4. 1. Research Output Iv) Screenings
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Polish Cinema 2008
New Polish Films: WITH SENSE AND SENSIBILITY Andrzej Wajda’s School: THE MASTER AND HIS TRAINEES “Peter and the Wolf”: SECOND OSCAR FOR A FILM MADE IN SE-MA-FOR STUDIO Russia, Afghanistan and Belarus: IN POLISH DOCUMENTARIES „PETER AND THE WOLF” Polish Cinema 2008 THE TRAGEDY OF PRISONERS OF WAR, THE MISERY OF THEIR FAMILIES ANDRZEJ WAJDA’S “KATYŃ” Polish Cinema 2008 editorial “Kino” monthly , a journal providing a perceptive and original insight into various aspects of the film industry, has accompanied Polish cinema for over forty years now. In line with this tradition, in this special English language issue, we present a selection of articles published in “Kino” in the last year. They include reviews, interviews, as well as articles concerning the history of Polish cinema and opinion columns. However, we focus on the most interesting Polish feature films (of which 41 have been made there between the beginning of 2007 and May 2008), as well as documentary and animated films of the last year. Some of them could be seen at various international festivals, where they received numerous awards. The most prestigious award, an Oscar, came to the short animated film, “Peter and the Wolf”, which is a British-Polish co-production, directed by Suzie Templeton and made in the Studio Se-Ma-For in Łódź. On the other hand, the most awarded Polish film was “Tricks” by Andrzej Jakimowski, which till April 2008 received 12 awards, including at the festivals in Gdynia, Venice, Tokyo, Mannheim, Sao Paulo and Miami. However, what counts more than awards is the fact that Polish viewers have regained pleasure in watching Polish films. -
Spatial Design Principles in Digital Animation
Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system. -
Best Enjoyed As Property, Shoe and Hairdo Porn.”
”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Rauno Sainio Tampere University School of Language, Translation and Literary Studies English Philology Pro Gradu Thesis May 2011 ii Tampereen yliopisto Englantilainen filologia Kieli-, käännös- ja kirjallisuustieteiden yksikkö SAINIO, RAUNO: ”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Pro gradu -tutkielma, 135 sivua + liite (6 sivua) Kevät 2011 Tämän pro gradu -tutkielman tarkoituksena oli tutustua eri menetelmiin, joiden avulla englannin kielen sanastoa voidaan laajentaa. Lähdekirjallisuudesta kerättyä tietoa käsiteltiin tutkielman teoriaosuudessa, minkä jälkeen empiirinen osuus selvitti, kuinka kyseisiä menetelmiä sovelletaan käytännössä nykyenglannissa. Tämän selvittämiseksi käytiin manuaalisesti läpi korpusaineisto, joka koostui isobritannialaisen Total Film -elokuvalehden yhden vuoden aikana julkaistuista numeroista. Elokuvajournalismissa käytettävä kieli valittiin tutkimuksen kohteeksi kirjoittajan henkilökohtaisen kiinnostuksen vuoksi sekä siksi, että elokuva on paitsi merkittävä, myös jatkuvasti kehittyvä taiteen ja populaarikulttuurin muoto. Niinpä tämän tutkielman tarkoitus on myös tutustuttaa lukija sellaiseen sanastoon, jota alaa käsittelevä lehdistö nykypäivänä Isossa-Britanniassa käyttää. Korpuksen pohjalta koottu, 466 elokuva-aiheista uudissanaa käsittävä sanaluettelo analysoitiin -
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. -
La Grande Belleza Says to Italians?’ and the Second Will Be the Attempt to Unveil ‘What This Rome Says About Italy to Non-Italian People?’
