DOCSLIB.ORG

Download Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Download CONTENTS Introduction .............................................................................................................. 7 MARTHA C.C. GABRIEL – Art and Life in Second Life ..................................... 11 LANFRANCO ACETI – Instantaneously Mediated Virtual Visions: The Trans- media Circuit of Images, Body, and Meanings .................................................. 29 MARCIN SKŁADANEK – Hybrid Spaces of Human-Computer Interaction in View of Ubicomp Postulates ............................................................................. 51 JOANNA KRYSA – Experiments in (Social) Software Curating: Reprogramming Curatorial Practice for Networks ....................................................................... 63 GRAŻYNA GAJEWSKA – Man as an Electro-Mechanical Art Project ................ 85 JEAN M. IPPOLITO – The Search for New Media: Early Avant-Garde Momentum for the Digital art Pioneers of Japan ............................................... 97 ANTONI PORCZAK – Art as Technology ............................................................. 113 RYSZARD W. KLUSZCZYŃSKI – Interactive Art: Aspects, Histories and Strategies ............................................................................................................ 119 PIOTR ZAWOJSKI – The Archivisation, Presentation, and Dissemination of Cyber Art on the Web ………………………………………………………… 147 MACIEJ OŻÓG – Observing Observation: Visions of Surveillance in Media Art . 167 MICHAŁ OSTROWICKI – The Electronically Incarnated Human ........................ 187 BYUL SHIN – Virtual Reality in Science Fiction Films ......................................... 201 6 Spis treści INTRODUCTION The development of communication technologies has resulted in the emergence of media realities. Their appearance has created areas of interaction and inter- penetration of the media worlds and the actual reality. The boundary between these two basic domains of life – the virtual reality of media and the reality of the physical world – has become both the source of and the model for all other boundaries whose existence has been caused or modified by the media. This boundary is neither stable nor unalterable, and it is as much spatial as temporal (although one could claim that it actually goes beyond both space and time, since – as a sui generis mental phenomenon – it does not possess these two dimensions but only refers to them). It is a process within which we can observe a constant exchange of qualities, shifts and displacement of positions, changes of values and meanings. Due to its aforementioned mental character it is an intangible boundary in progress, a kind of nomadic concept, which always moves with us and is constantly transformed in time and space, which accompanies us constantly in its inconstancy. It is the environment of the contemporary existence, our world in statu nascendi. The omnipresence of a boundary defined in this way makes for the fact that our life occurs in some kind of inter-spaces and inter-times, in a hybrid world "in- between"; not only in-between different cultures, but first of all in-between reality and virtuality. This can be seen as the new foundation of the invincible polymorphism of reality, one of the sources of pluralism, and the cause of constant ontological transgressions. Alternatively, following Jean Baudrillard, one can also view it as the source of homogenization, and claim that the more often we visit both of those worlds, the more inseparable and indistinguishable they become. Seen from the latter perspective, reality and virtuality combine into qualitatively new realities that have been called simulacra. According to the supporters of that concept, the entities that constitute them no longer have the qualities that would allow us to differentiate between the virtual and the real forms. Of these two competing viewpoints, it is the former, i.e. the one offering the image of a profoundly diversified world that seems to me more convincing. It appears to be more effective and useful in describing the complexity of 8 Introduction contemporary culture, and it is far more efficient in the analysis of the most recent art. Moreover, the dynamism and flexibility of the boundaries of reality interpreted in this way suggest the perception of these boundaries as a reference system and a system of interrelations rather than the traditional set of stable divisions. Today the boundaries between various spheres of reality are not seen as dividing them, but rather as establishing their interrelations. Wolfgang Welsch has pointed out that the dynamics and intensity of the relations between the actual reality and the media worlds crucially transforms the character of the interacting domains. It leads, on the one hand, to the virtualization and de-realization of the real, and on the other hand, to the revival and intensification of values ascribed to non-electronic experiences of reality. One side effect of the aforementioned processes – besides the multiplication and differentiation of the experienced worlds – is the revilement of the basically constructive character of each reality. Looking from a different perspective, we can observe that the development of media has brought about the development and transformation of the techno- sphere. Initially it was perceived in opposition to the biosphere. Today, together with the proclamation of the birth of a post-biological world, it is believed that the boundary between these spheres is becoming as fuzzy as the boundary between the actual reality and the virtual reality of media. Both domains have jointly