Anamorph, a cutting-edge filmmaking and technology company, has just made its debut to the world. Founded by filmmaker Gary Hustwit and digital artist Brendan Dawes, the startup is set to revolutionize the cinematic experience with its innovative generative technology. This proprietary software has the ability to produce films that are entirely unique with each viewing.
The company showcased its groundbreaking technology at the 2024 Sundance Film Festival where it unveiled its first documentary, “Eno.” The film follows the work of English musician, producer, and visual artist Brian Eno, known for collaborating with legends such as David Bowie, U2, Coldplay, Grace Jones, and Talking Heads. Eno’s primary focus is experimenting with generative music software.
“Brian seemed like the perfect candidate for [using Anamorph’s software] since he’s always been about pushing for technology and how it can be used in art and music,” Hustwit tells TechCrunch.
With each screening of “Eno” at Sundance, the generative media platform selected scenes from over 500 hours of restored archival footage, interviews, and animated visuals and music. Anamorph’s technology is capable of generating billions of potential sequences, resulting in a one-of-a-kind viewing experience for each audience.
Initially, there were doubts about the coherence of the film due to the random sequencing of scenes. However, Hustwit explains that the purpose of the generative system is not to deliver a traditional “chronological arc.”
“You can still have an engaging narrative arc in a film, similar to what we expect from a standard documentary…even if the scenes, footage, and music change, we can still have a cohesive and engaging story. It helps, in this case, that it’s all about one person,” he notes. “Your brain is constantly making connections and piecing together the story, which can vary depending on how the information is received and paced.”
An additional factor that contributes to the success of “Eno” is that the first and last scenes of the film remain the same with each viewing. Certain scenes are also always shown in the same time slot, such as when Eno discusses generative art.
“We thought that scene was crucial for every audience to see,” says Hustwit.
At Sundance, Anamorph used high-definition files for “Eno,” but their software also has the capability to generate the film live during a screening. This was demonstrated at the Venice Biennale in October 2023, where the company’s installation displayed a 168-hour film created from Eno’s entire music catalogue and footage.
“We just let the generative platform run wild with no rules, and it made a film that was 168 hours long without any repeating scenes. It could have gone on indefinitely, but the exhibition only lasted a week,” Hustwit shares.
At Sundance, only six versions of “Eno” were shown. However, the company has since refined the software and added even more footage, so the film will continue to evolve and change.
The film will have additional screenings across 50 cities this spring and summer.
The process of creating a generative platform with the capabilities to produce different variations using hundreds of hours of footage was not an easy task. Anamorph spent five years developing its software from scratch, incorporating patent-pending techniques and the team’s expertise in storytelling. The company takes pride in the fact that its system is not trained on anyone else’s data, intellectual property, or other films.
“The main challenge was creating a system that could process potentially hundreds of 4K video files, each with its own 5.1 audio tracks, in real-time,” Dawes tells us. “The platform selects and sequences edited scene files, but it also creates its own generative scenes and transitions, incorporating video and original 5.1 audio elements dynamically. The system also needed to be reliable in a live setting, as crashing was not an option. So, we conducted extensive testing. We can generate a unique version of a film live in a theater, or we can render out a ProRes file with its own 5.1 audio mix and create a DCP from that.”
One notable aspect of Anamorph’s technology is its ability to generate over 52 quintillion variations.
Dawes emphasizes, “This is a generative system, not generative AI. It’s important for people to understand that, because almost everything that has been said about ‘Eno’ uses the term AI.”
The one obstacle preventing Anamorph from making its technology available to a wider audience is the lack of existing streaming platforms capable of supporting this type of technology. However, the company has expressed its desire to develop the necessary capabilities in-house for major streaming services to use.
“I believe the main limitation is that current streaming networks are not equipped to dynamically generate unique video files and stream them to thousands of viewers, resulting in each viewer receiving a personalized version of the movie. When we premiered ‘Eno’ at Sundance, all the major streaming companies were impressed, but admitted that their systems could not handle the technology involved…These streamers need to set themselves apart, and I think incorporating generative technology into the films and shows they release is one way to achieve that,” says Hustwit.
It will likely take years before streaming services are able to adapt to this technology. Until then, Anamorph will focus on live events and theatrical releases.
“Something that the theater industry desperately needs right now is a reason to get people to come in, and if there is a uniqueness to the live cinema experience, that’s one way to make it happen,” Hustwit adds.
In addition to documentaries, the company is exploring other projects that could utilize generative platforms, including art displays and even blockbuster films. Advertising agencies have also expressed interest, with one company interested in creating 10,000 different versions of a one-minute commercial.
It’s difficult to imagine a TV series following a traditional episodic structure being successful with this type of format, especially when including multiple storylines. Unlike Netflix’s “choose-your-own-adventure” movie “Black Mirror: Bandersnatch,” viewers do not have the option to select specific scenes to watch and cannot rewatch a specific version.
“Viewers have to be actively engaged to notice the differences if they rewatch the film and be excited about discovering new elements,” Hustwit explains.
Ultimately, this concept may not appeal to everyone, but it offers a fresh and entertaining experience that has never been seen before.
Now that Anamorph has officially launched, they are open to consultations with filmmakers, content creators, studios, streaming companies, and more. Instead of making their tools publicly accessible, the company aims to collaborate on projects so they can “consider the source material and the overall story goals,” says Hustwit. He adds that Anamorph is currently in discussions with multiple companies.
The cost of each project will vary.
“We could create a Marvel movie that changes with each viewing – which would be amazing – but the cost would be significantly higher than a small video art project. However, we are interested in collaborating on projects of all sizes. Our main goal is to spread the word about this new kind of cinema and partner with talented individuals to explore this idea,” Hustwit concludes.
