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‘the rainbow experiment’: film review.

Christina Kallas' 'The Rainbow Experiment' watches as a student's dire injury provokes chaos at a Manhattan high school.

By THR Staff

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A Manhattan high school dealing with a violent accident has a rougher day than might be expected in The Rainbow Experiment , Christina Kallas’ unconventional ensemble drama. Much more interested in its adult characters — parents, faculty, investigators and more — than it is in the students whose lives are upended, the pic is a round-robin of interactions that often have little or nothing to do with the teen left comatose by the mishap. While its quirky storytelling style draws viewers in, many will tire of the subplots long before it reaches the two-hour mark.

Matty Fairchild, who’s as white and bright and blonde as his name suggests, is the boy in question, who was badly burned during a chemistry experiment involving a Bunsen burner and chemicals that produce different colors of flame (the title’s “rainbow experiment”). He’s currently in a coma at a nearby hospital, but he’s also viewers’ guide to the action back at school: Connor Siemer plays the smart-ass spirit who pops up where he doesn’t belong and speaks directly to the camera, introducing characters who can’t see or hear him.

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Release date: Dec 07, 2018

Those introductions are handy, given how many players the cast includes. A few of Matty’s classmates earn the film’s attention — Toni (Christine McLaughlin), the troubled girl he has a crush on; JC (Richard Liriano), the tough kid being abused by his father — but they’re far outnumbered by grown-ups who are thrown into panic mode by the day’s events.

Jess, the pinched-face principal (Patrick Bonck), feels the most heat, dealing directly with both parents and investigators from the Board of Education while trying to defend chem teacher Ms. Dhawan (Nina Mehta) from accusations of negligence. But when parents start arriving at the school (they’ve all been called for an afternoon briefing about the accident), most are also dealing with worries barely related to the accident. An alcoholic father goes off on a detective mission when he learns his kid is buying drugs; Matty’s dad mixes grief with self-pity over being too young for all this (he looks barely older than the actors playing students); a Greek man who is only tangentially related to the school picks locks to sneak in and start talking about theology.

“Tangentially” is the key word above. In twos and threes, actors perform what appear to be improv-workshop scenes, riffing about backstories and motivations the film can barely contain. A couple of castmembers aren’t quite as good at this as their costars, but Kallas and editor Natalie Reneau shape coherent scenes out of their performances. The bigger trouble is that these individual scenes could easily be drawn from a 15-hour TV serial — one in which we have time to care about which man the mild-mannered new substitute will go out with; whether the (closeted?) gay teacher will work up the nerve to ask the British cafeteria worker out; whether the principal’s estranged wife is going to kill herself on campus or make her way back home before she chokes down those pills she stole. Just when we think we’ve got a handle on the many competing mini-dramas, one character announces she’s late for an abortion and three others get stuck in an elevator. (The latter mishap is the work of the Evil Eye, says the Greek.)

Throughout, split screens and tricky editing effects emphasize the multilayered structure and hint that what we’re seeing isn’t necessarily the only way things could go. With this much happening, though, one version of everything is plenty.

Production company: Alliecine Distributor: Gravitas Ventures Cast: Connor Siemer, Richard Liriano, Patrick Bonck, Nina Mehta, Christine McLaughlin, Stratos Tzortzoglou, Lauren Sowa, Swann Gruen, Christian Coulson Director-screenwriter: Christina Kallas Producers: Christina Kallas, Allison Vanore Executive producer: Donn Gobin Director of photography: David Sharples Editor: Natalie Reneau

130 minutes

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The Rainbow Experiment

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Watch The Rainbow Experiment with a subscription on Prime Video, rent on Fandango at Home, Apple TV, or buy on Fandango at Home, Apple TV.

Critics Reviews

Audience reviews, cast & crew.

Christina Kallas

Christian Coulson

Francis Benhamou

Anna Guerrero

David McKenna

Vandit Bhatt

Chris Beetem

Jamie Freeman

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THE RAINBOW EXPERIMENT: Ambitious Education Epic Stretched Too Thin

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Teenagers are idiots. I can say this because I was one. They’re frustrating, infuriating, moody assholes, and they f*ck around and make stupid decisions that they might not realize ripple outward and effect people other than themselves. But teenage idiocy often finds itself complemented by adult incompetence, a concoction of inadequacy that can bubble over to disastrous consequences.

Difficult teenagers and even more difficult adults are, thus, at the forefront of director Christina Callas ’s film The Rainbow Experiment – a character study slash who-dun-it revolving around a near-fatal science experiment accident and the people both immediately and marginally affected by it. It’s a determined and thoughtful deep dive into emotional cause-and-effects over the course of a lengthy two-hour runtime, but middling technical aspects and a meandering script pull the effort down deeper than intended – if not for a lack of commitment to the craft.

