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THX Room EQ Manual
Home THX Equalization Manual Rev. 1.5 Home THX Audio System Room Equalization Manual Rev. 1.5 This document is Copyright 1995 by Lucasfilm Ltd THX and Home THX are Registered Trademarks of Lucasfilm Ltd Dolby Stereo, Dolby Pro Logic, and Dolby AC-3 are trademarks of Dolby Laboratories Licensing Corporation 1 Home THX Equalization Manual Rev. 1.5 Table of Contents Introduction and Background: Why Room Equalization? ..................................... 3 Test Equipment Requirements ........................................................................... 4-5 The Home THX Equalizer ....................................................................................... 5 Equalization Procedures ................................................................................... 5-22 Section 1: EQ Procedure Using the THX R-2 Audio Analyzer ............................ 6-13 1.1 - 1.3 Test Equipment Set-Up ................................................................... 6-9 1.4 - 1.7 LCR Equalization ......................................................................... 10-11 1.8 - 1.10 Subwoofer Equalization ............................................................... 11-13 1.11 Listening Tests ................................................................................. 13 Section 2: EQ Procedure Using a Conventional RTA ...................................... 14-21 2.1 - 2.3 Test Equipment Set-Up ................................................................ 14-17 2.4 - 2.6 LCR Equalization ........................................................................ -
Digital Dialectics: the Paradox of Cinema in a Studio Without Walls', Historical Journal of Film, Radio and Television , Vol
Scott McQuire, ‘Digital dialectics: the paradox of cinema in a studio without walls', Historical Journal of Film, Radio and Television , vol. 19, no. 3 (1999), pp. 379 – 397. This is an electronic, pre-publication version of an article published in Historical Journal of Film, Radio and Television. Historical Journal of Film, Radio and Television is available online at http://www.informaworld.com/smpp/title~content=g713423963~db=all. Digital dialectics: the paradox of cinema in a studio without walls Scott McQuire There’s a scene in Forrest Gump (Robert Zemeckis, Paramount Pictures; USA, 1994) which encapsulates the novel potential of the digital threshold. The scene itself is nothing spectacular. It involves neither exploding spaceships, marauding dinosaurs, nor even the apocalyptic destruction of a postmodern cityscape. Rather, it depends entirely on what has been made invisible within the image. The scene, in which actor Gary Sinise is shown in hospital after having his legs blown off in battle, is noteworthy partly because of the way that director Robert Zemeckis handles it. Sinise has been clearly established as a full-bodied character in earlier scenes. When we first see him in hospital, he is seated on a bed with the stumps of his legs resting at its edge. The assumption made by most spectators, whether consciously or unconsciously, is that the shot is tricked up; that Sinise’s legs are hidden beneath the bed, concealed by a hole cut through the mattress. This would follow a long line of film practice in faking amputations, inaugurated by the famous stop-motion beheading in the Edison Company’s Death of Mary Queen of Scots (aka The Execution of Mary Stuart, Thomas A. -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Motion Picture Science: a Fully Integrated Fine Arts/STEM Degree Program
Motion Picture Science: A Fully Integrated Fine Arts/STEM Degree Program Victoria M. Scholl, Megan M. Iafrati, David L. Long, Joseph J. Pow Rochester Institute of Technology, vms3476, mmi7593, dllppr, [email protected] Abstract - Technology has advanced in such a way that Today, a majority of Americans entertain themselves there is now a need within the motion picture industry, with ubiquitous TV shows, movies, and video games as as well as in society in general, for professionals trained opposed to attending some form of live entertainment. with a comprehensive knowledge of Science, Technology, Further, they are increasingly accessing this content on- Engineering, and Mathematics (STEM) as well as the demand and across multiple platforms at home and on-the- traditional Arts. In the School of Film and Animation go. As technology has advanced, so too have the (SOFA) at Rochester Institute of Technology (RIT) a possibilities in the world of art, an idea that has been novel undergraduate program has been developed to embraced in most professional practices but is less well cultivate students into professionals with the skill sets addressed