What’s going on?
http://www.michaeljacksonlive.com/ AEG owned and it had all the information about the tour and the failed This Is It.
Official sitehttp://www.michaeljackson.com belongs to Sony.
I do not know how long is redirected to the official site but not more than 5-6 months. Maybe some of you noticed this before? 🙂
For me, it’s weird. AEG get sold (or what?) site to Sony (MJ Estate)?!
“The ‘This Is Love’ hitmaker was one of the producers who worked with the late ‘Bad’ star shortly before his passing in 2009, and says he can see Michael’s influence on Daft Punk’s new single ‘Get Lucky’.
will.i.am told UK radio station KISS FM: ”I like the song. That song is classic Daft Punk and I’m glad, I like the font they used [on the cover], it’s very Thriller Michael Jackson. It sounds like Michael Jackson’s ‘Off The Wall’ and ‘Thriller’ stuff.”
He added: ”Its dance tunes, but they are very soulful. For the robots to get down with the humans, that’s pretty cool. The fact they are collaborating with humans that’s pretty fresh. I like robots.”
Do you remember?
So, the show continues—->> Jamie King preps the Immortal World Tour
|Jackson’s multi-track vocals will be placed over a live band, which includes several key players who had toured with the pop star, such as keyboardist and music director Greg Phillinganes and drummer Jonathan “Sugarfoot” Moffett.|
Key actors in the same project again:
|“Michael will always be present during the show through video and new technology, especially holographic technology,” says King. “Most importantly, because it is a music-driven show, we’re working with Michael’s catalog. Michael is really the narrator, his voice will always be there.”
Especially about the hologram. As we recall, the hologram withdrawn directly from a living person.
Maybe it will be 4D hologram?
Well, the show continues
“Cirque du Soleil goes 3D with James Cameron
So the marriage of the two, on a forthcoming movie project Cameron is executive-producing (and that’s helmed by “Shrek” and “Chronicles of Narnia” director Andew Adamson) promises to offer fans a compelling mixture of the Cirque’s unique hybrid of artistry, acrobatics, music, and showmanship and Cameron’s mastery of the latest filmmaking technologies.
Q: Could you start off by telling me a bit about the partnership with James Cameron and Andrew Adamson?
Daniel Lamarre: It started with a modest project that we wanted to do. I had the privilege of meeting with James Cameron three months prior to the opening of “Avatar”, and I invited him to come to Montreal to visit our studio. By the time he came to Montreal, we were planning to do this 3D movie with Andrew Adamson, and James decided he wanted to join as executive producer. We were flattered that he would accept to get involved, and so here we are, producing a show in partnership with James, and having the privilege of having Andrew Adamson as the director. So it’s quite a 5-star team to have James and Andrew working together.
This is a movie?
This is a 3D movie. The story is very simple. It’s a couple falling in love in a traditional circus, and then they fall into a surreal world and they’re running after each other and keep losing each other, but they’re running from one surreal world to another surreal world, and all those worlds are the seven Cirque du Soleil shows in Las Vegas.
What does Cameron bring to it besides his name?
He brings his knowledge of technology. Also, James is an adventurer, so we couldn’t resist the temptation of shooting from the roof of “Ka” when he was there with his camera, or shooting from the water in “O”. He really brought his expertise, because everybody agreed that he is by far the best man in the industry right now in terms of 3D technology. So he’s bringing his experience, and he’s more involved than we thought he would be, because he’s passionate about everything he does. He was with Andrew most of the time that we were shooting this movie. And we were really, really impressed to see how dedicated he was.
Is he bringing any of the technology he developed for “Avatar” or his underwater projects to the film?
He has his own production company, and that’s the technology he’s bringing, and we hope it’s a beginning of a collaboration with him, because he’s so advanced in new technologies that we want to really capitalize on his expertise. I truly believe that one day you will see a merger between [3D film and live shows], or at least you will see 3D technologies influence live shows. And we want to be among the first to use 3D technology in live shows.
What would that look like?
Let’s look at the show we’re developing right now for Michael Jackson. As you know, Michael had a huge visual component in his shows, so just imagine a trapeze artist right in front of you, but behind her there are some 3D special effects that will merge with her performance, and give a lot of depth to what she’s doing. Maybe you have one trapeze which is live, and maybe you have 1,000 trapezes behind her in 3D. So that’s what I mean by merging the 3D technology with the live performance, and that’s what we’re exploring now.
So what would you say is the difference between the Cirque and other circuses?
I like to think that we have created a new category of show. Because, try to describe to a friend that has never seen a Cirque show, how do you describe it? You will start by saying, “Oh, by the way, it’s not a circus show.” But there are acrobats, and there are dancers, and the music is important, and the costumes are different, and the scenography is different. So I like to sum that up by saying, “You know what? It’s Cirque du Soleil.”
I read that Cirque du Soleil brought in US$800 million in revenue last year, and you’re hoping for US$1 billion this year. Is that right?