It Happened One Chemistry Class

At a high school in the heart of bustling New York City, class clown Matty Fairchild ( Connor Seimer ) is rushed to the hospital, pronounced comatose. The cause of such tragedy? A faulty experiment in Chemistry class at the hands of bewildered, traumatized teacher Ms. Dhawan ( Nina Mehta ), who sent Matty to the front of her class to participate in the experiment as punishment for being especially disruptive. The experiment is supposed to cause a series of different solutions to change colors, but when Matty drops a splint into the Bunsen burner, the flame erupts in a ball of fire and leaves him severely burned.

Investigators are sent to the school to question faculty and students in an effort to figure out exactly how an experiment set up to run without a hitch, went off the rails so gravely. The investigation acts as the jumping-off point for the rest of the story, working itself between flashbacks to the incident and present-day shenanigans; parents, students, and teachers alike seemingly unraveling at their seams over this calamity. The storylines of the mourning family of Matty, his heartbroken friends, the incompetent principal and frustrated, confused faculty, are among the many interwoven in the script to service the narrative of different forms of spiraling grief.

A Web Not Quite Well-Spun

However, the majority of the  film’s shortcomings can be attributed to technicalities – flat lighting, uneven sound, and rambling dialogue make the experience feel less like a cinematic fictional narrative and more like a truth-to-life documentary that wasn’t cut quite enough in the editing room. Scenes that might have felt tense or poignant instead drag on and contribute to inconsistent pacing, while too much exposition is consistently handed over robbing the potential for nuance or real mystery. We simultaneously know too much about these characters and not enough, and it furthers this feeling that we’re not really watching a narrative and more an unfolding of events that have no place being seen – not even for voyeuristic purposes.

There are admirable flourishes employed which, while interesting, make the story feel incoherent, such as the use of split screens and even quadruple screens. These depict multiple scenes happening at once, or even a single scene unfolding in a series of overlapping moments and dialogue. Though ambitious, they cause the film’s numerous threads to become harder to follow. Still, it is not a careless or poorly-produced feature. Despite any distracting technical flaws, there are constant glimmers of intrigue and genuine narrative strength that could’ve been given full reign if the script were tighter, and the characters more focused and better-acted.

The Rainbow Experiment : Conclusion

In a story that might have been an engaging and thought-provoking character study, the two hour runtime isn’t well-served. The clashing of teen and adult angst untangling one another in the face of tragedy instead fizzles out as opposed to tearing through in a blaze of emotionally-charged glory. It’s a strong idea that isn’t executed as it should have been in order to produce a wholly engaging piece, and though clearly created with care, The Rainbow Experiment  ends up less enthralling than its titular incident.

Have you had the chance to see The Rainbow  Experiment ? What were your thoughts? Let us know in the comments below!

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The Rainbow Experiment (2018)

Things spiral out of control in a high school in Manhattan when a terrible accident involving a science experiment injures a kid for life. A who-dun-it with a how-they-saw-it leads to an explosion of emotions touching the teachers, the parents, the school authorities and, ultimately, the students. Uniquely told from the perspective of the victim—whose phantom figure guides us through the story, but who in reality is still fighting for his life in the hospital—the film tackles the ongoing drama from every angle. This winding, extravagant, propulsive film takes you on a wild ride and challenges you to see beyond what may happen, what you may want to happen, and what you may have missed while it was happening to what may not have happened at all.

Genre: Drama

Director: Christina Kallas

Producer: Christina Kallas, Allison Vanore

Cast: Chris Beetem, Francis Benhamou, Isaiah Blake, Patrick Bonck, Peter Boustani, Julianna Capuano, Nicholas Careaga, Maggie Champagne, Jason Clare, Catherine Cobb Ryan

Gravitas Ventures is an all rights independent film distributor – bringing you the movies you want in theaters and On Demand. Gravitas is a cutting edge 21st century independent film distributor with the ability to release a film in over a billion homes worldwide.

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'The Rainbow Experiment': Delving Into Characters' Lives to Uncover Deep Emotional Truths

Director christina kallas works extensively with her actors until they become the characters, well before a single frame is shot..

Perhaps the most arresting thing about Christina Kallas's The Rainbow Experiment,  in an array of arresting things, is that its characters come to the screen fully formed, with their own special backstories, traumas, and histories which inform their actions and shape the story. The director's second film, which premieres at Slamdance today, Sat. Jan. 20, begins with an explosion and stays explosive. Ostensibly the story of a high school science experiment gone wrong which permanently injures a character, the movie is really the story of how disparate figures—administrators, parents, students—cope with the event. Some cope effectively, and some fall apart.

The film doesn't aim for neat, easy resolutions. Chips fall where they may, and in this case, that's far and wide. The performances in the film are outstanding, each one reflecting its own particular arc in the life of a character. And the story is housed in a visual hall of mirrors, as Kallas herself suggests. The cinematography is as expansive as the story, using perpetually surprising techniques to move us forward and also distort our impressions of events.

No Film School caught up with Kallas not long ago to talk about her film—how she made it, why she made it, how it evolved, and much more.

