2019 Afa.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
'The Sky Is Pink' Is Neither Melodramatic Nor Overtly Subtle
13 MONDAY, OCTOBER 14, 2019 (ADHYA RATHRI (PG-13 اااا اااا (GEMINI MAN (PG-15)ACTION KHAYAL MAATA (PG)(COMEDY/DRAMA OASIS JUFFAIR :11.15 AM + 1.45 + 4.15 + 6.45 + 9.15 + 11.45 PM CITY CENTRE :2.00 + 6.45 + 11.30 PM OASIS JUFFAIR :10.30 AM + 3.30 + 8.30 PM OASIS JUFFAIR (VIP): 1.00 + 6.00 + 11.00 PM SEEF (II): 11.45 AM + 4.30 + 9.15 PM SEEF (I): 1.30 + 6.30 + 11.30 PM CITY CENTRE: 12.30 + 3.00 + 5.30 + 8.00 + 10.30 PM + (12.30 MN + 1.00 AM AL HAMRA: 12.00 NOON + 9.00 PM THURS/FRI) AHMAD HELMY, MINNA SHALABI, HASSAN HOSNEY CITY CENTRE (ATMOS): 11.30 AM + 2.00 + 4.30 + 7.00 + 9.30 PM + 12.00 MN BIJU MENON, AJU VARGHESE, ANASWARA ا(CITY CENTRE (IMAX 2D) : 10.30 AM + 1.00 + 3.30 + 6.00 + 8.30 + 11.00 PM DORA AND THE LOST CITY OF GOLD (PG CITY CENTRE VIP (I):11.15 AM + 1.45 + 4.15 + 6.45 + 9.15 + 11.45 PM CITY CENTRE: 11.45 AM + 4.30 + 9.15 PM SEEF (II): 10.30 AM + 10.45 AM + 11.15 AM + 12.45 + 1.15 + 1.45 + 3.15 + 3.45 + 4.15 + 5.45 + 6.15 + 6.45 + 8.15 + 8.45 + 9.15 + 10.45 + 11.15 + 11.45 PM + ISABELA MONER, Q’ORIANKA KILCHER, BENICIO DEL TORO (12.45 MN THURS/FRI) WADI AL SAIL: 11.15 AM + 1.45 + 4.15 + 6.45 + 9.15 + 11.45 PM THE LION KING (PG)(ADVENTURE/DRAMA/FAMILY) SAAR:11.00 AM + 12.30 + 1.30 + 3.00 + 4.00 + 6.30 + 9.00 + (10.30 PM + CITY CENTRE: 1.00 + 5.30 + 10.00 PM 11.30 PM THURS./FRI) DONALD GLOVER, SETH ROGEN, CHIWETEL EJIOFOR WILL SMITH, MARY ELIZABETH WINSTEAD, CLIVE OWEN TOY STORY 4 (G)(ANIMATION/ADVENTURE JEXI (15+) (COMEDY) CITY CENTRE:11.30 AM + 4.30 + 9.30 PM OASIS JUFFAIR : 11.00 AM + 3.15 + 7.30 + 11.45 PM CITY CENTRE: 10.30 -
The Stereographer
R Basic Principles The 3D Camera Rig Placing objects in a 3D space A few different ideas have been devised for shooting 3D material over the years, including some interesting cameras using In 3D two images are projected onto the display. By wearing a special pair of glasses the two images are split so that each arrangements of lenses and prisms to make a more portable, easy to use, single bodied camera. However, to date, the most 3D Television & FilmVersion 2.0 eye only sees one of the two images. When comparing the left and right eye images, every object in the scene is horizontally effective way of shooting 3D material in a professional environment is the dual camera 3D rig. There are several configurations Depth Cues displaced by a small amount. The brain assumes these two displaced objects are actually one object, and tries to fuse them of 3D camera rig, each with advantages and disadvantages. Displaying & Viewing 3D The eight depth cues together. The only way it can do this is to assume the object is either in front or behind the screen plane. The direction and Rig configurations amount of displacement defines where each object is in the 3D space. At present there are five methods of displaying and viewing 3D material. Humans have eight depth cues that are used by the brain to estimate the relative distance of the objects in every scene we The parallel rig The opposing rig The mirror rig Anaglyph look at. These are focus, perspective, occlusion, light and shading, colour intensity and contrast, relative movement, vergence Positive parallax Zero parallax Negative parallax The most compact dual camera 3D rig is The opposing rig places the cameras in Bottom mount and stereopsis. -
Media Release. 2019 Toronto International Film
July 23, 2019 .MEDIA RELEASE. 2019 TORONTO INTERNATIONAL FILM FESTIVAL ANNOUNCES FIRST SELECTIONS IN GALA AND SPECIAL PRESENTATIONS PROGRAMMES Films by Taika Waititi, Marielle Heller, James Mangold, Rian Johnson, Marjane Satrapi, John Crowley, Alejandro Amenábar, Thom Zimny & Bruce Springsteen, Atom Egoyan, Chinonye Chukwu, Kasi Lemmons, Noah Baumbach, Craig Brewer, Gabriela Cowperthwaite, Destin Daniel Cretton, Michael Winterbottom, Armando Iannucci, Steven Soderbergh, Todd Phillips, Lorene Scafaria, Fernando Meirelles, and Roger Michell spotlighted in Toronto TORONTO — TIFF Co-Heads Cameron Bailey and Joana Vicente today announced the first round of titles selected for the Gala and Special Presentations