Game of Life

People are asking me these days: What is the "Game of Life" we are dealing with this whole summer? The only honest answer I can give is that I don't really know. I guess I lost myself in the entire story of our pioneer filmmaking project. It started like any other father-son benign tech play—it was sometime back in the middle of April when I was categorizing our pile of ordinary family video files and our 'cooking series'. So in a moment of 'light bulb floating above my head' I asked myself why we don't move one step further and create a little longer short film of some sort. So I asked Viktor, and he seemed thrilled about it, especially when I told him that he would play the major role, and from there our "Game of Life" project became reality and started growing and morphing into a real short movie, and after a little while began being more and more enjoyable and serious.


In short, after four months of all of our 'Hollywood' efforts, Viktor and I proudly present a science fiction short film based on "Game of Life", a cellular automaton game invented by John Horton Conway in 1970. Actually, this is the first episode in the potential series we called "Flares and Fireflies". We hope you will enjoy watching it at least as much as we enjoyed making it, and—this is important—please keep in mind that we are not really educated filmmakers or talented actors and that this is pretty much the maximum what we could do with all of our knowledge and modest technology we used, to say the least. If you like it, after the movie, later in the post, is the story of how and where we made it, the entire script, some blooper stories, and behind-the-scenes photos.

First of all, I hope you like our film, and for further understanding, what I would say about the core of its script is that it tells a story about a young boy who's following a glitch in the system, presented in real life as a firefly, through numerous portals to the place where he meets a man with the final orb, the artifact that seems to be a way in for full understanding of the life itself, its origin, and the rules it is built on. Just like in Conway's simple two-dimensional game, life itself could be the same—just a set of rules in some artificial zero-player game that, on a quantum or molecular level, provides results of interactions of main ingredients.

That was about the "Sci" part of the "Sci-Fi" genre. The fiction that follows the story is in the fact that life might be fully artificial in origin. In other words, the film explores the rules of evolution that are not intended to be seen or understood by everyone. Even those chosen to dive into the game by random case or by complex rule outcome are not able to understand the principles at once. If you are asking now how the game of life really looks from the inside and behind white-green wireframes, well, you will have to wait for another episode. But is there going to be another episode? The honest answer is that I don't know. I really don't. So far we only have ideas, and from there to the final file is a long way. We'll see.

This long way with the first episode started with the script. Believe it or not, the first draft and the final scenario were not too different. It slightly changed, but only because of technological restrictions and improvisations. Ever wonder what a script looks like for short films like this one? Here it is in full:

01. Wakeup 1 - Strange sound? Nothing. Going back to sleep.
02. Wakeup 2 - Light appears. Goes through the door.
03. Getting out of bed, following light.
04. Following light upstairs.
05. At the balcony. Light and mild explosion. Artifact on the table.
06. Examining the artifact. First portal appears.
07. Light goes into abandoned house.
08. Appearing in abandoned country house.
09. Following light.
10. Second artifact. Goes through second portal.
11. Ending in the sea. Getting out on the beach. Stealing dry clothes.
12. Wandering dirt road.
13. Entering lighthouse site. Following light.
14. No artifacts here. Watching the lighthouse.
15. Seeing multiple flashes on the horizon over the site.
16. Site reappears in white wireframe only. People too.
17. Standing up in wireframe.
18. Checking a man who's reading Kindle.
19. Looking wireframe hands.
20. Kindle man: 'Everything is white. Isn't it?'

21. Looking at the Kindle man again. Everything back to normal.
22. 'Did you see it too?'
23. 'No. But I saw it once before. Different lighthouse though.'
24. 'Where? When?'
25. 'Long ago... When I was about your age...'
26. 'But... What does it mean?'
27. 'I beleive it is a game. Not everyone can see it.'
28. 'What kind of game?'
29. 'I never found out really.'
30. Reaching for the backpack. Taking out the final artifact.
31. 'But maybe you will. I think this belongs to you now.'
32. Taking the artifact. It starts glowing.
33. Going back to beach.
34. Going back to abandoned house.
35. Going back to balcony.
36. Wakeup 3 - Realizing it was a dream. Going back to sleep.
37. Sleeping. Zooming hand. Hand is going wireframe.
38. Back to normal. Light on the hand.
39. Light goes to the clock table.
40. Artifact appears.

In the end, "Game of Life" is composed out of 50 scenes filmed on four major locations. Two of them are Viktor's room and our living room, decorated with green screens for the occasion. The adventure starts and ends in the main character's room, and the only dialog is filmed in front of a green background and merged with the coastal background we took in Greece. Unfortunately, technologically speaking, this is the weakest chain in the movie, and not only because of our lack of efforts. "Chroma key" software within Adobe's "After Effects" didn't cope too well with the modest laptop I have used to run it through. It failed and crashed too often during rendering, and it got the last nerves out of me. If you add to all the struggles that the consumer dSLR (Nikon D5200) we used to film is not perfect for audio capture without an external microphone and the fact that we had to record audio separately, I have to say that I am not really satisfied with the dialog scene, but in the end I'd like to think that this is the best I could do with editing that part of the film.