No Film School: You’ve said previously that you walk your actors through their characters’ past lives, and that sometimes that can be a very lengthy process. Could you say a little bit about the different activities you did to complete that process in the preparation for this film?

Christina Kallas: The way I work is I start with a screenplay which one would consider fully developed. I believe that story is structure, so my screenplays are extremely precise in terms of structure. I do color graphs, sequences, arcs—everything possible to make sure that it is well balanced and that I am creating an emotional experience for the audience. I am obsessed with multi-protagonist storytelling, so my screenplays have several protagonists and equally weighted storylines.

I will then start the workshop, which usually means that I invite actors I want to work with for the concrete project, to a weekly session of three hours. There are no auditions, no classic casting. Each week I set up three situations, three scenes. My intention is to see how a certain character will behave in a certain situation, how the chemistry between two characters is, how an actor feels in a certain character’s skin. The scenes are set up in front of the whole ensemble, and I use a method I have devised called emotional doubling to create a safe space for the talkback—one devoid of judgment, where everything can be addressed and where observation is more important than opinion. The actors remain in character throughout. Sometimes, the talkback, which involves the whole group, is even more exciting than the scene, sometimes it will flow naturally into a continuation of the scene.

Now, this whole process is very fluid. If I feel that a combination is not right or that a casting choice does not bring out the full potential of a part, I will adjust it. If a character resists, I will look into the why, and maybe push them even more in that direction. Sometimes I will drop a storyline or a character because one of the actors stops being available to me. I never replace an actor. You see, at this point the character and the actor are one. And like in life, certain people take more space than others; meaning: they are open to showing more of the complexities of the human condition. So I will create more space for them. In a sense, it is like when you have shot the film and you are now editing. Certain things have turned out more exciting than others. So you give them more space, while recalibrating the balance of the whole. This is what I do to my screenplay as we go.

Not once do we specifically touch upon the events in the screenplay. Everything we experience in the room has to do with the character’s past lives or with what-if situations. For instance, I may have the character meet her mother, when she was the same age as her. Once we start shooting, none of the actors know what will happen—or what the film is about. In the traditional way of working, the actors know more than the characters because they have read the whole screenplay. My actors only find out when they see the finished film. That allows for a different kind of performance.

NFS: I see a lot of emotional growth in this film, or at least a lot of cases in which individuals are pushed to the point of inner crisis. What did you want the film to say about how learning—not so much education by itself but perhaps the superficial meaning of the word, e.g., teachers, books—and the more profound meaning of the word—in the sense of self-discovery—interlock?

Kallas: It’s interesting to think of the correlation between these two things. This is a film set in a public high school, and education is what a school is for. But our educational system is not concerned with educating us emotionally or with making us fit for living together. I do believe that the lack of emotional education is one of the main reasons for the current systemic failure.

" In terms of the emotional growth in the film: I start shooting when I have all the characters at the point I need them to be."

Perhaps a school is not the right place for emotional education. Perhaps it is the purpose of art, but then again, art is not considered very important or indispensable in our current society—in the way Ancient Greek dramas were for society then. They were so very important, because they were serving as emotional education—what some scholars call the poets' solution to the riddle of civilization. They were meant to forge compassion and to cultivate the civilizing emotions. Aristotle, who everyone refers to in order to support predictable and didactic dramaturgy, did not in fact see drama as superficial entertainment in the sense of escapism, distraction or diversion. He spoke of the double goal of entertainment and awareness. Drama should not only increase enjoyment, he said, but also enrich experience and knowledge. This presupposes stories that challenge the audience, that broaden the spectrum of their experience since they intrinsically represent an experience themselves. 

In terms of the emotional growth in the film: I start shooting when I have all the characters at the point I need them to be. Which means that they are pushed to the point of inner crisis, as you say, they are in a pressure cooker—each one of them for their own complex reasons. Now, do the characters change in the film? Do they grow? I do not know. This is a matter of perception and interpretation. Some do, some stay the same.

NFS: How do you see the split-screen functioning in this film?

Kallas: Split screen editing allows for vertical as well as horizontal juxtaposition of different scenes and storylines, and ultimately for a different, more visceral and compassionate perception of the story and its complexities. I write the split screens into the screenplay because I need to shoot each frame for a certain length and create complimentary mise en scène so it all matches up, and this takes an incredible amount of planning. There’s so much detail going into the creation of something that is moving constantly in terms of its composition and that is meant to allow several levels of perception. One can never be done watching. There’s always something more to see—a different combination, another level one wasn't able to perceive before. I make films that invite multiple viewings. I love the idea of seeing films either as windows into the world or as paintings of the world. But there are films that are neither. Those films, my films, are mirrors.

NFS: How important was improvisation in the film? And, by extension, how important was the script?

Kallas: When we start shooting, everything is controlled but actor-focused. I devise a plan for when I will give pages to which actor—so that I do not destroy the freshness of the experience. Which means that the actors get pages, but as long as they cover what is on the page, they are free to live it as their character should. Some will use that freedom more than others.