programmes at the 44th Toronto International Film Festival. This first batch of films from the 2019 Official Selection features 19 Galas and 37 Special Presentations. “Some of the year’s biggest films will land in Toronto this September,” said Bailey, Co-Head and Artistic Director of TIFF. “We’re thrilled to unveil Galas and Special Presentations that bring the brightest lights in film to our Festival audience. Our new programming team has been hard at work for months to deliver the compelling stories, acclaimed filmmakers, and top onscreen talent that mark our two highest-profile sections.” “I’m delighted to step into my first Festival as TIFF Co-Head to such a powerful slate of films,” said Vicente, Co-Head and Executive Director of TIFF. “Fast-paced, boundary-pushing, satirical — this lineup has films representing every corner of the cinematic landscape on top of a strong number of World Premieres. It’s a pleasure to be able to share these films with audiences for the first time.” Of the Gala films announced today, 50% of titles are directed or co-directed by women — a record number for the programme. -
Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’S Corporate World
Ranks & Files: Corporate Hierarchies, Genres of Management, and Shifting Control in South Korea’s Corporate World by Michael Morgan Prentice A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in The University of Michigan 2017 Doctoral Committee: Associate Professor Matthew Hull, Chair Associate Professor Juhn Young Ahn Professor Gerald F. Davis Associate Professor Michael Paul Lempert Professor Barbra A. Meek Professor Erik A. Mueggler Michael Morgan Prentice [email protected] ORCID: 0000-0003-2981-7850 © Michael Morgan Prentice 2017 Acknowledgments A doctoral program is inexorably linked to the document – this one – that summarizes the education, research, and development of a student and their ideas over the course of many years. The single authorship of such documents is often an aftereffect only once a text is completed. Indeed, while I have written all the words on these pages and am responsible for them, the influences behind the words extend to many people and places over the course of many years whose myriad contributions must be mentioned. This dissertation project has been generously funded at various stages. Prefield work research and coursework were funded through summer and academic year FLAS Grants from the University of Michigan, a Korea Foundation pre-doctoral fellowship, and a SeAH-Haiam Arts & Sciences summer fellowship. Research in South Korea was aided by a Korea Foundation Language Grant, a Fulbright-IIE Research grant, a Wenner-Gren Dissertation Fieldwork Grant, and a Rackham Centennial Award. The dissertation writing stage was supported by the Rackham Humanities fellowship, a Social Sciences Research Council Korean Studies Dissertation Workshop, and the Core University Program for Korean Studies through the Ministry of Education of the Republic of Korea and Korean Studies Promotion Service of the Academy of Korean Studies (AKS-2016-OLU-2240001). -
This Guide Will Help Producers As They Plan to Create Programming for 3D Television
This guide will help producers as they plan to create programming for 3D television. Authors Bert Collins Josh Derby Bruce Dobrin Don Eklund Buzz Hays Jim Houston George Joblove Spencer Stephens Editors Bert Collins Josh Derby 3D Production Guide Post production 14 Viewer Comfort Issues 34 Media Offload, Prep, and Ingest 14 View Alignment 34 Table Of Contents Virus scanning 14 Colorimetric Alignment 36 Media ingest 14 Defining Convergence, Parallax, and Interaxial 36 Introduction 3 Media sorting 15 Parallax and Comfort 37 Editing 16 Stereo Window Violations 37 Offline editing 16 Vergence 38 Planning Workflows for 3D 4 Different approaches to 3D offline 16 Vergence and parallax shifting across cuts 38 Pre production 4 Online editing 18 Stereo sweetening and adjustment 18 Occlusion and Text Placement 39 Format planning 4 Text and graphic object placement 39 Output 19 Frame rate and resolution 4 Depth placement 39 Audio 19 Choosing camera systems and rigs 4 Dynamic depth placement 39 Creating masters 20 Recording codec and file type 5 The color and contrast of text and graphics 39 Recording methodology 6 Delivery 20 Workflow and media management 6 Metadata Planning 7 3D Post 40 2D to 3D Conversion 22 Understanding metadata options 7 3D Shot Correction 40 Why use metadata? 