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SEAN STRANKS Visual Effects Supervisor "I’m in my element at the earliest stages of development, conceptualising and designing approaches to the visual effects. For me, that’s the most creative part of the process." Sean joined Cinesite in January 2020 to deliver the final season of popular SELECTED CREDITS Netflix series Dark. He had previously provided on set supervision in South Africa for the Ridley Scott 10-episode HBO series Raised by Wolves. 2020 - Dark: Season 3 VFX Supervisor Beginning his visual effects career in the 1990s, Sean was a compositor and senior compositor at several studios, including GVFX, Hybride, ESC 2020 - Raised by Wolves VFX Supervisor and Technicolor. He joined Double Negative in London as VFX supervisor in 2007, where he remained for 10 years. Sean cites his 2008 work as 2D 2018 - The Cloverfield Paradox supervisor on Cloverfield as one of the stand-out moments of his career. VFX Supervisor “That is a great film,” he recalls, “The Brooklyn Bridge collapse still holds up today and I’m very proud to have been involved in creating it.” 2017 - Star Wars: The Last Jedi VFX Supervisor Sean received two nominations in the same year in 2016 at the VES awards as VFX Supervisor for Bridge of Spies and In The Heart of The 2016 - Star Trek Beyond Sea. The latter, recalling the sinking of a 19th century whaling ship by a VFX Supervisor giant whale, involved the creation of epic oceanic environments both 2016 - Jason Bourne above and below water. Spectacular underwater travelling shots with CG VFX Supervisor cameras mounted onto whales, included fluid simulations mimicking water currents and the addition of bubbles, krill and general detritus for 2016 - In the Heart of the Sea absolute realism. VFX Supervisor At Base FX in Beijing from 2016-2018 Sean provided his expertise as a 2013 - Fast & Furious 6 visual effects consultant, overseeing productions including Cloverfield VFX Supervisor Paradox and Star Wars: The Last Jedi. 2012 - Skyfall Sean’s fascination with film began as a child, with his love for films like On-set VFX Supervisor Star Wars, Close Encounters and Indiana Jones, which inspired his imagination and encouraged his early creativity. “I am very lucky that this led to my career in film,” Sean muses, “which has allowed me to create the kind of sequences I would have loved as a child.” IMDb Sean has been skateboarding since he was small and is still passionate about the sport. His first skateboarding business, Curb Chemist, will soon open, building skateboard decks as a rather cool side-project to visual effects. LONDON | MONTREAL | CINESITE.COM .

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Statistical Yearbook 2019
STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema
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Movie List Please Dial 0 to Request
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O Marketing E O Monstro: Um Estudo Sobre O Marketing De Cloverfield
PRISMA.COM n.º 43 ISSN: 1646 - 3153 O marketing e o monstro: um estudo sobre o marketing de Cloverfield Marketing and the Monster: A Study on Cloverfield Marketing Luciano Augusto Toledo Universidade Presbiteriana Mackenzie. Brasil [email protected] Henrique Barros Universidade Presbiteriana Mackenzie. Brasil [email protected] Lucas Silva Universidade Presbiteriana Mackenzie. Brasil [email protected] Verônica Santos Universidade Presbiteriana Mackenzie. Brasil [email protected] Wilder Pinto Universidade Presbiteriana Mackenzie. Brasil [email protected] Resumo Abstract Para concorrer com grandes produções, os estúdios de To compete with major productions, low-budget Holly- Hollywood com baixo orçamento buscam investir em es- wood studios seek to invest in different strategies to pro- tratégias diferentes para promover suas produções e mote their productions and engage with their target au- engajar seu público-alvo. Dentro dessa proposta os pro- dience. Within this proposal, Cloverfield franchise pro- dutores da franquia Cloverfield desenvolveram, em ducers developed in 2008 a viral marketing-based strat- 2008, uma estratégia baseada em marketing viral. Com egy. By the Collective Subject Speech, the researchers a análise do Discurso do Sujeito Coletivo, os pesquisa- sought out to understand how this strategy was devel- dores se propuseram a entender como foi desenvolvi- oped, how it was implemented, and whether the film's vda a estratégia de marketing, como foi implementada e success was due to the implemented campaign. The re- sults obtained through qualitative analysis show that the PRISMA.COM (43) 2020, p. 170-192 DOI: https://doi.org/10.21747/16463153/43a9 170 PRISMA.COM n.º 43 ISSN: 1646 - 3153 se o sucesso do filme foi graças à campanha implemen- good results achieved by the film are due to the effi- tada.