I never do blocking, but I will sometimes do a walkthrough. I shoot each scene in one take. I then adjust and we go again—till I have everything I need. I don’t spend the actors’ energy getting as much coverage as possible, because authentic performance is more important to me than traditional coverage of a scene. My cinematographer and I have worked together over two films now, so he has a very good understanding of what I need to be able to cut the film. In The Rainbow Experiment, there was one scene I had to shoot in the classic way: shot/reverse-shot, close ups, actors not in emotional continuity, the works. This is not how I like working, but it was a crowd scene and there was no other way to do it, given the time and space limitations we had.

The script is, by the way, more important in this way of working than in the traditional way. Even with all the work that goes into the characters beforehand, you have to place improvisation in the context of a cogent narrative. Films that employ improvisation are more dependent on a clearly defined narrative than are more traditional productions—both for the individual scenes as for the whole film. And when the time comes to edit, you follow the screenplay while maximizing the potential of controlled improvisation through imaginative editing—combining moments from different takes, using emotional logic and rhythm. It’s like making music.

"T here are some characters who are the same in both films—only they have made a different decision at some point in the past, and they ended up in a different version of their life."

NFS: What is the difference between right and wrong in the small universe this film creates? I ask because characters seem to be alternately calling for and rejecting our sympathies constantly here, through their actions, and I’m wondering what your thoughts were about relative morality as the film was in development.

Kallas: This is a deeply philosophical question, and I would hope that someone watching the film would answer it with: there is no right or wrong. And this is indeed my mantra when working with my actors. I keep saying, there is no right or wrong. There is no good choice, neither as an actor nor as a character. As in life, each choice leads somewhere else. It moves the cards around a bit. Ultimately, it looks like we always end up facing the same issues, whatever choice we make.

This is one of the reasons behind another one of my experiments: there are some characters who are the same in both films—only they have made a different decision at some point in the past, and they ended up in a different version of their life. See Alis, for instance, played by Lauren Sowa, or Sila, played by Laura Pruden, two of the actors who are regulars in my Writers Improv Studio Ensemble: their circumstances are very different in each film, still, deep down they are the same character. One does not have to watch both 42 Seconds of Happiness and The Rainbow Experiment , but if one did, one would have to wonder: do the different circumstances make them happier? What are the differences? And ultimately: would our life be so very different if we made different choices? I am fascinated by questions like this, and I have no answers—at least not in words. Perhaps there are no answers.

There is one more thing that seems important to address in relation to your question. You say that characters seem to be calling for or rejecting our sympathies. You see, what is fascinating to me is that different people will sympathize with different characters here—more so than in a traditional film. I am not trying to make anyone sympathetic. My only effort goes towards authenticity. And towards enabling compassion for everyone, and for the human condition. Truth lies in the simultaneous understanding and acceptance of all sides, in what on the surface looks like a paradox.

NFS: What would you say was the chief complication you hit during the making of the film?

Kallas: After the satisfaction of intertwining ten complex characters in 42 Seconds of Happiness , I became overambitious. I had so many great actors in my hands, who were all ready to do the work and explore the questions, that I got carried away. The Rainbow Experiment has 36 characters, and every time I became anxious, I reminded myself that one of my favorite films of all times is Altman’s Nashville . And that has the exact same number of characters. I thought that was a good omen—although it is a very different film of course.

NFS: To what extent could this film be seen as a uniquely American story?

Kallas: It is about American society. The characters are American, they experience life here, in this country. Many of the issues that the film addresses are issues that are now in the focus of public discussion in the US: the systemic failure of most of our institutions; public education and the state and meaning of education; the precarious situation of educators in a system which prioritizes competition and individual financial success over awareness and compassion; a system which rewards leadership qualities in students more than collaboration; illegal immigration and the fear of deportation in a country that was built by immigrants and that from the outside always seemed like the very proof that all nationalities, races and religions can indeed co-exist and enrich each other; and last but not least the manufacturing of violence. America is a pressure cooker of its own making, and this film is to me nothing less than an imprint of American society, seen from the inside out.

NFS: What experiences of your own did you draw on to write and create this film?

Kallas: When working with my screenwriting and directing students on their stories, I will often ask them what their moment of inspiration was—I believe deeply that it contains the whole story. My moment of inspiration for The Rainbow Experiment was when I received an e-mail from my son's school, informing me that two kids were injured in class and that they had been transferred to the ER. The e-mail did not mention any names, and for a moment there, I panicked. My first thought was: 'What if it is my kid?' The second: 'He is fine, but it's someone else's kid.' The third: 'Imagine being that teacher.' The fourth: 'Or the principal, for that matter.' And so on and so forth. In a few seconds, I had the whole cast of characters and their emotional states of mind in my head. And I could feel all of them, all at the same time—their vulnerability, their guilt, their anger, their sadness.