Yes. And I think the three new shows might change our life, because if they’re successful, just adding one permanent show, like Los Angeles, if it’s successful, it would change our profitability. And Michael Jackson, I just don’t know how great it’s going to be, but we sold 200,000 tickets in 24 hours, so it’s an amazing success ahead of us. And each individual show can change our life dramatically.”
So, what do we have?
James Cameron became a partner of Cirque du Soleil. And they are preparing an ambitious project, 3D project.
Two weeks before he died, Michael Jackson wrapped up work on an elaborate production dubbed the Dome Project that could be the final finished video piece overseen by the King of Pop. Jackson was apparently preparing to dazzle concert audiences in London with a high-tech show in which 3D images — some inspired by his Thriller era — would flash behind him as he performed on stage.
“It was a groundbreaking effort,” said Vince Pace, whose company provided cameras for the shoot, a 3D system he created with filmmaker James Cameron.
“To think that Michael’s gone now, that’s probably the last documented footage of him to be shot in that manner,” Pace said.
Two people with knowledge of the secretive project confirmed its existence Monday to the AP on condition they not be identified because they signed confidentiality agreements. They said it was a five-week project filmed at Culver Studios, which 70 years ago was the set for the classic film Gone With the Wind. Four sets were constructed for Jackson’s production, including a cemetery recalling his 1983 Thriller video.
With 3D technology “the audience would have felt like they were visiting the Thriller experience, like they were there,” Pace said.
Shooting for the project lasted from June 1-9, with Jackson on the set most days. The project was in post-production, at the time of Jackson’s death, and had been expected to be completed next month. It was not immediately clear what would be made of the video footage now.
Producer Robb Wagner, founder of music-video company Stimulated Inc., did not immediately return a message seeking comment on the project.
Michael Roth, a spokesman for Jackson’s Los Angeles-based promoter AEG Live, said he hadn’t heard about the production but did not rule that it could be part of the company’s contract with the entertainer.
By Michael R. Blood, The Associated Press Tuesday, June 30, 2009
In this photo Michael holds the camera company Red One.
Here are a few references on the use of camera Red
I wonder what the film was made and when it comes out.
Would there be a hologram of Michael Jackson?
“For the pizza boy carrying his Domino’s white cardboard box with its trademark red logo, it felt like any typical working day in Hollywood. He arrived at the entrance to Sony studios and passed the security guard at the gate. He was pointed in the direction of a nondescript building, towards the back of the Culver City lot; he parked his scooter, walked across the car park and headed towards a steel door.
Which was when he realised that this was no ordinary delivery.
For one thing, eight armed guards ringed the brick building. He wondered whether he had come to the right place. But then one waved at him and passed a hand-held electronic scanner over him before ushering him through a door. Once inside, his pizza rapidly cooling, the delivery boy underwent a full airport-style security check. He turned out his pockets and put the contents, including his mobile phone, into a plastic container that was run through a scanning machine. The pizza was placed in a plastic basket and scanned, too.
Now he was accompanied by another guard, who escorted him into a lift. The guard used his pre-programmed card to take them up to the second level of the building. Out of the lift he walked across a small walkway to another door, where another guard checked his credentials again, until finally, at a reception desk, he was allowed to hand over the pizza.
After leaving his pizza the delivery boy was then accompanied back down the lift, and scanned once more before being allowed out of the building.
This was not the end of the journey for the pizza, however. After the contents were consumed the box was placed with all the other rubbish collected from this building and the whole lot scanned to make sure that no USB memory chips had been smuggled out.
This is how security works at ‘Project Love‘, the codename given to Hollywood’s most closely guarded project of the year – Michael Jackson’s This Is It film. With $1 billion at stake, the paranoia may be understandable. Nothing is allowed in or out of this building without all these checks. So tight is security that the 35 people who work here are not allowed out until the end of their shift. Food is brought in from the Sony campus and supplemented with regular pizza deliveries.
On the second floor are six editing bays, where some of Sony’s top technicians and editors are busily finessing the 108-minute documentary.
Jackson had always filmed his rehearsals so that he could pore over the footage, often through the night, deciding what was working and what needed correcting or modifying. More than 130 hours of high-definition film had been recorded and upon Jackson’s death these hours of footage suddenly took on a profound new significance.
As Randy Phillips, the CEO of the star’s concert promoter AEG Live, puts it bluntly in an exclusive interview with Live, ‘It didn’t take a rocket scientist to figure out that we were sitting on a goldmine. Not only in financial terms but also in terms of what this footage shows.
‘Here, on film for all posterity, we have the greatest pop artist of all time showing his every move and thought process as he goes from describing his vision of the show to rehearsing the band and the dancers, to running through on stage what he told me was going to be his finest performance ever.”
Sponsor Domino `s Pizza is the Coca Cola.
I’m just saying … But in the coincidence I have long ceased to believe.