However, this film would not be possible without a lighthouse, as it plays a major role in the story, and we found it just 20 kilometers from our hotel during our summer's vacation. It was located some 30 kilometers away from the famous Greek city of Corinth, built on a rock at the end of a small headland with tremendous views to the entire Corinthian gulf. We spent three days on the site and nearby beach and finished all the 'Greek' scenes and enjoyed amazing time on local beaches and restaurants. In the above photo, Viktor, with our 'nerf' portal stone preps, is posing in front of 'Faros Melagavi', not far away from the 'Vouliagmenis' lake where we filmed the last portal scene, and also just next to the ancient archaeological site of 'Heraion of Perachora' - a sanctuary occupied by a real oracle, just like the one in Delphi, dedicated to the goddess Hera and built in the 9th century BC by some Corinthian ancient cult. Here, just next to the old ruins of the temple of Hera, I found a stone perfect for the background of the green screen dialog scene. Before we went to Greece, I 'scouted' the entire site with Google Maps and photos people took and posted in Google's gallery, and all I have to say is that it looked perfect for filming, just like I hoped for. Very little improvisation was needed for 'running' and 'firefly' scenes. The same was with filming the 'portal' scene on the beautiful sandy beach of Vouliagmenis Lake, which is actually a lagoon connected to the Corinthian gulf and Ionian Sea with a narrow strait.

Finally, the fourth location we used to film intermediate portal scenes belongs to our special place—a village in eastern Serbia where we spent many vacations and weekends in the past. The name of the village is Guševac, and I mentioned it before on the blog on numerous occasions. With its intact mountain spirit, it was our first choice. The very first scene was actually filmed here in the abandoned barn. I intended to use nearby forests for additional scenes for the second portal, but due to the complexity, I gave up on that idea. It would be visually great, but it is not really that connected to the main story.

If you ask me what I liked the most behind and before the scenes of "Game of Life", without a doubt I say it was the entire adventure of making it. It started as a father-son summer play and in the end, this is what it really is: endless fun of filming scenes, creating scripts, directing the plot, improvising the story and scenes, and enjoying all the bloopers and laughter on all 'sets', especially in Greece. I really can't say what was funnier to do. Even the editing was a special time with learning all new stuff and knowledge, and in a way I am now looking at movies and TV shows with different eyes and capturing all the perfect and imperfect flow of scenes with my new 'director' habit. A small regret and disappointment was the equipment. I know I am not a perfect director and cameraman, but I am more than positive that with at least a little better technology, including software and rendering computers, the final movie would be much better. At least it would mask or hide most of our imperfections and flaws.

One thing is for sure though: if you are thinking of filming your own short movie with a modest consumer camera and not so obeying a tripod, don't think twice; go for it, and however the result is non-ideal in the end, I guarantee you that the feeling will be just perfect.

Revelation of Life (Game of Life sequel):
https://www.mpj.one/2020/10/revelation-of-life-part-one.html

Game of Life graphic novel:
https://www.mpj.one/2017/03/gol-graphic-novel.html

Refs:
https://en.wikipedia.org/wiki/Conway_Game_of_Life
http://www.mpj.one/2015/12/is-life-zero-player-game.html
http://www.mpj.one/2016/08/cyclops-of-peloponnese.html

Super 8

The history of motion pictures dates back to the second part of the 19th century with photographers like Étienne-Jules Marey and Eadweard Muybridge, who, among others, were the first to take several images per second in one effort—all for scientific purposes back then—to study the locomotion of birds, animals, and humans. For example, Muybridge was the first to take a series of photographs of a galloping horse in order to prove that in one single instant of time all four horse legs are not touching the ground. More or less at the same time on another continent, Marey created a shotgun-shaped camera capable with one trigger pull of capturing 12 images in a row within one single second and storing them all on the single 90mm film. He used his gun to study various motions of animals, fish, and insects within his so-called 'animated zoo', including dropping cats from different heights and filming them always landing on their feet.

ELMO Super 106, 8mm movie camera

It was not long after initial chronophotography efforts and enthusiasm in the 19th century that the 'evolution' of motion pictures diverted heavily into entertainment and cinematography. The history of films and fun started almost with the start of the 20th century, but in the spirit of today's title, 'domesticating' films within ordinary people and human homes waited another 65 years for the invention of Super 8, or, to be precise, the improvement of Kodak's standard 8mm film from 1932 into a more efficient surface with a bigger width for the frame itself and significantly smaller perforation on the film's right edge. After they introduced it at the 1964-65 World's Fair, Super 8 instantly became the very first home video format with light cameras capable of filming 18 frames per second and more than 3 minutes of the movie per one, also small in dimension, film cartridge.