At that moment, I had such a deep compassion and apprehension of what it means to be a human being that I wanted to recreate that as an experience. And it was so intense that every time I got stuck later on, or when I forgot why I was making this film, it was enough to recall that moment of inspiration. It seemed to contain all the answers to everything I was struggling with—even if I cannot put them in words.

NFS: And, last but not least, what was the benefit for you of having Matty narrate the film? At the end (no spoilers!) he even reshapes the story he has told—what was the significance for you of his control, or lack thereof, over our vision of the events taking place?

Kallas: I am fascinated by the process of storytelling itself. You know, something happens, and we experience it a certain way. Then we tell the story to someone else, and our experience changes—depending on our emotional state of mind. Are we trying to impress the person we are telling the story to? To explain our choices? To establish ourselves as the victim? To put the blame on others? To call for pity? To ask for forgiveness? To find a way to forgive and forget? Watching Matty is watching that process happening. He does all these things and in doing so, he is an unreliable narrator. Like we all are.

Our fundamental tactic of self-protection and self-definition, our survival mode is telling stories, connecting and controlling the story we tell others—and ourselves—about who we are; and why we are that way. So the only way we can control reality is by controlling our storytelling—not to others but to ourselves. This is probably one way of understanding the ending. But it is not the only one.

• Emotional Truth in Film and TV ›

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This is the screenwriting software used by Craig Mazin, where he put all the Chernobyl characters into the fight of their lives. It's an efficient software that's less buggy than the competition and offers professional standards at every turn. It works for Mac, Windows, Linux, among other formats.

What Comes Free?

Right now, the demo version is free to download. If you like it and conquer writing short films within it, you can consider upgrading for the price of $79.95.

2. WriterDuet

Recently updated with offline writing capabilities, this software makes it easy to collaborate with a partner. This is a pared-down version of the software that has fewer frills, more practical applications like revisions and outlining.

You get your first three screenplays on here for free. That's pretty great. After that, you're paying $11.99 a month or $89 a year to write.

3. Kit Scenarist

Welcome to the open-source screenwriting software solution. The nice part is that the program can export scripts in the formats PDF, FDX, Fountain and even DOCX, so it works to industry standards for scriptwriting software.

Everything. There is no paid version of this software. You can totally donate! But they wanted to have something everyone can use for free and they accomplished it.

Pros: You can map stories, use index cards, lots of available features in the free version.

Cons: This is still very much a beta program, so testing and bugs will be on-going. The payment version is a monthly service, which means that over the course of time you'll be paying way more than these other "one-time" purchase programs.

4. Highland

The brainchild of John August, this professional screenwriting application is used by lots of A-list writers seeking an alternative to Final Draft. Recently updated with revisions mode, it does everything you want in software with the stroke of one key. Still only available for Macs though.

There's a free demo that lets you produce pages, but the upgrade only costs $49.99. It exports to FDX, PDF, and is incredibly useful. It's one of my favorite tools because of how easy it makes writing your story within scriptwriting software.

This is a fully free screenwriting software solution. It doesn't have the frills, but if you just want to sit and write, this might be the application for you.

Everything. There's no paid upgrades here, just tools for writers trying to break into the industry.

6. Microsoft Word / Pages / Google Docs

Welcome to the beginner screenwriter’s crutch. Pages and Word come with your computer and they’re a great place to play around. If your aspiration is to become a professional screenwriter, then you have to be willing to put in the work. Before you learn script format, it’s best to just hang in there, work out dialogue, work on your voice on the page, and experiment. The screenwriting process can be arduous, dip your toes in the water here.

Pros : It usually comes free with your computer or Google account. There are no limits to what you can write, and you can learn the basics for telling your own story.

Cons : You’re not going to learn anything about format, it’s not for professional screenwriters, and there are limits to the formatting you can achieve on the page.

Okay, you’ve graduated past the options that comes with your computer. Now it’s time to learn to format and see your ideas hit the page. It’s exciting, but it’s probably not time to commit to paying lots of money for a program. Celtx is a great choice. Come here to learn.

Pros : It’s free, and free is fantastic. You can learn to format from the ground up. There are lots of paid upgrades that can help you budget and even shoot your first script.

Cons : It’s less intuitive than other programs. You can save different files, but most people in the industry aren’t looking for Celtx files when they want to budget and breakdown.

Options For Professional Screenwriters

Now that you know about the free options, let’s look at some screenwriting software that cost a little more than free…sometimes hundreds more…but they’re what you need to be a professional screenwriter

8. Final Draft

The company's tagline is “the industry standard,” and it’s impossible to ignore Final Draft’s relevance in the marketplace. Final Draft is used by lots of professional screenwriters, but it’s not the be all, end all. Still, it’s a useful tool with lots of templates for different formats, and using it does make you feel “cool.” I know it does. I remember the first time I used it and what I wrote and how "professional screenwriter-y" I felt.

Pros : The “.FDX” format is universally used by lots of professional productions. Revisions Mode makes it easy to track changes.