in education. Motion picture professionals are necessary to fill this niche. This undergraduate program expected to have a certain technical proficiency as well as is Motion Picture Science (MPS), a degree developed to an understanding of artistic principles but there is often a give students relevant tools to take into synergistic divide between those two subjects within education. This STEM and Arts careers in the modern motion picture rift has prevented artists and engineers from collaborating to industry. Pioneered in 2007, Motion Picture Science has the greatest extent possible in formative experiences during consistently boasted increasing enrollment and secondary and post-secondary learning, leading to a successful graduates who earn meaningful employment widespread lack of understanding of the entire process of in the fields of their choosing. -
Electronic Labyrinth: THX 1138 4EB
Electronic Labyrinth: THX 1138 4EB By Matthew Holtmeier Considering at least one “Star Wars” film has been released every decade since the 1970’s, this epic science fic- tion franchise likely jumps to mind upon hearing the name George Lucas. Avid filmgoers might think, instead, ‘Industrial Light and Magic,’ which has contributed to the special effects of over 275 feature films since it was founded by Lucas in 1975. Either way, Lucas’s penchant for the creation of fantastic worlds has radi- cally shaped the cinematic landscape of the past 40 years, particularly where big Dan Natchsheim as a character known simply as 1138 attempts budget films are concerned. Like many to escape a dystopian future society. Courtesy Library of filmmakers since the growth of film schools Congress Collection. in the 60’s, he started with a student film, however: “Electronic Labyrinth: THX1138 The Yardbirds, “I know. I know.” As the Gregorian 4EB” (1967). “Electronic Labyrinth” provides a strik- chant of The Yardbirds track begins, the camera ingly different vision of what the cinematic medium is tracks across an extreme close up of electronics capable of, particularly when compared to the mod- equipment, revealing the technocracy of the future. ern fairytales of the “Star Wars” films. It too has a The rest of the film will oscillate between the ‘operators’ science fictional setting, but one without heroes or of this technocracy, and THX 1138’s attempted escape princesses, and instead delves into the dystopian from the smooth, featureless white walls of a com- potential of technology itself. Giving vision to a world pound, presumably a world without desire. -
Ted Costas Press Release
TED COSTAS, FOUNDER AND PARTNER, SGI QC, TO RECEIVE INTER-SOCIETY’S KEN MASON AWARD Recognizes Contributions to Overall Motion Picture Experience In his current role as Founder/Partner at SGI QC, Ted oversees Domestic and International QC for several of the top studios. SGI has worked on major releases such as Transformers, The Avengers, and recently, Star Wars: The Force Awakens. SGI also helps on innovative engineering projects like the recent 35mm film release of InterStellar, and the 70mm film release of Hateful Eight, with installs and alignments. Ted was the only two-term President in the history of the Inter-Society, serving from 2004 to 2007. While President, Ted successfully worked to increase movie studio participation in the Inter-Society. Ted started the ISEC (Inter-Society Environmental Committee), which instituted both the Film Trailer Recycling Program and 3D Glasses recycling at a time when the 3D glasses were called “disposable.” Yet the most significant committee Ted started while President of the Inter-Society was the ISDCF (Inter-Society Digital Cinema Forum). No other committee or group has done more to “tame the Wild West of Digital Cinema” than the ISDCF and it’s seven years of successful monthly meetings. In 2007, Ted was named on the Sci-Tech Academy Award for the Cyan Dye Track Committee. Ted started his career at Lucasfilm, THX, where he spent fifteen years with the Theatre Alignment Program (TAP). At TAP, Ted started the Academy Award winning TASA Program (Trailer Audio Standards Association), to help limit volume levels in trailers domestically. Ted also oversaw the very first four Digital Cinema installations ever, for Star Wars Episode 1, in Los Angeles and New York. -
George Lucas and the Impact Star Wars Had on Modern Society
