! Season Ticket: €66 – access to every screening, talk, workshop and parties (excludes VFX Masterclass) Kid’s workshops are free!
36 Hours: One Theme: One Winning Team
Starting Friday August 24th
Darklight is hosting our very first competitive GameJam event in 2012! A Game Jam is a fixed amount of time where people, usually in teams, come together in a shared space to make a game from start to finish.
Anyone can get involved; Programmers, illustrators, musicians, artists, writers. For 36 hours teams will each work on building a game around a common theme. The theme is super-secret and will only be revealed just before the competition starts!
Games will be judged by a local, home-grown games company and a Fabulous Prize will be given to the winners!
LOFI Vs HIFI > GAME ON!
Panel discussion, Friday August 24th 2pm
A discussion contrasting the experiences of working with high profile international games to the underground world of indie game development. Join Irish and international gaming experts and developers as they discuss the design, building and distribution of some of their projects. Featuring Heidi Egger (Marino/Kaveleer), Ollie Clarke (The Cat That Got The Milk) and Andrea Magnorsky (BigCat Games and Irish indie game bundle project). The discussion will be moderated by Patrick O’Neill (Irish Film Board)
Indie Game: The Movie
7pm, Sunday August 26th
With the twenty-first century comes a new breed of struggling independent artist: the indie game designer. Refusing to toil for major developers, these innovators independently conceive, design, and program their distinctly personal games in the hope that they, too, may find success. Irish Premire.
Best of Independent Game Festival 2012
All Weekend: 24th – 26th August
Play and see the absolute best in indie games from IGF 2012. Plus an exclusive gaming premier from those brats that brought you The Cat That Got The Milk.
Venues & Ticket Information:
DUBLIN Aug 23rd – 26th – Locations: The Factory, Grand Canal Dock and the IFI, Eustace Street
Tickets are on sale now from www.entertainment.ie
Game Jam: For further information or to enter to enter Game Jam, email the name of at least one participant and the name of your team to Rosef.email@example.com
Darklight is Ireland’s premier festival celebrating independent, DIY, animation, VFX and artist films. Darklight 2012 promises to be an exciting weekend of film, animation, art, music and workshops.
The 2012 theme HiFi Vs LoFi >> Game On! will take an in-depth look at visual effects in film from the micro to the supersized budget. We will also be delving into the gaming industry, from the most popular titles to the world of indie game design and the interconnections between games, film and animation.
Since its inception in 1999, Darklight has provided an opportunity for artists and filmmakers to share their work and experiment with new technologies and it has emerged as one of the most important art events of the year.
For full programme see www.darklight.ie
Darklight Festival in association with FAS Screen Training Ireland present
Avengers Assemble Masterclass in Visual Effects:
“From Shooting to Computing”
With Seamus McGarvey (DOP) & Jake Morrison (VFX Supervisor, Marvel)
Friday August 24th | 3.30pm – 6.30pm | The Factory
In Conversation With Seamus McGarvey, presented in association with the Irish Film & Television Academy (IFTA)
Saturday August 25th| 1pm | The Factory
From Shooting to Computing
Seamus McGarvey and Jake Morrison, key members of the team behind the multi-billion dollar hit, Avengers Assemble, talk through the technical and creative processes behind the third highest grossing film of all time.
From prep to shoot: How to ensure the best possible results for the post production stage of the production. Shooting 2D for 3D, working on in-camera effects, filming green screen, lighting, 360 tracking shots, plus the best ways to prep for high end VFX.
Seamus and Jake will bring us through the special relationship of the DP and VFX Supervisor. Taking scenes from the film, they will walk through how they came to their creative decisions, trouble shoot technical problems, talk about solutions and workarounds. How, often the same problems arise when shooting on a mega budget, as do on lower budget films, and finding the solutions can be the same.