created the biotechnosphere, thus internalising their interrelations and dynamizing their boundaries. These changes also affect the character of human identity, which takes the open form of a variable process that transforms relationships between the bodily and the mental spheres, between the reality of the body and the virtuality of the imagination. New technologies become the expansions and extensions of the human body, and thus influence the structure of any individual identity. The body itself, its definition, history, its substance and gender also undergo various trans- formations, which consequently influences the way of understanding identity. The human becomes traveller, in all the senses of the word. The ease and speed of travelling (physical and virtual) makes it possible for the traveller to experience the places that used to be out of reach. On another level, media connect in the experience of their users distant places, elements of various cultures, and diversified contexts. Such an experience becomes a kind of mosaic or palimpsest. On yet another level, contacts, co-operation or even co-existence within virtual communities, the dynamic development of these environments and links between them and the real world(s) deeply change or even undermine the traditional real communities. Tele-work, tele-study, tele-entertainment or tele-sex become significant part of human activities. Human experience changes into Introduction 9 telematic and, more and more often, individual achieves the status of a psychical nomad, which nowadays means both, cultural- and cyber-nomad. Generally speaking, contemporary nomadism may take two forms. In the first case, the individual can move within a complex and internally diversified reality accepting its discontinuity and diversity as its characteristic features, and inter- connecting (or trying to interconnect) the various encountered and seemingly incompatible elements. The product of such activities would be a cultural and ontological mosaic, very fragmentary and with blurred boundaries, but despite its dispersion still paradoxically hanging together and therefore unitary, common to all the subjects of those practices. The richness, variety, processual nature and inherent non-finality of such a world, as well as its relativisation to an individual, shifting perspective of a moving subject does not allow us to impose a universal network of co-ordinates upon it. Each individual in the course of his or her history creates its character spontaneously, since each individual experiences the whole world as his or her own construction. The other type of contemporary nomadism is connected with the theory of multiple worlds. It claims that an individual, due to the number of the social roles he or she plays, and to their functioning in various actual and virtual realities, experiences reality in such diverse forms that he or she is unwilling (or even un- able) to perceive them within the frame of just one system. What is the most interesting about this concept is not its claim that each of us lives in different worlds, but that we usually remain on their borderlines, or even in-between these worlds, and our main object of experience is the multiplicity and variety. The new quality of the human situation in the world – the expanded and trans- formed environment in which, as I have already said, the biosphere with techno- sphere jointly constitutes the biotechnological syndrome – clearly influences the shape of contemporary culture. It introduces numerous forms that together make up a structure referred to as cyberculture. I understand ‘cyberculture‘ as a multifaceted complex structure that grows out of the social experience of living in a world dominated by information and communication technologies. Cyberculture emerges as a process through which the information and network society can express as well as understand itself. It consists of an internalised layer
Load more

Recommended publications
  • The Inflation of Abstraction | the New Yorker
    6/10/2019 The Inflation of Abstraction | The New Yorker The Art World The Inflation of Abstraction The Met’s show of Abstract Expressionism wants to remake the canon. By Peter Schjeldahl December 31, 2018 https://www.newyorker.com/magazine/2019/01/07/the-inflation-of-abstraction 1/8 6/10/2019 The Inflation of Abstraction | The New Yorker Mark Rothko’s “No. 3,” from 1953, his peak year of miracles. © 1998 Kate Rothko Prizel & Christopher Rothko / Courtesy ARS he rst room of “Epic Abstraction: Pollock to Herrera,” a wishfully canon- T expanding show of painting and sculpture from the past eight decades, at the Metropolitan Museum, affects like a mighty organ chord. It contains the museum’s two best paintings by Jackson Pollock: “Pasiphaë” (1943), a quaking compaction of https://www.newyorker.com/magazine/2019/01/07/the-inflation-of-abstraction 2/8 6/10/2019 The Inflation of Abstraction | The New Yorker mythological elements named for the accursed mother of the Minotaur, and “Autumn Rhythm (Number 30)” (1950), a singing orchestration of drips in black, white, brown, and teal enamel—bluntly material and, inextricably, sublime. There are six Pollock drawings, too, and “Number 7” (1952), one of his late, return-to- guration paintings in mostly black on white, of an indistinct but hieratic head. The adjective “epic” does little enough to honor Pollock’s mid-century glory, which anchors the standard art-historical saga of Abstract Expressionism—“The Triumph of American Painting,” per the title of a 1976 book on the subject by Irving Sandler —as a revolution that stole the former thunder of Paris and set a stratospheric benchmark for subsequent artists.