George Lucas And The Impact Star Wars Had On Modern Society. By: Rahmon Garcia George Lucas was a very famous director, and made many different films in his time as a director, but his most famous film he ever produced was Star Wars. The effect Star Wars had on modern society was pretty incredible; the way he could create an amazing story from a very abstract idea; If you walked up to any person and asked them if they knew the movie series Star Wars, their answer would definitely be yes. His movies changed our modern society and the way we look at aspects of life. George Walton Lucas Jr. was born May 14 1944, in Modesto, California. In his youth he attended the Southern California University for film. He was the Screenwriter and director of his school project and first major film, THX 1138 4EB, which was his first step on the path to becoming a great director. Although George Lucas was mostly known for being the director of movies such as ‘Star Wars’ and ‘Indiana Jones’, he also made many other films, such as ‘Twice Upon A Time’, ‘The Land Before Time’, ‘Willow’, ‘Strange Magic’, ect. Even though we now think of Star Wars as a great movie series, when it was in the making it was very hard to picture it would turn into such an incredible saga. Ever since George Lucas was in High School, he was obsessed with Car Racing, and would often try to repair or create a new engine for his car, until one day when he was racing he got into a really bad accident and was nearly killed, if it wasn't for his seat which ejected him after his seat belt broke. -
Goodbye to Film School: Please Close the Door on Your Way Out
7 Goodbye to Film School: Please Close the Door on Your Way Out T o b y M i l l e r am not an expert on film schools, though I used to work in one. Nor have I I undertaken an exhaustive analysis of the six hundred such entities that sup- posedly exist across the United States. 1 But here I am, writing about that sym- bolic behemoth of the film school, the United States. Three film schools stand out among the putative six hundred: the University of Southern California (USC—a private university in Los Angeles), the University of California Los Angeles (UCLA—part of the state’s é lite ten-campus public sys- tem), and New York University (NYU—also private, and where I taught for over a decade). The Hollywood Reporter ’s list of the top 25 film schools has those three in the top five, along with the Beijing Film Academy and the American Film Institute.2 I am particularly interested in these three universities because they are Research-One schools and hence produce ruling-class hegemons and scholarly researchers as well as factory fodder / creatives for world cinema. And their film academies started early—USC in 1929, UCLA in 1947, and NYU in 1965. I’ve drawn on experience, anecdotal repute, and political-economic-environmental analysis to investigate the culture of these film schools, their employment impact, their cost, and their future. Here’s my headline: film schools shouldn’t exist. They should be schools of media and cultural studies, dedicated to displacing both the residual humani- ties (textual analysis and history) and the emergent humanities (business stud- ies). -
MA Screenwriting Student Handbook 2017/18 1 Version: September 2017, Final
in partnership with MA Screenwriting Validated by the University of Warwick, United Kingdom Academic Year 2017/18 Student Handbook Version: September 2017 Table of Contents 1. Welcome _________________________________________________________ 1 2. About This Handbook ______________________________________________ 2 3. Introduction to the London Film School _______________________________ 2 4. Introduction to the University of Warwick ______________________________ 2 5. Quality Assurance _________________________________________________ 3 5.1. Higher Education Review (AP) 2016 ____________________________________ 3 5.2. 2017 Update ______________________________________________________ 3 6. Orientation, Induction and Enrolment _________________________________ 3 6.1. Orientation ________________________________________________________ 3 6.2. Enrolment _________________________________________________________ 3 6.2.1. Documents to Bring to Enrolment ______________________________________ 4 6.3. Induction _________________________________________________________ 4 7. Introduction to the Course __________________________________________ 4 7.1. Credit Points and Awards ____________________________________________ 4 7.2. Language of Instruction ______________________________________________ 4 7.3. The Course _______________________________________________________ 5 7.5. Course Structure ___________________________________________________ 6 7.6. Your Timetable _____________________________________________________ 6 7.7. Term Dates Academic Year -
A Nomadology of Inamoramento De Orlando and Star Wars