The Masterclass will be hosted by Award winning Cinematographer PJ Dillon (The Runway, Her Mother’s Daughter, 32A), who recently premiered charming retro Sci-Fi film Earthbound
Seamus McGarvey In Conversation
A rare opportunity to hear Seamus talk about his creative process as a cinematographer, perfect for film fans who want to gain an insight into the filmmaking experience from a less technical point of view. Seamus will take part in an in-depth discussion about his work on titles such as We Need To Talk About Kevin, Atonement, and the soon to be released Anna Karenina.
The common theme that connects the entire Darklight programme this year is creative collaboration and the symbiotic relationships that exist between directors and cinematographers, musicians, animators, VFX supervisors and developers. After talking to Seamus a number of times in the lead up to the festival, we know this is going to be a very special event. Darklight are delighted to welcome this celebrated and critically acclaimed cinematographer to the festival.
Full programme and screening times available on www.darklight.ie
Darklight is primarily funded by the Arts Council of Ireland.
Darklight wish to thank the Irish Film & Television Academy (IFTA) and Bord Scannán na hÉireann/the Irish Film Board for their help in programming these events.
Avengers Assemble DVD is in shops Friday, September 14th
Illustration: Adeline Pericart
Darklight is currently recruiting enthusiastic and dedicated volunteers to assist with this year’s festival, which takes place 23 – 24 August in the Factory, Grand Canal Dock & the IFI.
Available roles include front of house, ushering and technical support. Volunteers are essential for making the festival run smoothly and are hugely appreciated. So, if you’re interested and want to be involved in Ireland’s premier festival celebrating independent, DIY, animation and artist films, email volunteers at darklight.ie for more information
(Patrick O’Donnell in Opus K)
Opus K is a stylish detective story that screens at Darklight on Friday, 21st October at 4pm in The Factory, 35A Barrow Street, Grand Canal Dock. Film Ireland caught up with its director Eamonn Gray and DOP Baz Al Rawi.
Q: How did Opus K come about?
Eamonn: After film school I had pages of notes and diagrams which roughly outlined ideas for possible films. I was 26 and concerned about arriving late to the party. I’d read the CVs of Irish directors making feature debuts and the thoughts of spending the next ten years making short films or ‘calling cards’ made me a little nauseous. I knew Baz felt similarly and that we shared an innate discomfort with any notions of practical wisdom, so when the idea of making a feature was floated, it was accepted immediately and without debate. Now we needed a script.
All I had was a proposition based on an article I’d read about the organ trade in Pakistan. It was simply this: Your brother needs a kidney transplant. Without it he’ll die. He comes to you for help. You say no. How do you justify your decision?
I checked myself into Stephen Walsh’s programme for procrastinating screenwriters in Filmbase. I had eight weeks to get from fade in to fade out. I left with about seventy semi-coherent pages and a title that I hoped to change down the road. That title was Opus K, borrowed from a cataloguing system used by classical music composers.
The most important decision I made during that time was selecting the genre. It would be a detective story, along the lines of The Parallax View and Angel Heart. The case would be the structure. I wrote dozens of drafts between 2007 and 2009. I thought I was finished writing when we began shooting but the truth is I was writing during the shoot and well into post. Nothing informs your writing process like seeing your words as moving images which a lot of people sweated to create. It is not something to be taken lightly.
Q: What are the film’s main stylistic influences?
Baz: We wanted to make a film in the style of the paranoia thrillers of the 1970s particularly films like Alan J Pakula’s ‘Klute’ and ‘The Parallax View’. The cinematographer on both of those films was Gordon Willis aka ‘The PrinceOf Darkness’. These films had a naturalistic feel to the lighting and Willis expertly used shadow and darkness to emphasize moral ambiguity. He was a master of visual relativity, crafting strong contrasts between scenes using light, and as as his moniker suggests he was never afraid of the dark. His work was hugely influencial on the style of Opus K.