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Estratégias Mediáticas Digitais Digital Media
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Larger than Life: Communicating the Scale of Prehistoric CG Animals Valentina Feldman Digital Media Antoinette Westphal College of Media Arts and Design Drexel University Philadelphia, PA 19104 [email protected] Abstract — Since the earliest days of cinema, toying with the This statement can hardly be applied to filmmakers, who perception of scale has given filmmakers the ability to create have historically paid great attention to differences of size. spectacular creatures that could never exist in the physical world. The perception of scale is one of the most widely manipulated With the flexibility of CG visual effects, this trend has persisted in aspects of “movie magic,” and has been so since the earliest the modern day, and blockbuster movies featuring enormous monsters are just as popular as ever. The trend of scaling days of cinema. Films featuring impossibly gigantic creatures creatures to impossible proportions for dramatic effect becomes have dominated the box office since the record-breaking problematic when filmmakers use this technique on non-fictional release of King Kong (1933) [LaBarbera, 2003]. Perhaps creatures. Prehistoric animals in particular have very few unsurprisingly, the trend of giant monsters has only continued scientifically accurate appearances in popular culture, which with the advancement of visual effects technology. Movie means that films such as Jurassic Park play an enormous role in monsters are growing bigger and bigger, and moviemakers determining the public’s view of these animals. When filmmakers arbitrarily adjust the scale of dinosaurs to make them appear show no signs of stopping their ceaseless pursuit of cinematic more fearsome, it can be detrimental to the widespread gigantism.
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FOLLOW (/) NEWS (HTTP://WWW.IBTIMES.COM.AU/NEWS) J.J. Abrams Talks Visual Effects And 'Challenging’ Work On 'Star Wars: The Force Awakens' By Tanya Diente (/reporters/tanya-diente) @mystidrift (http://www.twitter.com/mystidrift) on February 09 2015 2:31 PM Director J.J. Abrams and his wife Katie McGrath pose at the Children's Defense FundCalifornia 24th Annual "Beat the Odds" Awards in Culver City, California December 4, 2014. Reuters/Mario Anzuoni During his acceptance speech at the Visual Effects Society Awards, J.J. Abrams admitted he was thrilled to have worked on “Star Wars: The Force Awakens.” He said it’s been a thrill working on “Star Wars: The Force Awakens.” The director also expressed his gratitude for Lucasfilm for making his lifetime dream of working on the movie a reality. According to Deadline (http://deadline.com/2015/02/jjabramsstarwarsdreamcometruevesawards1201366546/), J.J. Abrams was especially grateful for head of Lucasfilm Kathleen Kennedy for giving him the opportunity to direct the movie. “I want to thank Kathy Kennedy for saying the words, ‘Do you want to direct Star Wars?’ and actually being in a position to let me direct Star Wars,” he said. Abrams revealed that the past couple of years he’s spent working on “Star Wars: The Force Awakens,” “in the world of light sabers and tie fighters,” has reportedly been “absolutely challenging” for him. The movie has suffered numerous leaks in the past, from plot details to leaked concept art. However, this has not stopped the director from keeping mum on production details.
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Feature Films: a Profile of Production
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The Participatory Networks of 9/11 Media Culture
The Politics of Ethical Witnessing: The Participatory Networks of 9/11 Media Culture A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Emanuelle Wessels IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Adviser: Ronald Walter Greene September 2010 © Emanuelle Wessels 2010 Acknowledgements First, I would like to thank my advisor, Ronald Walter Greene. Professor Greene consistently went above and beyond to guide me through this project, and his insight, patience, and encouragement throughout the process gave me the motivation and inspiration to see this dissertation to the end. Thank you for everything, Ron. Thank you to Professors Laurie Ouellette, Cesare Casarino, and Gilbert Rodman for conversing with me about the project and providing helpful and thoughtful suggestions for future revisions. I would also like to thank Professor Mary Vavrus for serving on my committee, and for assisting me with crucial practical and administrative matters. Professor Edward Schiappa, whose pragmatic assistance has also been much appreciated, has been invaluably supportive and helpful to me throughout my graduate career. I would also like to acknowledge the many professors who have inspired me throughout the years, including Karlyn Kohrs Campbell, Donald Browne, Thomas Pepper, Elizabeth Kotz, Greta Gaard, and Richa Nagar. Without the kindness and friendship of the many wonderful people I have had the pleasure of meeting in graduate school, none of this would have been possible either. A heartfelt thank you to my friends, including Julie Wilson, Joseph Tompkins, Alyssa Isaacs, Carolina and Eric Branson, Kate Ranachan, Matthew Bost, Kaitlyn Patia, Alice Leppert, Anthony Nadler, Helen and Justin Parmett, Thomas Johnson, and Rebecca Juriz.
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Academy Invites 774 to Membership
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Populating Categories Using Constrained Matrix Factorization
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