    [Show full text]
  • Performance Kazuo Shiraga
    PERFORMANCE kazuo shiraga Mud, Sweat, and Oil Paint KAZUO SHIRAGA’S ALTERNATE MODERNIsm. TAMSEN GREENEwords What does rolling around in the mud have to do with painting? Everything, according to the late Japanese artist Kazuo Shiraga, who was a prominent member of the legendary Gutai Art Association. Although the bulk of his output was on canvas, in Challenging Mud, 1955, Shiraga wrestled with a formless mixture of wall plaster and cement that bruised his body. To him, this and such other perfor- mance pieces as Sanbaso-Super Modern, 1957— in which he swayed on stage clad in a red costume with a pointed hat and elongated arms that made sweeping motions against the dark background—were alternate methods of painting. “There exists my action, regardless of whether or not it is secured,” Shiraga wrote in his 1955 essay “Action Only.” Defining painting as a gesture rather than a medium was revolutionary in the 1950s. Chizensei Kirenji, 1961. OIL ON CANVAS, 51¼ X 63¾ IN. Despite his innovative thinking, Shiraga has not been well known in the United States. This is perhaps because when his work debuted in New York, in a 1958 Gutai group show at Martha Jackson Gallery, it was panned as multiply derivative. “As records, they are interesting enough, but as paintings they are ineffectual,” the critic Dore Ashton wrote in the New York Times. “They resemble paintings in Paris, Amsterdam, London, and Mexico City that resemble paintings that resemble paintings by FROM TOP: THREE IMAGES, AMAGASAKI CULTURAL CENTER; VERVOORDT FOUNDATION COLLECTION. OPPOSITE: BOTH IMAGES, AMAGASAKI CULTURAL CENTER 32 MODERN PAINTERS APRIL 2010 ARTINFO.COM Performance stills from Challenging Mud, third execution.
    [Show full text]
  • Zał. 5. P. Winskowski, Summary. Autoreferat
    SUMMARY OF PROFESSIONAL ACCOMPLISHMENTS AUTOREFERAT W JĘZYKU ANGIELSKIM Załącznik nr 5 do wniosku o przeprowadzenie postępowania habilitacyjnego Piotr Winskowski Summary of Professional Accopmlishments Summary of Professional Accomplishments 1. First name and Surname Piotr Winskowski 2. Diplomas, certificates and academic degrees possessed – with application of names, places and years they were issued as well as title of doctoral dissertation 1. Master of Engineering (M.Sc. Eng.), graduated with distinction from the Faculty of Architecture of the Cracow University of Technology on December 11, 1992, based on the defence of the following thesis: A Student services centre and small theatre in Krakow. Advisor Prof. Witold Korski Eng. Arch. Diploma no. 3119/A. 2. PhD in technical sciences, academic degree conferred by resolution of the Council of the Faculty of Architecture, Cracow University of Technology on 1 July 1998 based on the defence of the following PhD dissertation: Technical inspirations in formal solutions employed in modern architecture Advisor: Prof. J. Tadeusz Gawłowski. PhD Eng. Arch. Diploma no. 1205. 3. Diploma awarded on completion of training course for academic teachers at the Centre for Pedagogy and Psychology, Cracow University of Technology, 1999. 3. Information regarding employment history in scientific/artistic institutions and organisations 1. Technical clerk, Independent Chair of Industrial Architecture Design, Faculty of Architecture, Cracow University of Technology, 21.01.1993‒30.11.1995. 2. Teaching-research
    [Show full text]
  • San Francisco Art Institute Presents Gutai Historical Survey and Contemporary Response
    FOR IMMEDIATE RELEASE MEDIA CONTACT: Janette Andrawes 415.749.4515 [email protected] San Francisco Art Institute Presents Gutai Historical Survey and Contemporary Response First West Coast Survey Exhibition of Avant-Garde, Postwar Japanese Art Movement Features Site-Specific Contemporary Responses to Classic Gutai Performative Works Exhibition: Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response Curators: John Held, Jr. and Andrew McClintock Venue: Walter and McBean Galleries San Francisco Art Institute 800 Chestnut Street, San Francisco, CA Dates: February 8–March 30, 2013 Media Preview: Friday, February 8, 5:00–6:00 pm Cost: Free and Open to the Public San Francisco, CA (January 9, 2013) — The San Francisco Art Institute (SFAI) is proud to announce the first West Coast survey exhibition of Gutai (1954-1972)—a significant avant-garde artist collective in postwar Japan whose overriding directive was: "Do something no one's ever done before." Rejecting the figurative and abstract art of the era, and in an effort to transform the Japanese psyche from wartime regimentation to independence of thought, Gutai artists fulfilled their commitment to innovative practices by producing art through concrete, performative actions. With a diverse assembly of historical and contemporary art, including several site- specific performances commissioned exclusively for SFAI, Experimental Exhibition of Modern Art to Challenge the Mid-Winter Burning Sun: Gutai Historical Survey and Contemporary Response creates a dialogue with classic Gutai works while demonstrating the lasting significance and radical energy of this movement. This exhibition showcases North American, neo-conceptualist artists' responses to groundbreaking Gutai performances; dozens of original paintings, video, photographs, and ephemera from private collections; and an expansive collection of Mail Art from more than 30 countries.