Divna Cpajak Student number 10849335! “La Grande Bellezza as an inquiry into Italianness” MA Thesis Comparative Literature Table of contents Introduction ......................................................................................................................3 La Grande Bellezza: What is an Italian Film? ...............................................................3 “Made in Italy”: Some Thoughts on National Identity ..................................................5 The Structure of the Analysis: Deconstructing “La Grande Bellezza”. ........................7 Chapter 1: Two cities. ........................................................................................................9 Into the Narrative of a City: Italy and Italianness. ........................................................9 Contrast: Two Visions of Rome ...................................................................................11 The Rome of Italians ................................................................................................11 The Rome of the Foreigners ....................................................................................12 Setting the Tone: a banal Rome ...............................................................................13 Chapter 2: A Character with an Old Premise in a New Story. ........................................16 Who is Jep Gambardella? ............................................................................................16 Flaubert´s F. Moureau ..................................................................................................16 -
Analysis and Development Film Legend of the Galela Using Three Dimensional Animation
International Journal of Advanced Research in Computer Engineering & Technology (IJARCET) Volume 6, Issue 7, July 2017, ISSN: 2278 – 1323 Analysis And Development Film Legend Of The Galela Using Three Dimensional Animation M. Kasyif Gufran Umar people [2]. Video or movie is known as one of the most Abstract— The animated movie is a growing industry in effective media to convey the message or information directly Indonesia. Animated film serves as a medium not only to humans [2]. The development of film in Indonesia has entertain, but also educate because it contains a moral message many versions, ranging from action movies, adventure, and didactic. Currently, the making of animated films in documentary, comedy and animated films [3]. Currently, addition to having an interesting story line, also has a specific animated films began to dominate the film market in purpose. There is an important message to be conveyed, such as Indonesia. Besides more the theme of education, created the presenting a legend or cultural heritage that became extinct from the public gaze. In fact, there are many people even animated film is able to attract people to watch it [4]. younger generation, have minimal knowledge about the legend Developing an animated film also has many types and their own areas. Society tends to like to enjoy other versions such as: 2D animation; 3D animation; Stop motion entertainment than on listening to the legend that is considered animation; and the Japanese Animation (Anime) [3] .In old-fashioned. The number of alternative technologies utilized addition, the animated film was developed by considering the by the loss of consciousness to be a factor for preserving election theme of the story that raised the local legend of both cultural heritage. -
Ten Years Supporting, Delivering & Promoting the Whole Spectrum of Animation
TEN YEARS SUPPORTING, DELIVERING & PROMOTING THE WHOLE SPECTRUM OF ANIMATION Directors Message Wow – we made it to our 10th anniversary!! Who would have thought it? From very humble beginnings – our first festival in 2004 screened at the now-defunct Rupert Street Cinema in Piccadilly – to LIAF 2013, 10 days at 3 different venues. We have survived - sort of. Over 10 years we’ve received more than 12,000 entries, screened more than 2,500 films, and had some of the most talented animators in the world come and hang out with us. And we’ve had a ball on the way. It’s time to blow our own trumpet. As well as being the largest festival of it’s kind in the UK in terms of films and programmes screened, we have a substantial touring component and we run satellite events all year-round. We’ve screened at festivals, cinemas, theatres and colleges all around the world and in the UK and hopefully we have spread the word that animation is a valid artform that is only limited by the animator’s imagination. In short, our maxim is that in animation anything can happen. Long may this be. There are far too may people to thank here (hopefully you know who you are) but the guidance and immense work-rate of my co-Director Malcolm Turner has to be acknowledged. Way back when in our ground zero - actually in the year 1999 - I still vividly recall that very first meeting Malcolm and I had with our then-colleague Susi Allender in the back garden of our Melbourne flat. -
Application of Performance Motion Capture Technology in Film and Television Performance Animation