7 Geometric alignment errors 40 Operator Training 8 3D Production: Cameras and Tools 24 Colorimetric alignment errors 40 Communication of the metadata plan 8 Cameras 24 Window violations 40 Role of the stereographer 8 Minimum requirements for camera quality 24 Standards and Frame Rate Conversion 42 Choosing the correct lens system 25 Rig and camera set up, alignment, and use 8 Stereo Planning 9 Choosing 3D Production Tools 26 Depth budgets 9 Rigs vs. -
Marlina Si Pembunuh Dalam Empat Babak 93
TITRE ORIGINAL : Marlina si Pembunuh dalam Empat Babak ORIGINAL TITLE: Marlina si Pembunuh dalam Empat Babak 93 MIN/ Indonésie – France – Malaisie – Thailande / 2017/ FICTION/ COULEUR/ Indonésien, dialecte de Sumba/ DCP/ 24 FPS/ 2.39:1/ 5.1 93 MIN/ Indonesia – France – Malaysia – Thailand / 2017/ FICTION/ COLOR/ Indonesian, dialect from Sumba/ DCP/ 24 FPS/ 2.39:1/ 5.1 Attachées de presse /Press releases Vanessa Jerrom- 06 14 83 88 82 Claire Vorger- 06 20 10 40 56 [email protected] Synopsis Au cœur des collines reculées d’une île indonésienne, Marlina, une jeune veuve, vit seule. Un jour, surgit un gang venu pour l’attaquer, la violer et la dépouiller de son bétail. Pour se défendre, elle tue plusieurs de ces hommes, dont leur chef. Décidée à obtenir justice, elle s’engage dans un voyage vers sa propre émancipation. Mais le chemin est long, surtout quand un fantôme sans tête vous poursuit. In the deserted hills of an Indonesian island, Marlina, a young widow, is attacked and robbed for her cattle. To defend herself, she kills several men of the gang. Seeking justice, she goes on a journey for empowerment and redemption. But the road is long especially when the ghost of her headless victim begins to haunt her. www.asian-shadows.com | [email protected] 3 Sales & Festivals moi : je ne lui ai pas demandé de jouer le texte, mais juste de me montrer à quel point elle voulait le rôle. Pour le rôle de Markus, j’ai travaillé avec le comédien Egi Fedly sur mon premier film, et il était une évidence depuis le début. -
Fourth Southeast Asian Film Festival Returns with 20 Singapore Premieres – the Freshest and Most Compelling Cinematic Work Emerging from the Region
MEDIA RELEASE For Immediate Release Fourth Southeast Asian Film Festival returns with 20 Singapore premieres – the freshest and most compelling cinematic work emerging from the region 11 April (Friday) to 4 May (Sunday) 2014, Moving Image Gallery, SAM at 8Q 19 March 2014, Singapore – Featuring the region’s best contemporary art expressed via the moving image, the Singapore Art Museum (SAM) is proud to present the fourth Southeast Asian Film Festival (SEAFF). Organised by SAM, along with prominent film critic Philip Cheah, veteran arts administrator Teo Swee Leng and SAM curator Sam I-shan, this annual Festival puts the spotlight on Southeast Asia through the compelling contemporary visual art genre of film. This year’s festival will highlight 20 films created by both established and up-and-coming directors from across the region including Cambodia, Indonesia, Malaysia, Myanmar, Philippines, Singapore and Thailand. All the films will be making their Singapore premieres at the Festival, including four Asian premieres and one world premiere. Festival-goers from the region will explore some of the most urgent contemporary challenges facing this diverse and rapidly developing region through the lenses of the directors, from the religious sectarian conflict in Mindanao to cross-border migration between Myanmar and China, to the hardship of ordinary families and more. Visitors will also get a glimpse of life in turbulent regions across Asia through War is a Tender Thing by Adjani Arumpac, The Journey of the Stars into the Dark Night by Arnel Mardquio, Letters of Solitude by Gutierrez ‘Teng’ Mangansakan II and Ice Poison by Midi Z, that tell the stories of communities that live through adversity. -