To say that my father was a film enthusiast in the second part of the sixties and the entire seventies would be an understatement. It was natural for him to go the step further and, in addition to the several analog SLR cameras and darkroom equipment for developing photos, to invest in home movies. Spending time in the darkroom and hanging photos on the wire were one of the most thrilling experiences of my childhood, but when Super 8 came, another world opened. I was too young to operate the camera, but on the occasion or two I remember, I did hold it and press the red button, especially during our vacations in Greece. Well, aside from those rare moments, most of the time my job, with being a kid and all, was to be in front of the camera and not behind it.

Tondo Super 8 Projector and LG Nexus 5 in action

But to cut the story short, this month I did something I was delaying for a long time. During the last two weeks, every night I was descending into my own customized darkroom equipped with a tiny Super 8 projector and digitalizing our family films. Twenty of those survived over time, and with a speed of two per day, I projected them on the wall and filmed them all with my smartphone. It was far from being an ideal setting, but this was the best I could do. I tried different approaches, filming from different distances, using different settings, and using my DSLR Nikon in the beginning. I even tried to project the film directly into the DSLR, but all my efforts failed due to not having proper lenses and objectives, and in the end, the smartphone was the chosen solution, and it did a better job in the dark than the Nikon.

With more expensive equipment, I am sure the results would be much better, and probably the weakest link was the cute and old Italian Tondo projector, which was my father's portable cinematic projector. I did try with a bigger 'player' first, but despite all my efforts, I couldn't manage to repair the old and superb Crown Optical Co. Ltd. Auto-P, a silent Standard and Super 8 film projector, our primary projector capable of displaying big and crisp screens on the large walls and with much better quality. To be honest, it's more than half a century old and built with nowadays rare parts, especially the missing lamp that is hard to find these days, but I didn't give up, and perhaps in the future, if I stumble on some solution (read it, eBay sort of solution), I will repeat the effort, at least for those videos filmed indoors.

Nevertheless, all twenty rolls now come with twenty MP4s, and for this occasion I decided to create two movie collages with six movies each. They are all filmed in the late sixties, during the seventies, and in the early eighties with an ELMO Super 106 camera from the first image. The first one, embedded above, contains six films from our early vacations in Greece, and in chronological order, they are filmed in the Acropolis of Athens, Zeitenlik, the World War I memorial park in Thessaloniki, vacation resorts in Kamena Vourla, Asprovalta, Katerini Paralia, and two vacations in the vicinity of the port city of Volos.

The second collage is from our home and village in Niš and Guševac in Serbia. Mostly it focuses on my sister's and my babyhood and early childhood, birthday parties, family gatherings, and excursions. Also our old house that is now gone and the old shape of our country village front yard. This video also contains one of the rare black-and-white films from our collection that probably originate from different cameras and settings.

This entire effort triggered lots of memories and emotions from almost forty years ago, and seeing people live, especially those that are not alive today, is something extraordinary that regular photography cannot induce. Perhaps we today, with all of our pocket gadgets, are taking video clips and home photography for granted, but before, in the Super 8 era, this was a completely different experience. What we today do with just two taps on the screen, before you had to do it in a more complex manner, including purchasing film cartridges, carefully planning (directing) filming sequences for a 3-minute film, sending it to development, organizing cinematic sessions...

One thing is for sure: Super 8 was the origin of what we have now in our homes. It was eventually replaced with VHS tapes in the 80s, but at the dawn of the 21st century, the analog period came to an end, and old-fashioned home gadgets were replaced with home digital camcorders first and, in the very last decade, with smartphones. To tell you the truth, it is nice to have a camera in your back pocket, it is, but somehow, with me, as I witnessed the origin of the entire process in my early childhood, the nostalgia for the analog days gave me another layer of the entire experience. Something special and extraordinary for sure.

'Super 8', Sci-Fi movie by J.J.Abrams

Perhaps for the best conclusion for this post, it would be not fair not to mention one of the greatest J.J. Abrams' movies from 2011. Simply named 'Super 8', it tells a main sci-fi story about an alien encounter, but everything is perfectly wrapped within a background story of school kids trying to film a short movie for a Super 8 festival. It was really a great movie, and if you liked E.T. before, this is definitely a decent sequel and one of my favorites.

Refs:
http://www.kodak.com/id/en/consumer/products/super8/default.htm
https://en.wikipedia.org/wiki/List_of_film_formats
http://www.retrothing.com/2009/09/tondo-super-8-projector
http://www.hollywoodreporter.com/news/super-8-jj-abrams-says-194908