Proceedings of the 2nd International Symposium on Computer, Communication, Control and Automation (ISCCCA-13) Application of Performance Motion Capture Technology in Film and Television Performance Animation ZHANG Manyu Dept. Animation of Art, Tianjin Academy of Fine Arts Tianjin , CHINA E-mail: [email protected] Abstract—In today’s animation films, virtual character tissue simulation technique” for the first time, so that acting animation is a research field developing rapidly in computer skills of actors can be delivered to viewers maximally. graphics, and motion capture is the most significant What’s more, people realize that “motion capture component, which has brought about revolutionary change for technology” shall be called as “performance capture 3D animation production technology. It makes that animation technology” increasingly. Orangutan Caesar presented in producers are able to drive animation image models directly with the use of actors’ performance actions and expressions, Rise of the Apes through “motion capture” technology is which has simplified animation manufacturing operation very classical. Various complicated and subtle expressions greatly and enhanced quality for animation production. and body languages of Caesar’s not vanished bestiality and initially emerged human nature have been presented Keywords- film and television films, motion capture, naturally and freshly in the film, which has achieved the technology excellent realm of mixing the false with the genuine. When Caesar stands in front of Doctor Will in equal gesture, its I. INTRODUCTION independence and arbitrariness in its expression with dignity With the development of modern computer technology, of orangutan has undoubtedly let viewers understand computer animation technology has developed rapidly. -
Reminder List of Productions Eligible for the 86Th Academy Awards
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill. -
Creative Corner Think 3Ds Max Is the Most flexible CG Software out There, and It's Also the a Look at Artists and Facilities Taking Creativity to New Levels
Commercials, shorts, and now feature films a small team and you have to fix something very quickly. It's amazing for Storytelling to the max (3ds and otherwise) For Platige Image, it’s Platige has created over 2,500 commercials and has worked with the that, especially when you’re working in commercials. I love the fact that As Platige moves into feature film production with its forthcoming Another largest advertising agencies in Poland and abroad. Commercials created by any challenges we encounter can be solved either within the program or Day of Life, it should be interesting to see how the company’s artists Platige have appeared in the United Kingdom, Russia, Portugal, and the with a few plug-ins. There is something brilliant about that.” transform their skills at telling a short story—as evidenced in numerous all about the story United States; they promote a wide variety of brands, including LEGO, commercials and short animated films—into telling a long one. As is the Warsaw VFX company moves into feature film production Kellogg Company, the Discovery Channel, the History Channel, and case with many other studios, Autodesk is proud to play a role in this Vodafone. Platige won international recognition and acclaim for its evolutionary process, and it’s always exciting to see how tried-and-true animated shorts, including The Cathedral (2003), Fallen Art (2004), The tools, like 3ds Max, continue to be used in new and innovative ways. Platige Image, a CG and VFX firm headquartered in Warsaw, Poland, has Kinematograph (2009), and Paths of Hate (2010). -
Bald and Bold for St. Baldrick's
Wednesday, February 26, 2014 VOLUME 33 / NUMBER 22 www.uicnews.uic.edu facebook.com/uicnews twitter.com/uicnews NEWS UIC youtube.com/uicmedia For the community of the University of Illinois at Chicago Photo: S.K. Vemmer Carly Harte and Andrea Heath check each other’s new look after their heads were shaved in a fundraiser for St. Baldrick’s Foundation Thursday. The roommates drove from Milwaukee to Children’s Hospital University of Illinois for the event, which benefits pediatric cancer research at UIC and elsewhere. More on page 3; watch the video atyoutube.com/uicmedia Bald and bold for St. Baldrick’s INSIDE: Profile / Quotable 2 | Campus News 4 | Calendar 12 | Student Voice 13 | Police 14 | Sports 16 Composer Steve Everett finds the Honoring UIC’s Researchers of Cai O’Connell’s once-in-a-lifetime Women’s basketball gets ready to right notes the Year Olympics assignment break the record More on page 2 More on page 7 More on page 11 More on page 16 2 UIC NEWS I www.uicnews.uic.edu I FEBRUARY 26, 2014 profile Send profile ideas to Gary Wisby,[email protected] Composer Steve Everett hits right notes with technology By Gary Wisby Princeton and a guest composer at Eastman School of Music, Conservatoire National Supérieur de Mu- Epilepsy. sique de Paris, Conservatoire de Musique de Genève The chemical origins of life. in Switzerland, Rotterdam Conservatory of Music A young prostitute who lived in and Utrecht School of the Arts in the Netherlands. New Orleans’ notorious Storyville His compositions have been performed in Paris, 100 years ago. -
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.