Audiovisual Spatial Congruence, and Applications to 3D Sound and Stereoscopic Video
Audiovisual spatial congruence, and applications to 3D sound and stereoscopic video. C´edricR. Andr´e Department of Electrical Engineering and Computer Science Faculty of Applied Sciences University of Li`ege,Belgium Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) in Engineering Sciences December 2013 This page intentionally left blank. ©University of Li`ege,Belgium This page intentionally left blank. Abstract While 3D cinema is becoming increasingly established, little effort has fo- cused on the general problem of producing a 3D sound scene spatially coher- ent with the visual content of a stereoscopic-3D (s-3D) movie. The percep- tual relevance of such spatial audiovisual coherence is of significant interest. In this thesis, we investigate the possibility of adding spatially accurate sound rendering to regular s-3D cinema. Our goal is to provide a perceptually matched sound source at the position of every object producing sound in the visual scene. We examine and contribute to the understanding of the usefulness and the feasibility of this combination. By usefulness, we mean that the technology should positively contribute to the experience, and in particular to the storytelling. In order to carry out experiments proving the usefulness, it is necessary to have an appropriate s-3D movie and its corresponding 3D audio soundtrack. We first present the procedure followed to obtain this joint 3D video and audio content from an existing animated s-3D movie, problems encountered, and some of the solutions employed. Second, as s-3D cinema aims at providing the spectator with a strong impression of being part of the movie (sense of presence), we investigate the impact of the spatial rendering quality of the soundtrack on the reported sense of presence. -
P20-21 Layout 1
Established 1961 21 Lifestyle Features Sunday, September 15, 2019 Mexican engineer Asuncion Diaz shows a “Poblano” chili pepper -used to A chef cooks “Chile en Nogada” (“Poblano” Chili Pepper with Walnut Sauce) in View of a “Poblano” chili pepper -used to make the traditional “Chile en make the traditional “Chile en Nogada”- at his plantation in San Andres San Andres Calpan, Puebla state, Mexico. Nogada”. Calpan, Puebla state, Mexico. — AFP photos peaking against a backdrop of two soaring, famous restaurants. which launched a campaign last month to save snow-capped volcanoes, Asuncion Diaz She says her mission is to save the “saberes y Mexico’s classic ingredients, six out of every 10 Sexplains his fight to save the original sabores”-the knowledge and flavors-of traditional chiles consumed in the country today come from poblano chile, one of the most important ingredi- Mexican food. Climate change is just one of the Chinese seeds. But now some farmers and chefs ents in Mexican cuisine, from climate change and threats facing the ingredients of Mexico’s are fighting back to save Mexico’s indigenous other threats. The pristine panorama notwith- renowned cuisine, which was named an essential chiles, beans, tomatoes, gourds, maize and more. standing, Diaz and other producers in Puebla say part of the world’s cultural heritage by UNESCO They include star chef Ricardo Munoz Zurita, the climate change is stalking this mountainous region in 2010. Hybrid seeds, globalization and con- man behind “Azul,” one of Mexico City’s top in central Mexico and threatening the dark green sumers’ demand for immaculate produce are also restaurants. -
Dynamic Stereoscopic Previz Sergi Pujades, Laurent Boiron, Rémi Ronfard, Frédéric Devernay