The protagonist, John K, has sheltered himself within a cocoon but soon finds himself being manipulated by external forces which force him out of his comfort zone. We wanted to paint the scenes in high contrast to convey this shadowy world filled with shady characters of questionable motive. The visual style of the film was very deliberately designed to accentuate and augment the thematic resonances within the script. We chose an earthy colour palette of muted greens, blacks and browns to dominate John K’s world, it’s a dark and troubled place which is contrasted occasionaly with flashes of yellow.
We looked at a lot of Edward Hopper, particularly for his use of green and his depiction of alienated and isolated characters in urban environments. A lot of the motifs that you see in the film were drawn directly from the script but certain elements we built into the set to enhance the theme and the mood even further such as flickering fluorescent lights and narrow windows. Darius Knondji’s magnificent work on Seven and Jeff Croneworth’s handling of a shadowy underworld in Fight Club also provided strong starting points for our approach.
Q: How and where was the film shot?
Baz: We shot the film over two weeks in April 2009, picking up some scenes over 4 days in October and the final pickups in April 2010. The film was shot digitally in high definition using the Sony Ex-1 and the Cinevate Brevis 35mm lens adaptor. Most of the scenes were shot on locations in and around Dublin city, except for John K’s apartment and a few other interiors for which sets were built in a warehouse in south Dublin city. Having a purpose built set to shoot the majority of the film in was a dream as it allowed us so much control over the look. Eamonn and I spent a long time discussing the style of the film, what kind of atmosphere we wanted to create. These conversations evolved firstly into sketches and then 3D mock ups of sets. Creating the space from the ground up was a daunting task, you have a completely blank canvas to work with so you’re essentially looking to design something that is going to facilitate blocking, have the right aesthetic and is not going to throw up any unforseen difficulties. It needed to be a space that felt lived in and that captured the mood of the story.
Emma Lowney joined the team and contributed her expert guidance on how we could take the sketches to the next stage and she oversaw the build and decoration with a keen attention to detail and a telepathic understanding of what we were trying to achieve. It wasn’t an easy task by any means, it was a case of loaves and fishes when it came to the budget but she pulled it off with aplomb. The warehouse itself was provided by Moxie Studios in a former space in Inchicore. While perfect for the construction of the various locations, the proximity of some band practice rooms nearby pushed our sound recordist Niall McNamee to the limit.
Our crew was small and such was the nature of the production, lets just say that the departmental responsibilities were very fluid. We had a nice tight crew, all in all during production we had between 7 – 10 crew members each day who all got stuck into whatever needed to be done. We were generally extremely lucky with the level of commitment from all considering the nature of the production.
Eamonn: We were well prepared for post. All the clips were catalogued, the paperwork was in order, I even stuck an extra Gig of RAM into my MacBook Pro. The first rough cut was done in a couple of weeks. It was immediately obvious that there were a lot of scenes that didn’t work. When I took them out they left gaping holes in the narrative. The reason was ominous: the script was not the masterpiece I’d convinced myself it was. Worst of all, the scenes which didn’t seem to work just so happened to be the ones that cost the most in terms of money and personal hardship to create. The difference between making a short and making a feature is one of perspective. Narrative arcs are just that – they are curved like the surface of the Earth. The farther you travel, the harder it is to see where you’re going, not to mention where you’ve come from. I read somewhere that the more money you have to make a film, the less flexibility you have in making it. We had no money, and therefore, infinite flexibility. When it became painfully clear that new scenes would have to be written and shot, we were lucky enough that we could simply grab the camera, a microphone and a couple of lights and just go and do it.
Having been on board since the inception of the project, my brother Tommy was scoring as I cut. He was receiving scenes out of context and listening to pieces of music I’d send him. This was by no means ideal but the score really came into its own when he finally received a “picture lock” version of the film. This wasn’t the final cut, if there is such a thing, but it allowed him to create a real thematic development that brought the film to another level. The sound issues from the set were painfully evident and could have ruined the final product if not for a combination of good timing from excellent actors, and the maximum lattitude I extracted from our scant coverage.
Q: How was the film financed?