    [Show full text]
  • SYLLABUS “If You Want to Speak to the World,” Said Tolstoy, “Speak Of
    Powers !1 of !20 Syllabus 529 SYLLABUS Wells Writing Division CTWR 529 Fall 2017 Intermediate Screenwriting Wednesdays, 7:00pm – 10:00pm CSA 362 INSTRUCTOR INFORMATION" Lecturer: Wayne Powers" Phone: 424-666-4443" Email: (awaiting USC email address)" O#ce Hours: 5-7 and 10-11 Wednesdays BY APPOINTMENT ONLY" “If you want to speak to the world,” said Tolstoy, “speak of your own village.” GOALS OF THE COURSE:" In this intermediate screenwriting course, I will combine what I learned as a student at USC Film School, my alma mater, with what I learned in my professional career in film and television starting when I was twenty-three years old. " There are 293 ways to make change for a dollar, and probably more ways to write a screenplay. I will focus on ways that have worked for me (usually) and that coincide Powers !2 of !20 Syllabus 529 with USC philosophies like that character is more important than plot, and how to make personal scripts even if you’re writing a genre motion picture. " This course aims to sharpen your storytelling and screenwriting skills through practical writing experience in the short-film form, leading to an extensive introduction to shaping a feature film story. You will further explore your abilities to write screenplays that follow the Western narrative tradition: A strong premise; clear focus on all your characters wants versus their needs; writing through visuals; a three act structure; creating sequences; learning “approaches” and using other tools of the craft in both short films and features." You will learn through discussions to evaluate scripts and how to give constructive feedback." I will give lectures, have in-class exercises, give tips on how to pitch, and watch films that highlight our topics, and, in a safe supportive environment we will workshop your assignments.
    [Show full text]
  • Directing the Narrative Shot Design
    DIRECTING THE NARRATIVE and SHOT DESIGN The Art and Craft of Directing by Lubomir Kocka Series in Cinema and Culture © Lubomir Kocka 2018. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Cinema and Culture Library of Congress Control Number: 2018933406 ISBN: 978-1-62273-288-3 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. CONTENTS PREFACE v PART I: DIRECTORIAL CONCEPTS 1 CHAPTER 1: DIRECTOR 1 CHAPTER 2: VISUAL CONCEPT 9 CHAPTER 3: CONCEPT OF VISUAL UNITS 23 CHAPTER 4: MANIPULATING FILM TIME 37 CHAPTER 5: CONTROLLING SPACE 43 CHAPTER 6: BLOCKING STRATEGIES 59 CHAPTER 7: MULTIPLE-CHARACTER SCENE 79 CHAPTER 8: DEMYSTIFYING THE 180-DEGREE RULE – CROSSING THE LINE 91 CHAPTER 9: CONCEPT OF CHARACTER PERSPECTIVE 119 CHAPTER 10: CONCEPT OF STORYTELLER’S PERSPECTIVE 187 CHAPTER 11: EMOTIONAL MANIPULATION/ EMOTIONAL DESIGN 193 CHAPTER 12: PSYCHO-PHYSIOLOGICAL REGULARITIES IN LEFT-RIGHT/RIGHT-LEFT ORIENTATION 199 CHAPTER 13: DIRECTORIAL-DRAMATURGICAL ANALYSIS 229 CHAPTER 14: DIRECTOR’S BOOK 237 CHAPTER 15: PREVISUALIZATION 249 PART II: STUDIOS – DIRECTING EXERCISES 253 CHAPTER 16: I.
