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The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Videotape and Home Movie Day
Videotape and Home Movie Day Incorporating video into a Home Movie Day event presents a host with technological and curatorial challenges. You’ll need to bring even more equipment including numerous decks, cables galore, and something to show tapes on, either a video projector or a large enough monitor. Since videotapes can go on for hours, you’ll need to set time limits in advance so no one person takes up more time than other attendees. But with a little planning you can easily be showing families’ histories recorded on tape alongside those on good ol’ small gauge film. Equipment Needs There is a daunting number of consumer-level videotape and optical video formats. But just as you can't expect to have a projector for every film format, you shouldn't expect to support every video format. In our experience, the most popular formats are VHS and Video8. DVD is also common format for people bringing in already-transferred home movies. You’ll need to balance your expectations of what video formats your particular audience will be bringing in with how much effort it will be to bring in a particular format. Other video formats to consider include, but are not limited to, Hi8, Digital8, Betamax, DV, SHS, and VHS-C. And don’t forget the difference between PAL, NTSC, and SECAM. Also, don’t forget to have enough cords and adapters to connect video decks to the monitor/projector. Depending on how many decks you are bringing to your HMD event, you might want to consider getting a video switcher. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960S Promotional Featurettes
The Making of Hollywood Production: Televising and Visualizing Global Filmmaking in 1960s Promotional Featurettes by DANIEL STEINHART Abstract: Before making-of documentaries became a regular part of home-video special features, 1960s promotional featurettes brought the public a behind-the-scenes look at Hollywood’s production process. Based on historical evidence, this article explores the changes in Hollywood promotions when studios broadcasted these featurettes on television to market theatrical films and contracted out promotional campaigns to boutique advertising agencies. The making-of form matured in the 1960s as featurettes helped solidify some enduring conventions about the portrayal of filmmaking. Ultimately, featurettes serve as important paratexts for understanding how Hollywood’s global production work was promoted during a time of industry transition. aking-of documentaries have long made Hollywood’s flm production pro- cess visible to the public. Before becoming a staple of DVD and Blu-ray spe- M cial features, early forms of making-ofs gave audiences a view of the inner workings of Hollywood flmmaking and movie companies. Shortly after its formation, 20th Century-Fox produced in 1936 a flmed studio tour that exhibited the company’s diferent departments on the studio lot, a key feature of Hollywood’s detailed division of labor. Even as studio-tour short subjects became less common because of the restructuring of studio operations after the 1948 antitrust Paramount Case, long-form trailers still conveyed behind-the-scenes information. In a trailer for The Ten Commandments (1956), director Cecil B. DeMille speaks from a library set and discusses the importance of foreign location shooting, recounting how he shot the flm in the actual Egyptian locales where Moses once walked (see Figure 1). -
How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content
Everything I Need To Know I Learned from Fandom: How Existing Social Norms Can Help Shape the Next Generation of User-Generated Content ABSTRACT With the growing popularity of YouTube and other platforms for user-generated content, such as blogs and wikis, copyright holders are increasingly concerned about potential infringing uses of their content. However, when enforcing their copyrights, owners often do not distinguish between direct piracy, such as uploading an entire episode of a television show, and transformative works, such as a fan-made video that incorporates clips from a television show. The line can be a difficult one to draw. However, there is at least one source of user- generated content that has existed for decades and that clearly differentiates itself from piracy: fandom and “fan fiction” writers. This note traces the history of fan communities and the copyright issues associated with fiction that borrows characters and settings that the fan-author did not create. The author discusses established social norms within these communities that developed to deal with copyright issues, such as requirements for non-commercial use and attribution, and how these norms track to Creative Commons licenses. The author argues that widespread use of these licenses, granting copyrighted works “some rights reserved” instead of “all rights reserved,” would allow copyright holders to give their consumers some creative freedom in creating transformative works, while maintaining the control needed to combat piracy. However, the author also suggests a more immediate solution: copyright holders, in making decisions concerning copyright enforcement, should consider using the norms associated with established user-generated content communities as a framework for drawing a line between transformative work and piracy. -
Bringing Latin America to Life with Films in the Classroom Harry E