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 12-19-2018 2:00 PM Romance, Politics and Minor Art: A Nomadology of Inamoramento de Orlando and Star Wars Andrea Privitera The University of Western Ontario / Università degli studi di Padova Supervisor Boulter, Jonathan The University of Western Ontario Joint Supervisor Baldassarri, Guido University of Padova Graduate Program in Comparative Literature A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Andrea Privitera 2018 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Comparative Literature Commons, Film and Media Studies Commons, Italian Literature Commons, and the Performance Studies Commons Recommended Citation Privitera, Andrea, "Romance, Politics and Minor Art: A Nomadology of Inamoramento de Orlando and Star Wars" (2018). Electronic Thesis and Dissertation Repository. 5921. https://ir.lib.uwo.ca/etd/5921 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstracts English While existing theories of romance (in particular, those formulated by Northrop Frye and Fredric Jameson) accurately characterize this literary mode as a highly politicized example of art, this thesis contends that the political nature of romance is broader and more complex than discussed so far. In order to offer a new and comprehensive political theory of romance, this work proposes a comparison between two historically and culturally diverse examples of romance, that is Matteo Maria Boiardo’s chivalric poem Inamoramento de Orlando and George Lucas’ space opera film Star Wars. -
CNN.Com Search
International Edition | MEMBER SERVICES The Web CNN.com Search Home Page World U.S. Weather Business The Lucas world, pre-'Star Wars' Sports Enter Keywords Politics A return to 'THX 1138' Enter City ALL Law Monday, September 13, 2004 Posted: 10:28 AM EDT (1428 GMT) Technology Science & Space SAN RAFAEL, California (AP) -- In Health his most soothing voice, George Entertainment Lucas has these important Travel messages to share: Work hard. Education Prevent accidents. Increase Special Reports production. Buy more. And most important, be happy. Those mantras come from 1971's "THX 1138," Lucas' comparatively unknown first film, which he reintroduced to audiences with a limited theatrical release Friday, to "THX 1138" was based on a student film be followed by its DVD debut Tuesday. George Lucas made at USC. SERVICES Video In a way, Lucas views this as the true E-mail Newsletters premiere of "THX 1138," a dark sci-fi satire Refinance Rates Just Got Lower Your E-mail Alerts starring Robert Duvall as the title Lock in the lowest rates of the character, struggling to escape a summer. Get up to 4 free refinance CNNtoGO dehumanized society whose inhabitants quotes. Contact Us are mere numbers to a government that www.lowermybills.com SEARCH preaches boundless consumerism and Home Equity Loans-4.25% APR Web CNN.com keeps the population happy through mandatory sedatives. Receive up to 4 free loan quotes from trusted lenders and get the cash you... "It's almost like it's a new movie, because a www.lowermybills.com Search lot of people don't know about it," Lucas told The Associated Press over lunch at his LendingTree.com - Official Site 2,600-acre Skywalker Ranch. -
"It's Aimed at Kids - the Kid in Everybody": George Lucas, Star Wars and Children's Entertainment by Peter Krämer, University of East Anglia, UK
"It's aimed at kids - the kid in everybody": George Lucas, Star Wars and Children's Entertainment By Peter Krämer, University of East Anglia, UK When Star Wars was released in May 1977, Time magazine hailed it as "The Year's Best Movie" and characterised the special quality of the film with the statement: "It's aimed at kids - the kid in everybody" (Anon., 1977). Many film scholars, highly critical of the aesthetic and ideological preoccupations of Star Wars and of contemporary Hollywood cinema in general, have elaborated on the second part in Time magazine's formula. They have argued that Star Wars is indeed aimed at "the kid in everybody", that is it invites adult spectators to regress to an earlier phase in their social and psychic development and to indulge in infantile fantasies of omnipotence and oedipal strife as well as nostalgically returning to an earlier period in history (the 1950s) when they were kids and the world around them could be imagined as a better place. For these scholars, much of post-1977 Hollywood cinema is characterised by such infantilisation, regression and nostalgia (see, for example, Wood, 1985). I will return to this ideological critique at the end of this essay. For now, however, I want to address a different set of questions about production and marketing strategies as well as actual audiences: What about the first part of Time magazine's formula? Was Star Wars aimed at children? If it was, how did it try to appeal to them, and did it succeed? I am going to address these questions first of all by looking forward from 1977 to the status Star Wars has achieved in the popular culture of the late 1990s.