Cons : At almost $250, it’s easily the most expensive program on this list. Sure, lots of people use it, but it does have problems with crashing. Plus, upgrades sometimes phase out old files.

9. Movie Magic Screenwriter

This is a highly intuitive software that also works in tandem with one of the most popular budgeting software. Movie Magic is also reliable, easy to use, and consistently updates with useful tools. It’s popular in lots of writers’ rooms as well.

Pros : You can change the layout and interface to keep your screen clean and clear. You can collaborate with other writers in real time.

Cons : It’s not quite as popular as Final Draft, but it’s just as expensive.

10. Highland

It always makes sense to listen to the advice of a professional screenwriter. John August created an option that addresses most writers' wants: something simple that just lets the writing flow. All this for a low price. We covered the new update of Highland 2 , it has extensive templates and lots of great tools for screenwriters. There's a new update out in May of 2019, so we will keep you posted as they add more to their software and it becomes more intuitive.

Pros : You can customize the layout, use different colors, and export in lots of different formats. Plus, John is constantly creating updates that are drawn from what people suggest and need.

Cons : There aren’t a lot of bells and whistles, so if you need an option that also does budgeting and other accouterments, this isn’t the program for you.

11. Scrivener

There’s a good chance that you’re going to be writing other things besides screenplays. This software has templates for all kinds of writing. It’s specifically designed for authors and stretches toward film and television.

Pros : If you decide to step out into novels and novellas, this is a great choice. It can be used for a wide array of writing. Plus, it has an excellent outline feature.

Cons : Because it’s not strictly made for film and television, there are lots of gaps when it comes to cross-compatibility, general use, and practicality.

A screenwriting tool wthat has been gaining traction since its launch in 2020. Writers who use it find value in its offering of visualizing the structure of their screenplay seamlessly and the ability to write in multiple Indian languages. It's also free to use at the moment.

Right now, every part of this app os free.

What's Next? Writing Your Script!

As I mentioned in the opener, none of these programs is going to turn you into a professional screenwriter overnight. These can help you format and get your voice on the page, but the secret to success is writing and rewriting .

Next up, we suggest you take our free screenwriting seminar ! There are tons of screenwriting programs out there- ones that can help you learn how to become a writer, but ours is free, and you just have to follow along week by week and within 10 weeks you'll have a rough draft!

The truth is it doesn't matter what software you use to do your writing; only that your writing is good! Pick which program works best for you, and then use it A LOT. I’m excited to see what you will write next.

What are the Best Experimental Films of All Time?

What are the best film noir movies of all time, blackmagic camera app set to finally come to android, mastering screenplay structure takes time and effort, listen to charles bukowski's 'so you wanna be a writer' for inspiration, extol the late, great wes craven with these filmmaking lessons, how these filmmakers made a micro-budget feature without film school, atomos drops the new and improved shinobi ii 5.2” hdmi hdr monitor, what is pay to play, how to implement remote editing workflows.

Film Review: The Rainbow Experiment

It’s not every day you get a chance to see a SLAMDANCE Original film without flying to Utah, so I jumped at the chance to see Christina Kallas’ award-winning film, The Rainbow Experiment ’s premiere at the Hollywood Arclight Cinemas.  Add in the fact that this film is produced by Ms. In The Biz’s own, Allison Vanore and I was eager to get that buttery popcorn and my butt in the seat.

Prior to the film, the filmmakers had a small gathering in the lounge, and I had the chance to catch up with Allison, who before introducing me to Christina, reminded me that this is the film she had come to me a few years back who were interested in my crowdfunding services.  Ultimately, the film didn’t need to crowdfund, but this same filmmaking team is now crowdfunding for their 3 rd feature film in this series, Paris is in Harlem

I say series, because one of the unique things about how Christina writes and casts her films, is that she’ll tend to re-use some of her cast members – as their original character- in subsequent films.  Sort of like, grabbing Charlie Brown, and putting him in the Scooby universe, as if it’s no big deal, and he’s always been there.

Christina’s films are known for the way they play with time, perception, and multiple protaganists; The Rainbow Experiment takes this to the extreme.

I use the phrase “travel thru this film” – because watching The Rainbow Experiment – is a TRIP.  Throughout the film, the filmmaker employs a split-screen technique- often times with as many as 4 different screens happening simultaneously.  Thus, depending on which square catches your attention, determines which key plot points you’re picking up from your seat.

This technique for me, was sometimes distracting, but always interesting, and frankly quite maddening at times.   Due to the split-screens being used continuously throughout the film, you can literally be experiencing a different film than the person sitting next to you.  It would be interesting to watch the film again and pick up on other elements you may have missed the first time around. Trippy and maddening are the best words I can use to describe this feeling.

The film is fast-paced, and chocked full of interesting characters, and fascinating sub-plots. Without giving away any plot points, the film toys with the notion of how all of our actions and reactions have direct and sometimes immediate consequences – which by the end of the film left the audience contemplating – what would have happened if A, B, and C, did not happen, or if only B had happened, or if they happened in a different order.