    [Show full text]
  • A Happening? Creative Film-Making Resource Unit. PUB DATE 69 NOTE 47P
    DOCUMENT RESUME ED 041 006 TE 001 913 AUTHOR Daley, Mary E. TITLE A Happening? Creative Film-Making Resource Unit. PUB DATE 69 NOTE 47p. EDRS PRICE EDRS Price MF-$0.25 HC-$2.45 DESCRIPTORS Class Activities, Color Presentation, Concept Formation, *Creative Activities, Creative Expression, *Film Production, *Films, Film Study, Photocomposition, Photography, Sound Films, Student Interests, Student Motivation, Student Participation, Student Projects, Teaching Methods ABSTRACT To change the classroom trend of promoting competition among children and repressing their feelings, this unit on film making focuses on a creative activity which will enable students to(1) make new things meaningful to them; (2) see purpose and meaning in familiar things; (3) observe and create beauty in life and art; (4) redefine or form their own concepts from highly dramatized ideas; and (5)discover their individual relationships with their environment. Four sub-units--film art, motion pictures, visual language, and making a film--present plans for such activities as viewing films; reading books and periodicals; writing critical reviews, scripts, scenarios, and research reports; discussing; producing films; and lecturing. Also provided are suggested film assignments; examples of a working scripti a movie outline,a sequence chart for shooting, a shooting script, and a story board; and a list of youth films entered in film festivals. (JM) U.S, DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT. POINTS OF VIEW OR OPINIONS STATED DO NOT NECES- SARILY REPRESENT OFFICIAL OFFICE CF EDU- C) CATION POSITION OR POLICY. C:) A HAPPENING? CREATIVE FILM-MAKING RESOURCE UNIT Mary E.
    [Show full text]
  • Downloaded Or Projected for Classroom Use
    FEBUARY 15, 2013–MAY 8, 2013 Solomon R. Guggenheim Museum Teacher Resource Unit A NOTE TO TEACHERS Gutai: Splendid Playground is the first U.S. museum retrospective exhibition ever devoted to Gutai, the most influential artists’ collective and artistic movement in postwar Japan and among the most important international avant-garde movements of the 1950s and 1960s. The exhibition aims to demonstrate Gutai’s extraordinary range of bold and innovative creativity; to examine its aesthetic strategies in the cultural, social, and political context of postwar Japan and the West; and to further establish Gutai in an expanded history of modern art. Organized thematically and chronologically to explore Gutai’s unique approach to materials, process, and performativity, this exhibition explores the group’s radical experimentation across a range of mediums and styles, and demonstrates how individual artists pushed the limits of what art could be and mean in a post-atomic age. The range includes painting (gestural abstraction and post-constructivist abstraction), conceptual art, experimental performance and film, indoor and outdoor installation art, sound art, mail art, interactive or “playful” art, light art, and kinetic art. The Guggenheim show comprises some 120 objects by twenty-five artists on loan from major museum and private collections in Japan, the United States, and Europe, and features both iconic and lesser-known Gutai works to present a rich survey reflecting new scholarship, especially on so-called “second phase” works dating from 1962–72. Gutai: Splendid Playground is organized by Ming Tiampo, Associate Professor of Art History, Carleton University, and Alexandra Munroe, Samsung Senior Curator of Asian Art, Guggenheim Museum.
