How three filmmakers created the best Sora movies


Sometimes the camera angle is different or the objects being filmed have moved, says Stevenson. Attraction is still a part of Sora, as it is in every incarnation. With static images this can lead to visual errors; with video the errors can appear again and again, with strange jumps between frames.

Stevenson also had to figure out how to speak Sora’s language. It takes real hard work, he says. In one experiment they tried to make a missile that approached from a helicopter. Sora created a piece where he mixed a helicopter with a camera lens. But Stevenson says that with many attractions, Sora is easier to control than previous models.

Even so, he thinks that surprise is part of what makes the technology so fun to use: “I like to have less power. I like the chaos of it,” he says. There are many other video-making tools that give you control over editing and texture. For Stevenson, the point of a reproductive model like Sora and come up with strange, unexpected things that work at first.

All animal portraits were created by Sora. Stevenson tried a lot of different things until he made a device he liked. He said: “I corrected it, but it is just like an exaggeration.” Then he went back and forth, trying different things.

Stevenson painted his crow with four legs, for example. But Sora gave it two, which worked very well. (It’s not good: sharp viewers will notice that at one point in the video the crow changes from two legs to four, then back again.) Sora also released several versions that he deemed too dangerous to use.

When he had a group of animals that he loved very much, he would arrange them together. Then he added a caption and a voiceover. Stevenson could have created his own menagerie out of available materials. But it would take hours, even days, he says. With Sora the process was much faster.

He said: “I was trying to think of something that would look good and try different people.” “I have a lot of pictures of random creatures.” Things got worse when he saw what Sora did with the girafflamingo. I began to think: What is the story surrounding this creature? What does it eat, where does it live? He says. They are planning to put out more movies following the fantasy animals in detail.

Stevenson also hopes that his interesting animals will make a big point. He said: “There will be many kinds of new things that will flood. “How can we teach people what is real?” In my opinion, one way is to tell clear stories of fiction.”

Stevenson suggests that his film may be the first time many people have seen a movie made with a reproductive model. He wants the first explanation to be very clear: This is not real.


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