Social Education 71(4), pp 177–181 ©2007 National Council for the Social Studies Bringing Latin America to Life with Films in the Classroom Harry E. Vanden Mark Twain often observed that we, Americans, are not too aware of other and cuts from the City of God (Cidade cultures. A war critic, he reserved some of his best barbs for American ignorance de Deus) the first day. The former is a of foreign languages and cultures and the imperial endeavors of his day. Upon brilliant Chilean-made short that I hap- returning from traveling in Europe, he wrote, in The Innocents Abroad, “In Paris pened upon in the Museum of Modern they just simply opened their eyes and stared when we spoke to them in French! Art on a visit to New York. It skillfully We never did succeed in making those idiots understand their own language.” examines the reduction of modern life Twain was especially critical of U.S. imperial involvement in the Philippines and to the smallest unit—the silicon micro- attempts to suppress the Philippine Insurrection, writing in A Pen Warmed Up chip and the reduction of Chile’s old in Hell, “I am an anti-imperialist. I am opposed to having the eagle put its talons growth forests to one more exportable on any other land.” 1 commodity—the wood chip. These two “chips” are gracefully tied to the external One would hope that we as educa- such as Like Water for Chocolate or exploitation (the first chip is strongly tors could provide our students with (Pancho) Villa, the Latin American real- associated with Japan’s modernization a better understanding of other coun- ity would spring into their consciousness and the second fuels that country’s insa- tries and cultures than was the case and give them a means of connecting to tiable appetite for more wood-based when Mark Twain was pricking the a little known reality. -
Resource Guide
Resource Guide To be a working actor includes working hard to get the audition. Not simply to be hired and then working. Listed below are some basic tools to use to seek out auditions and ways to stay in action, even when the auditions may not be flowing forth. But, know that it will require a strong commitment and resilience to any one of the following categories. I recommend focusing on the medium that you most want to make headway on as a starting point. THE THOUGHTS EXPRESSED HERE ARE SIMPLY MY OPINIONS BASED ON MY EXPERIENCES. THERE IS NO GOLDEN RULE ON HOW TO BE HIRED Please note that all Resources that are listed here are really the tip of the iceberg. Other actors have suggested many of these websites and many new website resources are being launched constantly. You can add to this list by maintaining your own ear to the ground. Social Media (Facebook, Twitter) is an excellent place to hear about new site launches and recommendations. There are many endless possibilities! The most important thing is to see the resources as endless opportunities and not limitations imposed. May the force be with you as you create your opportunities. Your fan, Heidi Resource Guide CHASING THE BREAKDOWN First Steps to getting auditions: 1. Live by this maxim that I break down in detail in my classes: TELL THEM HOW TO CAST YOU. Tell the casting director which role(s) you are right for. Casting Directors do not know you as well as you know yourself. You have to tell everyone what to do with you. -
TELEVISION and VIDEO PRESERVATION 1997: a Report on the Current State of American Television and Video Preservation Volume 1
ISBN: 0-8444-0946-4 [Note: This is a PDF version of the report, converted from an ASCII text version. It lacks footnote text and some of the tables. For more information, please contact Steve Leggett via email at "[email protected]"] TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1 October 1997 REPORT OF THE LIBRARIAN OF CONGRESS TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1: Report Library of Congress Washington, D.C. October 1997 Library of Congress Cataloging-in-Publication Data Television and video preservation 1997: A report on the current state of American television and video preservation: report of the Librarian of Congress. p. cm. þThis report was written by William T. Murphy, assigned to the Library of Congress under an inter-agency agreement with the National Archives and Records Administration, effective October 1, 1995 to November 15, 1996"--T.p. verso. þSeptember 1997." Contents: v. 1. Report - ISBN 0-8444-0946-4 1. Television film--Preservation--United States. 2. Video tapes--Preservation--United States. I. Murphy, William Thomas II. Library of Congress. TR886.3 .T45 1997 778.59'7'0973--dc 21 97-31530 CIP Table of Contents List of Figures . Acknowledgements. Preface by James H. Billington, The Librarian of Congress . Executive Summary . 1. Introduction A. Origins of Study . B. Scope of Study . C. Fact-finding Process . D. Urgency. E. Earlier Efforts to Preserve Television . F. Major Issues . 2. The Materials and Their Preservation Needs A. -
The Music (And More) 2019 Quarter 3 Report
The Music (and More) 2019 Quarter 3 Report Report covers the time period of July 1st to Kieran Robbins & Chief - "Sway" [glam rock] September 30th, 2019. I inadvertently missed Troy a few before that time period, which were brought to my attention by fans, bands & Moriah Formica - "I Don't Care What You others. The missing are listed at the end, along with an Think" (single) [hard rock] Albany End Note… Nine Votes Short - "NVS: 09/03/2019" [punk rock] RECORDINGS: Albany Hard Rock / Metal / Punk Psychomanteum - "Mortal Extremis" (single track) Attica - "Resurected" (EP) [hardcore metal] Albany [thrash prog metal industrial] Albany Between Now and Forever - "Happy" (single - Silversyde - "In The Dark" [christian gospel hard rock] Mudvayne cover) [melodic metal rock] Albany Troy/Toledo OH Black Electric - "Black Electric" [heavy stoner blues rock] Scotchka - "Back on the Liquor" | "Save" (single tracks) Voorheesville [emo pop punk] Albany Blood Blood Blood - "Stranglers” (single) [darkwave Somewhere To Call Home - "Somewhere To Call Home" horror synthpunk] Troy [nu-metalcore] Albany Broken Field Runner – "Lay My Head Down" [emo pop Untaymed - "Lady" (single track) [british hard rock] punk] Albany / LA Colonie Brookline - "Live From the Bunker - Acoustic" (EP) We’re History - "We’re History" | "Pop Tarts" - [acoustic pop-punk alt rock] Greenwich "Avalanche" (singles) [punk rock pop] Saratoga Springs Candy Ambulance - "Traumantic" [alternative grunge Wet Specimens - "Haunted Flesh" (EP) [hardcore punk] rock] Saratoga Springs Albany Craig Relyea - "Between the Rain" (single track) Rock / Pop [modern post-rock] Schenectady Achille - "Superman (A Song for Mora)" (single) [alternative pop rock] Albany Dead-Lift - "Take It or Leave It" (single) [metal hard rock fusion] Schenectady Caramel Snow - "Wheels Are Meant To Roll Away" (single track) [shoegaze dreampop] Delmar Deep Slut - "u up?" (3-song) [punk slutcore rap] Albany Cassandra Kubinski - "DREAMS (feat. -