This is a film, that leaves you with more questions than answers.  Luckily, we had an opportunity to ask those questions after the screening. During the QnA hosted by Tema Staig of Women in Media, the audience had many questions.  We also learned a bit more about Christina’s filmmaking process – from her actor workshops to her actual shooting process.

As an actor myself, the process that Christina puts her cast thru was extremely intriguing to me.  The way I understood it, the cast is gathered a few months before shooting and they enter into an intensive phase of workshopping their characters and growing their relationships with the other characters, (in this case the actors that play the other students, the teachers, the parents).   They workshop different scenarios and build back-stories with each other, that aren’t necessarily shared with the entire cast.

When shooting begins, the actors are given the freedom to improv in between the written words – as long as they get from point A to point B.  The written script dictates those points, but, is only given out to the actors on an as needed, shooting basis.  Which means, no one was given their script ahead of time, and certain characters are kept in the dark about what happens in different areas of the script in order to keep this ultra-real, ultra-urgent, fast-pace that lands on the screen. It was absolutely fascinating.

I highly recommend The Rainbow Experiment, and if you’re an actor, get on Christina Kallas’ radar, she’s going to go to some really fun places in her career. The Rainbow Experiment , is coming to Los Angeles for a week-long theatrical run at  Arena Cinelounge Hollywood beginning Dec 7th simultaneously with the nation-wide release On Demand (Dec 7), followed by BluRay/DVD (Dec 11).

SCREENINGS:

Dec 7,  Fri: 7:40 PM Dec 8,  Sat: 2:50 PM Dec 8,  Sat: 5:00PM  (ROOFTOP SCREENING) Dec 9,  Sun: 8:55 PM Dec 10,  Mon: 4:35 PM Dec 11,  Tue: 8:20 PM Dec 12,  Wed: 9:15 PM Dec 13,  Thu: 4:40 PM 

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Things spiral out of control in a high school in Manhattan when a terrible accident involving a science experiment injures a kid for life.

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The Rainbow Experiment is 3421 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 1334 places since yesterday. In the United States, it is currently more popular than Tamara Drewe but less popular than West Side Story.

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Bad quality of DXT compressed texture in Unity

I have problems with texture DXT compression, normal quality settings. There was a topic 5 years ago about it

“Normal Quality” image compression looks bad!!!

There was a promise in the end of the topic, what this problem will be fixed but it’s still the same. I took the example image from this thread, in normal quality it produces same rainbow result, in high quality and differnt texture format with twice more memory it looks close to original. Since some version of Unity were was no option to choose higher quality with lager compression time. Now textures are compressed in a second but with bad quality. Is it possible to choose better compression quality with longer compression time somehow?

Original image is

Not surprised, smooth color gradients typically suffer from banding when compressed. You’ll see the same happening for uncompressed if you set the texture to 16-bit colors.

Try playing with the Format option for “Normal Quality”, specifically I wonder if a 16-bit color format (RGB565) would actually look better with this compression.

You may also want to experiment saving this texture as JPG with 70, 80, 90% compression. You’ll likely also notice artifacts particularly in the gradient area due to the compression. Radial color gradients are essentially uncompressible for lossless compression because every other pixel is different (information density / entropy is high), while lossy compression algorithms can’t help but disturb the gradient because they are supposed to compress the color information in some way.

Original thread 5 years ago was about regression from version 2018 to 2019 - compression quality became worse.

CloudyVR (Mar 2, 2019) I just compared identical images in 2018 and 2019 editors, and quite frankly the 2019 looks really bad. This is what I see in 2019 (notice the rainbow effect): By changing the setting from “Normal Quality” to “Low Quality” also doesn’t change. So maybe the “normal compression” mode was removed? In both editors I had compression set to “Normal Quality” and only 2018 looked smooth and without crazy rainbow colors. Do I have to change every single image in my project to “high quality” so they look like 2018 did? Here’s the original image: Peter77 (Mar 2, 2019) I believe it’s a regression. I submitted a bug-report for the issue: (Case 1132906) 2019.1: Color banding with “Normal Quality” texture compression. Unity QA was able to reproduce the issue and it’s been added to the public issue tracker: https://issuetracker.unity3d.com/is...y-more-color-banding-than-in-unity-2018-dot-3 Just a heads up, it should be fixed in 2019.3.0a2, according to the changelog: Changelog said: Asset Import: Improved compression quality of certain DXT1/BC1 and DXT5/BC3 format compressed textures (1132906) https://unity3d.com/unity/alpha/2019.3.0a2 LeonhardP (Unity Technologies, May 16, 2019). It will also be fixed in 2019.2.0b3. The 2019.1 backport is still pending.

And nothing changed. In old versions of Unity editor there were Compressor Quality options - Fast, Normal, Best, and best was slow. Now these options are unanvailable, compression is fast but bad.