Eamonn: The film was financed by Baz and I through our production company, Triptych Productions. We had bought a Sony EX1 and had been kindly offered the use of the lens kit for free. We were confident that we could make the film for ten grand. This money came from a small business loan secured just before the banking crisis. The bank were fully aware of the purpose of the loan and were very supportive. We were obviously lucky with the timing but the reality of being in debt and still without any cast, crew or locations hit us pretty quickly and it was something of a race to get to principal photography before the first payment was due.
The budget was only enough to cover equipment rental, insurance, set construction, transportation and catering. All of the cast and crew worked on the basis of deferred compensation. It’s very easy to be cynical about people until you ask a perfect stranger to do you a huge favour, offering nothing in return, and they say yes. A sense of serendipity has really underwritten this film from start to finish. Everything that could have gone wrong almost went wrong, but then didn’t. A religious man might read into that kind of thing, but we’re filmmakers so we’ll just cross our fingers and hope we get to make another one.
Opus K screens at Darklight on Friday, 21st October at 4pm at The Factory.
Darklight in all their magnificent generosity have given us 2 Season passes to this year’s excellent festival and a couple of Darklight DVDs.
Darklight 2011 runs from Thursday, 20th October – Saturday, 22 October
Once again the European Commission in Ireland have teamed up with the Darklight Film Festival to offer you the chance to get your work screened at the Darklight Festival & to win a top of the range HD camera!
Submit a short online film on the theme of ‘Europe 2020′ – and what that means to you.
Make a short film, one inspired by the notion of ‘Europe 2020′. Go on… It doesn’t matter if you record it on your mobile phone, a state of the art digital video camera, or create your own DIY animation – the idea’s the thing. Make it a comedy, a tragedy, a documentary, an animation – whatever takes your fancy. It’s about self-expression. And if it gets people thinking, even better.
The winning entry will win a state of the art 60d worth €1200 and have their work screened this October at the 2011 Darklight Film Festival. There are also runners up prizes for highly commended entries.
For more information on the competition, or to watch some competition winners from our previous challenges in 2009 & 2010, go to www.darklight.ie/europe-2020
The European Commission Representation in Ireland and the Darklight Film Festival invite you to make a short online film on the theme of ‘Europe 2020’ – and what it means to you.
What will Europe look like in 2020? Is yours a dystopian or Utopian vision for the future? Will the issues around Climate Change have been tackled? Will unemployment / poverty be a thing of the past? Or has the Global Recession worsened? Will we all have flying cars or will have everyone have reverted to a bicycle? Will the Information Age have ended and will we enter a new previously unimagined Age? We want to know your thoughts.
Make a short film, one inspired by the notion of ‘Europe 2020’. Go on… It doesn’t matter if you record it on your mobile phone, a state of the art digital video camera, or create your own DIY animation – the idea’s the thing. Make it a comedy, a tragedy, a documentary, an animation – whatever takes your fancy. It’s about self-expression. And if it gets people thinking, even better.
The winning entry will win a state of the art HD Digital camera worth €1200 and have their work screened this October at the 2011 Darklight Film Festival. There are also runners up prizes for highly commended entries.
As this is an internet competition, your entries need to be uploaded onto a video hosting site – You Tube, Google Video, Vimeo… Any online video hosting site will do nicely. Once you do that, submit your link, along with your details, on the “Entry” page. NB: Don’t forget to check out the terms and conditions of this competition.
Entries must be submitted by email by the 14th of October.
The winner will not only be selected on the basis of the best film produced, but also by the number of hits their video gets. 75% of the marks for the movie will be given over to creativity and imagination, and 25% for building an audience.
…the panel discussion
We will also be holding a free panel discussion on Saturday 22nd October 2011 as part of the Darklight Festival, discussing the future of Europe and the future of filmmaking in Ireland. It does not matter if you are a novice or experienced filmmaker, you will be sure to learn something on the day.