Dynamic Stereoscopic Previz Sergi Pujades, Laurent Boiron, Rémi Ronfard, Frédéric Devernay To cite this version: Sergi Pujades, Laurent Boiron, Rémi Ronfard, Frédéric Devernay. Dynamic Stereoscopic Previz. International Conference on 3D Imaging, Professeur Jacques G. Verly, Dec 2014, Liege, Belgium. 10.1109/IC3D.2014.7032600. hal-01083848 HAL Id: hal-01083848 https://hal.inria.fr/hal-01083848 Submitted on 10 Jun 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Distributed under a Creative Commons Attribution| 4.0 International License DYNAMIC STEREOSCOPIC PREVIZ Sergi Pujades 1, Laurent Boiron 2,Remi´ Ronfard 2, Fred´ eric´ Devernay 1 1 Laboratoire d’Informatique de Grenoble, Univ. Grenoble Alpes & Inria, France. 2 Laboratoire Jean Kuntzmann, Univ. Grenoble Alpes & Inria, France. ABSTRACT come these difficulties, by containing the acquisition param- eters in a ”3D safe zone”. For example the 1/30th rule states The pre-production stage in a film workflow is important to that ”the interaxial distance should be 1/30th of the distance save time during production. To be useful in stereoscopic from the camera to the first foreground object” [8]. This rule 3-D movie-making, storyboards and previz tools need to be is very handy for safe filming, but very limiting in terms of adapted in at least two ways. -
4. 1. Research Output Iv) Screenings
4. 1. Research Output iv) Screenings Table 4.1.9. is summary for film production done from AY July 2007-till present. I have introduced animated content into my works since 2007 and since 2010 HD DCP/Digital Cinema Projection and Two channel Stereoscopic HD 3D animation for passive/active 3D stereo DCP/Digital Cinema. In addition films were adapted for various immersive stereoscopic visualization platforms such as the following: 320 The Immesrive Room in the NTU/Institute for Media Innovation Immersive Room (5 channels)1 Ars Electronica, presetigious stereo venue Deep Space for the ocasion of the most reputable festival of digital arts in the world Ars Electronica Festival (2011, 2013).2 Glass-free stereoscopic version of the film for Alioscopy 3D HD 55" LV TV Platform British Academy Awards (BAFTA) qualifying festival, renowned Brooklyn Film Festival, New York (2011) The resulting 3D stereoscopic animated films won 15 awards (14 International) and were selected in 47 festivals/theatrical screenings. Film was submitted in more than 70 international juried events such as: The 14th International Beverly Hills Film Festival(2014), SPARK [FWD] 3D, VFX & Advanced Imaging Conference Vancouver by prestigious Emily Carr/S3D Centre and the Canadian 3D and Advance Imaging Society (2013), 67th Edinburgh International Film Festival, UK (2013)3 The 15th Annual Washington DC Independent Film Festival(2013),Canada International Film Festival (2013), Acclaimed Festival Anima Mundi Brazil (2011 and 2013)4 ,6th Annual, Los Angeles, the world's largest all digital 3D stereoscopic Film, Music & Interactive Festival (2013), Dimension 3 Festival, Seine-Saint–Denis, France (2010) The 27th Southeast Asian Games (SEAG) (2013). -
29Th Tokyo International Film Festival Announces Lineup for CROSSCUT
PRESS RELEASE September 21, 2016 29th Tokyo International Film Festival Announces Lineup for CROSSCUT ASIA #03: Colorful Indonesia Lovely Man Cado Cado: Doctor 101 About a Woman Three Sassy Sisters Fiction. Someone’s Wife in The Boat of Someone’s Husband Something in the Way Filosofi Kopi Following Diana Emma’ (Mother) After the Curfew The 29th Tokyo International Film Festival (TIFF) is just around the corner! We are pleased to announce the lineup for CROSSCUT ASIA #03: Colorful Indonesia. The third chapter of the CROSSCUT ASIA series, launched by the Japan Foundation Asia Center and TIFF in 2014 to showcase Asian films, now turns its attention to recent cinema from Indonesia. Known as a nation of “tolerant Islam,” Indonesia is made up of more than 10,000 islands and has regional cultural differences that make it the ultimate land of diversity. TIFF has been presenting outstanding Indonesian films, reflecting the nation’s diverse culture, since the 80’s. In this year’s focus, we will showcase 11 films, from the latest works by veterans to the unique, ambitious work of up-and-coming directors. In the showcase, we will highlight three films by Teddy Soeriaatmadja, whose provocative and powerful work is internationally acclaimed. Along with Soeriaatmadja’s so-called Trilogy About Intimacy, the lineup also includes such rising female directors as Nia Dinata, a pioneer in LGBT films, and Kamila Andini of the Mirror Never Lies. Please see the following pages for the full lineup. During the festival, guests from the films will attend the Q&A sessions and symposium.