    [Show full text]
  • International Yearbook of Aesthetics Volume 18 | 2014 IAA Y Earbook
    International Yearbook of Aesthetics Volume 18 | 2014 IAA Yearbook edited by Krystyna Wilkoszewska The 18th volume of the International Yearbook of Aesthet- ics comprises a selection of papers presented at the 19th International Congress of Aesthetics, which took place edited by Krystyna Wilkoszewska in Cracow in 2013. The Congress entitled “Aesthetics in Action” was in- tended to cover an extended research area of aesthet- ics going beyond the fine arts towards various forms of human practice. In this way it bore witness to the transformation that aesthetics has been undergoing for a few decades at the turn of the 20th and 21st centuries. edited by Krystyna Wilkoszewska International Yearbook of Aesthetics 2014 Volume 18 | 2014 ISBN 978-83-65148-21-6 International Association for Aesthetics International Association for Aesthetics Association Internationale d'Esthetique Wydawnictwo LIBRON | www.libron.pl 9 788365148216 edited by Krystyna Wilkoszewska edited by Krystyna Wilkoszewska Proceedings of the 19th International Congress of Aesthetics, Cracow 2013 International Yearbook of Aesthetics Volume 18 | 2014 International Association for Aesthetics Association Internationale d'Esthetique Cover design: Joanna Krzempek Layout: LIBRON Proofreading: Tim Hardy ISBN 978-83-65148-21-6 © Krystyna Wilkoszewska and Authors Publication financed by Institute of Philosophy of the Jagiellonian University Every efort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Table of contents Krystyna Wilkoszewska
    [Show full text]
  • Production Process
    http://www.skillset.org/film/business/# Production Process Inspiration These are the sources which they will use to seek ideas for a film, e.g. TV, Example Newspaper and books. Producer This is the person who will stay with the production all the way through, from start to end. Director The director is chosen by the producer, IDEA and inputs his ideas into the production Writer Chosen by the producer, who clarifies the plot, characters etc. Treatment A one page description (inc. characters) written by the writer Pitch A crucial part so that the producer can ͚sell͛ the film to financiers. Pitching The Project Producers uses ͚treatment Example & pitch͛ to sell the film to financiers Production Companies Producer approaches these companies for development monies Development Sales/Distribution/Broadcast The Producers offers broadcast rights in return for money Finance Public Investment The producer can also apply for money from public funding companies such as UK Film Council Private Finance The Producer pitches the film to these for money in return for advertising etc. Tying Down the Writer The producer will now use the money invested to secure the writer Synopsis The producer and writer agree on key Example points of the film (scenes & events) Step Outline The writer (in conjunction with producer) creates a detailed plan of events for the Script film Development Drafts First ever copy of the script is written to be proof read many times Revision Draft is sent to financiers for their input Final Draft When everyone is happy this is done, and the writer gets paid Sales Treatment Final stage of script development which includes events to help market it.
    [Show full text]
  • Filming Guide
    Quick tips for filming This guide oers a few points for thought that will help you get the footage you need, and will help if you are not use to recording footage. Generic quick tips Camera settings Ensure that your device is set up to record as high quality as possible. This will help to capture what you record in as much detail as possible. Search online for how to set your device up to record in the highest quality. Where necessary, adjust the brightness of your device so that you can clearly see what is being recorded. Storage Check that your device has enough storage to record the footage. You may be filming a single shot or multiple shots to be put together, and both options can take up a lot of device storage especially using the higher quality recording settings. Airplane mode (phones only) If using a phone to record, turn airplane mode on so that you have no interruptions or distractions while recording. Film in landscape When recording, all videos should be filmed in landscape. Not only does this show more of the picture and look better, it ensures that each video is consistent in the filming. Lighting Think about the location where you are filming and if it will provide the right amount of lighting to bring the speakers or footage into clear focus. If filming indoors, consider your sources of light which could be the oce lighting and/or natural light through the windows. If filming outdoors, avoid filming in very bright places as some cameras may overexpose the recording and the speaker/s won’t be well seen.
    [Show full text]
  • 19-NU-1080 Master of Fine Arts in Digital Cinema Production.Indd
    NATIONAL UNIVERSITY COLLEGE OF PROFESSIONAL STUDIES MASTER OF FINE ARTS IN DIGITAL CINEMA PRODUCTION Develop Your Skill Set for a Dynamic Media Marketplace LEARN In this graduate program you’ll learn to produce Program highlights: MORE engaging visual content by combining professional Learn the professional practices and digital cinema techniques with leading-edge digital workflow used to produce digital media TODAY media tools. The program blends Hollywood content and independent film traditions and gives you Practice the creative process used to produce hands-on experience in the professional film quality content for a variety of digital production disciplines. Because the coursework platforms is presented in an online/hybrid format, the program allows students living outside the Develop visual and narrative techniques to major media markets the chance to study film craft your own aesthetic style production with film industry professionals Collaborate with a creative team to produce both online and onsite during the digital and edit a short film shot on a RED 4K cinema production residency in Los Angeles. Digital Cinema camera During the program you will produce several Produce an original short digital motion short digital film projects and a thesis film, and picture suitable for submission to a film upon graduation you will be prepared to festival and distribution on the internet produce your own professional media projects and teach in film and media arts programs at the college and university level. Online and On-campus Programs Monthly Starts and Accelerated Classes WSCUC Accredited Veteran Founded. Nonprofit. I NU.EDU Accredited by the WASC Senior College and University Commission (WSCUC).
    [Show full text]