According to changelog

Preview of Final 2019.3.0f5 Release Notes https://unity.com/releases/editor/whats-new/2019.3.0-1

Graphics: Removed: Removed TextureCompressionQuality enum from the UnityEngine namespace. (1108722)

For some reason TextureCompressionQuality is contained in docs for Unity 2022.3

TextureCompressionQuality Unity - Scripting API: TextureCompressionQuality Description Compression Quality. Corresponds to the settings in a texture inspector . Properties Fast Fast compression. Normal Normal compression (default). Best Best compression.

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August 2, 2024

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First full 2-D spectral image of aurora borealis from a hyperspectral camera

by National Institutes of Natural Sciences

Auroras are natural luminous phenomena caused by the interaction of electrons falling from the sky and the upper atmosphere. Most of the observed light consists of emission lines of neutral or ionized nitrogen and oxygen atoms and molecular emission bands, and the color is determined by the transition energy levels, molecular vibrations and rotations.

There is a variety of characteristic colors of auroras, such as green and red, but there are multiple theories about the emission process by which they appear in different types of auroras, and to understand the colors of auroras, the light must be broken down. Comprehensive (temporal and spatial) spectral observations are needed to study auroral emission processes and colors in detail.

The National Institute for Fusion Science (NIFS) has been observing the emission of light from plasma in a magnetic field in the Large Helical Device (LHD). Various systems have been developed to measure the spectrum of light emitted from the plasma, and the processes of energy transport and atomic and molecular emission have been studied.

By applying this technology and knowledge to auroral observations, we can contribute to the understanding of auroral luminescence and the study of the energy production process of electrons that gives rise to auroral luminescence.

Aurora observation uses optical filters to obtain images of specific colors, which has the disadvantage of a limited acquisition wavelength with low resolution.

On the other hand, a hyperspectral camera has the advantage of obtaining a spatial distribution of the spectrum with high wavelength resolution. Researchers began a plan to develop a high-sensitivity hyperspectral camera in 2018 by combining a lens spectrometer with an EMCCD camera, which had been used in the LHD, with an image-sweep optical system using galvanometer mirrors.

It took five years from the planning stage to develop a highly sensitive system capable of measuring auroras at 1kR (1 kilo-Rayleigh). In May 2023, this system was installed at KEOPS at the Swedish Space Corporation's Esrange Space Center in Kiruna, Sweden, which is located just below the auroral belt and can observe auroras with high frequency.

The system succeeded in acquiring hyperspectral images of the auroras, that is, two-dimensional images of them broken down by wavelength. Observations began in September 2023, and the data has been acquired remotely in Japan.

Auroral emission intensities and the observation positions were calibrated, based on the positions of stars obtained after installation, and the data will be made publicly available and ready to use.

Using the observation data from an aurora break-up that occurred on October 20, 2023, they clarified what kind of data could be viewed using this system. In the process, they estimated the energy of electrons from the intensity ratio of light at different wavelengths, which led to the publication of a paper in Earth, Planets and Space .

There is a difference in the color of the aurora when electrons arrive at low energies and speeds and when they arrive at high energies and speeds. When the electrons are slow, they emit strong red light at high altitudes. On the other hand, when the electrons are fast, they penetrate to lower altitudes and emit a strong green or purple light.

A two-dimensional image of auroras resolved into each color (wavelength) was observed with the state-of-the-art hyperspectral camera. The different distribution by color was observed because the elements that produce the light differ according to the height at which the light is generated. Thus, researchers say they have succeeded in developing a device that can obtain two-dimensional images of the various colors produced by the aurora borealis.

From the ratio of the intensity of the red light (630nm) to the purple light (427.8nm), they can determine the energy of the incoming electrons that caused the aurora.

Using the hyperspectral camera (HySCAI), which is capable of fine spectroscopy of light, the energy of the incoming electrons during the auroral explosion observed at this time was estimated to be 1,600 electron volts (an energy equivalent to the voltage of about 1,000 dry-cell batteries).

There were no major discrepancies with previously known values, indicating that the observations were valid. The Hyperspectral Camera (HySCAI) is expected to contribute to solving important auroral issues such as the distribution of precipitating electrons, their relationship to auroral color, and the mechanism of auroral emission.

For the first time, a detailed spatial distribution of color (a two-dimensional image), a hyperspectral image of the aurora borealis, has been obtained.

Many previous auroral studies have used a system in which light is selected by a filter that passes only certain wavelengths. This system compensates for the disadvantage of observing only a limited number of wavelengths. By observing detailed changes in the spectrum, it will contribute to the advancement of auroral research.

The system will also provide insight into energy transport due to the interaction between charged particles and waves in a magnetic field, which is also attracting attention in fusion plasmas. It is expected that this interdisciplinary study will be advanced in cooperation with universities and research institutes in Japan and abroad, and will contribute to the development of worldwide aurora research.

Provided by National Institutes of Natural Sciences

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