The Family Video Archive: an Annotation and Browsing Environment for Home Movies Gregory D
The Family Video Archive: An annotation and browsing environment for home movies Gregory D. Abowd Matthias Gauger & Andreas Lachenmann College of Computing & GVU Center Computer Science Department Georgia Institute of Technology University of Stuttgart 801 Atlantic Drive Universitaetsstr. 38 Atlanta, GA USA 30332-0280 D-70569 Stuttgart, Germany +1-404-894-7512 {Matthias.Gauger, Andreas.Lachenmann} [email protected] @studi.informatik.uni-stuttgart.de ABSTRACT digitized home movies. We present the Family Video Archive as a tool to give consumers There is much work in the area of video annotation and browsing. the ability to annotate and browse large collections of informal What makes this work significant is its focus on the informal family movies. The informal nature of home movies makes it nature of home movies. This has several implications for the difficult to use fully-automated techniques for scene detection and research contribution of our work. annotation. Our system explores the symbiosis between • Home movies record informal activities and are usually of automated and manual techniques for annotation. We also explore relatively low production quality, containing little, if any, the use of a zooming interaction paradigm for browsing and relevant metadata concerning the content of the video. As a filtering large collections of video scenes. result, we have focussed on interaction techniques that provide full manual annotation capabilities but also leverage off Keywords automation. This symbiosis between fully manual and fully Video annotation, Zooming user interfaces, home movies. automated annotation is an important research topic. • Home movies are meaningful to a community of family, friends 1. INTRODUCTION and relatives. -
Unearthing African American History & Culture Through Home Movies
Unearthing African American History & Culture Through Home Movies by Jasmyn R. Castro A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Moving Image Archiving and Preservation Program Department of Cinema Studies New York University May 2015 1! Introduction African American home movie collections across the United States can, and should, play a larger role in the depiction of African American history and culture. As a historical resource, home movies provide a direct and personal look into the lives of African Americans. Culturally, these home movies document their way of life through everyday personal experiences and social interactions. Since the introduction of film in the United States, home movie recording was one of the first opportunities for self-documentation. Before the invention of the 8mm film gauge, only an elite few were fortunate enough to find themselves in a position to record their experiences through photography, and an even smaller group (practically non-existent) were able to record on 16mm; the first amateur motion picture film format. A small percentage of African Americans took part in such leisure activities, however, economic and social conditions in the United States played an important role in who and what was documented. During the early 1900s, African Americans found themselves in the midst of a new chapter in their history as a newly formed ethnic group in the United States. Early attempts at capturing the African American experience were, for the majority, conducted as part of government projects such as “Voices from the Days of Slavery”, a collection of audio interviews between former slaves and employees of the Work Progress Administration’s (WPA) Federal Writers’ Project.1 The WPA was an American New Deal agency that employed millions of unemployed Americans to conduct public works assignments like the Federal Writers’ Project “Slave Narratives”, in which twenty-three interviewees, born during the time of slavery in the 1 Kniffel, Leonard. -
Download 2007 Annual Report
THE CENTER FOR HOME MOVIES 2007 ANNUAL REPORT TABLE OF CONTENTS 2 A Message from the Founders 3 CHM and the Library of Congress Living Room Cinema 4 Home Movie Day Rediscovery 5 HMD in the New Yorker 6 Home Movie Day 2007 9 The Home Movies of Helen Hill Presentations and Other Activities 11 Sponsors Looking Ahead 1 A Message from the Center for Home Movies Founders 2007 was another banner year for the Center for Home Movies and Home Movie Day. Highlights included the release of Living Room Cinema , the first Home Movie Day DVD compilation; the finalization of a collaborative agreement with the Library of Congress; the naming of a second consecutive Home Movie Day rediscovery to the U.S. National Film Registry; and the celebration of the fifth annual Home Movie Day, held in a record number of cities and countries. The Board of the Center for Home Movies thanks all of its friends and sponsors, and looks forward to an even more fruitful and productive year in 2008. Photo: Center for Home Movies Board Katie Trainor, Brian Graney, Snowden Becker, Chad Hunter, Dwight Swanson (l. to r.) 2 The Center for Home Movies 2007 Annual Report CHM and THE LIBRARY OF CONGRESS In the spring of 2005, the CHM board was invited to meet with David Francis, Greg Lukow and Mike Mashon to begin discussions regarding an official relationship between the Library of Congress and CHM. The Library’s Motion Picture, Broadcasting and Recorded Sound Division offered CHM workspace and collections storage in the new National Audio-Visual Conservation Center in Culpeper, Virginia.