….check out our virals
You can check out previous European Commission / Darklight Online Short Film Competition winners, finalists and other virals to get you thinking, and also find out more about this competition at http://www.euireland.ie/darklight/
For further information on the ‘Europe 2020’ strategy: http://ec.europa.eu/europe2020/index_en.htm
The IFI will be screening Hotel Darklight on Sunday, 13th December at 1pm. The film is the no-budget full length feature film created for this year’s Darklight Film Festival. It comprises of ten short pieces filmed over six days in one location. Inspired by Exquisite Corpse, a Victorian parlour game where random words and images are assembled to form a surreal finished product, producers Declan Lynch and Alan Keane brought together ten writers and ten directors to tell a series of discrete tales of the paranormal which would all take place in an eerie Smithfield Hotel.
The screening will be followed by a Q&A with several of the filmmakers. Tickets for this screening are priced at €15. The proceeds will help offset debts incurred by filmmakers and by Darklight in the making of the film.
Please click here for more information:
Darklight, in association with The European Commission Representation in Ireland, are running a Viral Video Making competition.
The deadline for the competition has been extended to 18th September 2009. The winning entry will win a state of the art HD camera and be screened at this year’s Darklight Film Festival.
To watch some of the virals or to submit your film online, click here: www.darklight.ie/democracy
Straylight, the visual arts strand of the Darklight Festival, is looking for female performers to take part in a live group performance consisting of a looped monologue curated by Amanda Coogan and devised by Niamh Murphy and Meabh Redmond. Rehearsals/workshops begin late August/September, with the performance to take place on the 8th October, 2009. Applicants should send a relevant CV to firstname.lastname@example.org, and the deadline for applications is the 1st August 2009. For more information on Straylight see www.darklight.ie/pages/straylight.htm
Make a short film on Democracy & Dialogue and you could win a state of the art Hi-Def camera and have your work screened at this year’s Darklight Film Festival.
What does democracy mean to you? When did you last vote? In a general election? The referendum? The European Commission Representation in Ireland and the Darklight Film Festival invite you to make a short online film on the theme of ‘Democracy & Dialogue’ – and what it means to you.
The winning entry will win a state of the art HD Digital camera worth €1800 and have their work screened this October at the 2009 Darklight Film Festival. Entries must be submitted by email by the 11th of September. Darklight will also be holding a free one-day workshop on Saturday 8th August, showing you how to make your own online films. It doesn’t matter if you’re a novice or experienced, you will be sure to learn something on the day.
For more information about the competition and to register for the workshop, please click here: http://www.darklight.ie/democracy
At the invitation of the Darklight Film Festival, thirty filmmaking teams and individuals came together to create the series of short pieces that combined to make Dublin: The Movie, which was shot entirely between 12.01 am and 11.59 pm on Thursday 26th June, 2008. Director Lenny Abrahamson (Garage, Adam & Paul) ‘curated’ the film, remixing the edit in four days and on Sunday 17th May at 1.30 pm, the IFI will screen the film, followed by a Q&A with Abrahamson and participating filmmakers.
To book tickets, please visit www.ifi.ie or phone: 01 679 3477
Darklight, in association with Microsoft, Ireland are delighted to launch the 2009 The Imagine Cup Short Film Competition in Ireland.
Now in its sixth year, The Imagine Cup is an annual competition aimed at third level students that encourages young people across the globe to apply their imagination, passion and creativity to technological innovations that can make a difference in today’s world.
The Imagine Cup is a truly global competition focused on finding solutions to real world issues. To enter the short film strand of the competition, participants have to submit a three-minute script or storyboard responding to the statement:
‘Imagine a world where technology helps solve the toughest problems facing us today.’
Irish finalists will be brought to Egypt to participate in the Imagine Cup World Finals, where they are required to make a short film inspired by their winning idea. With a prize of $8000 USD for the overall winning entry, this is an opportunity not to be missed.
Darklight’s role in the Imagine Cup competition is that of mentor, facilitator and advocate. All questions regarding entry and participation in the Imagine Cup Short Film Competition should be forwarded to Sinead Ni Bhroin at email@example.com.