Animation Workers Antitrust Litigation C/O Kurtzman Carson Consultants ("KCC") P.O
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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. -
3-Year Academic Assessment Plan Cover Sheet Email To: [email protected]
3-Year Academic Assessment Plan Cover Sheet Email to: [email protected] Program Information: Program Assessed MFA Writing for Dramatic Media Department Film College College of Fine Arts Department Chair Heather Addison Assessment Coordinator Sean Clark Date Submitted 12/20/2018 Contact Person for This Plan Name Sean Clark Phone 54536 Email [email protected] Please address the following items: • What are the student learning outcomes? Please provide a numbered list. • Plans must include a curriculum map showing which courses will address which learning outcomes. Examples can be found here: http://provost.unlv.edu/Assessment/map.html • Which learning outcomes will be assessed in each cycle year (i.e., assessment timeline)? • How will the learning outcomes be assessed? (Programs must use at least one direct assessment of student learning.) • Undergraduate programs should assess at least one University Undergraduate Learning Outcome (UULO) each year, which may or may not overlap with a program learning outcome. • Graduate programs should assess at least one outcome related to one of the following graduate level requirements each year: o student engagement in research, scholarship, creative expression and/or appropriate high- level professional practice. o activities requiring originality, critical analysis and expertise. o the development of extensive knowledge in the field under study. • What is your plan for sharing the assessment results and acting on them (i.e., closing the loop)? Please limit the narrative portion of your report to no more than four pages. You may attach appendices with data, tables, charts, or other materials as needed. Please explain the relevant conclusions from any appendices in your narrative. -
CA Chart of Accts Film
CALIFORNIA CHART OF ACCOUNTS Qualifying and Non-qualifying Accounts Films - Movies of the Week - Mini-Series Effective July 1, 2014 Revised March 2014 The chart below is intended as a helpful guide, and not an exact list of what are considered Qualified Expenditures. Qualified Expenditures are for pre-production, production, and post-production - not for development, marketing, publicity, or distribution . The following listing assumes where "yes" is designated that the service is performed or property is used in the state of California. Items used or personnel services employed both within and outside of California can be qualified only for the prorata portion of costs incurred directly in California. Any expenditures incurred prior to issuance of the tax credit allocation letter are not qualified expenditures. Account # Description Qualified Comments 101-00 STORY & RIGHTS 101-01 Story Rights - Purchase NO 101-02 Acquisition Expenses NO 101-06 Title Report YES If work performed in California. 101-08 Copyright Fee NO 101-99 Fringe Benefits NO 102-00 WRITING 102-01 Writers NO 102-03 Editor and Consultants NO 102-05 Research YES 102-06 Script Timing YES 102-07 Secretaries YES 102-08 Script Duplication YES 102-18 Script Clearance Research YES 102-19 Clearance Fees YES If paid to CA company 102-20 Clearance License Fees NO 102-40 Materials & Supplies YES 102-45 Box Rentals YES On Qualified Labor Only 102-47 Car Allowances, Mileage YES On Qualified Labor Only 102-50 Rentals YES 102-80 Writer Entertainment & Meals YES 102-85 Script Publication -
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing
Directors Tell the Story Master the Craft of Television and Film Directing Directors Tell the Story Master the Craft of Television and Film Directing Bethany Rooney and Mary Lou Belli AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 225 Wyman Street, Waltham, MA 02451, USA The Boulevard, Langford Lane, Kidlington, Oxford, OX5 1GB, UK © 2011 Bethany Rooney and Mary Lou Belli. Published by Elsevier Inc. All rights reserved No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Details on how to seek permission, further information about the Publisher’s permissions policies and our arrangements with organizations such as the Copyright Clearance Center and the Copyright Licensing Agency, can be found at our website: www.elsevier.com/permissions. This book and the individual contributions contained in it are protected under copyright by the Publisher (other than as may be noted herein). Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. -
L'animation Stylisée
Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works. -
2020 Croner Animation Position Grids.Xlsx
Survey Position Grids STORY / VISUAL DEVELOPMENT ANIMATION Family 200 210 220 230 240 250 260 280 300 Production TV Animation / Character Visual Character Level Story Design / Art Pre-Visualization Modeling Layout Shorts Design Development Animation Direction Executive Management 12 Head of Production Management Generates and Manages the Creates the look Creates characters Creates and Creates sequences of Creates, builds and Creates 3D layouts. Defines, leads and 14 Head of Animation Studio develops story ideas, animation process of and artistic to meet established presents concepts shots that convey the maintains models Translates sketches into 3D executes major 16 Top Creative Executive sequences, an animated deliverables to vision for the and designs for the story through the of story elements, layouts and shot sequences character animation storyboards, television or short film meet the artistic, production, production, including application of traditional including and scenes. May create for productions, elements and production, ensuring creative and including look, character, sets, filmmaking principles in characters, sets and scenes. including personality Brief Job Family Descriptions enhancements that the creative aesthetic vision of personality, lighting, props, key a 3D computer graphics environments, Determines camera and animation style. throughout desires, as well as a production. movement, art. Creates plan environment. elements, sets, placement, blocks production. production expression. views and blue structures. characters, -
College Choices for the Visual and Performing Arts 2011-2012
A Complete Guide to College Choices for the Performing and Visual Arts Ed Schoenberg Bellarmine College Preparatory (San Jose, CA) Laura Young UCLA (Los Angeles, CA) Preconference Session Wednesday, June 1 MYTHS AND REALITIES “what can you do with an arts major?” Art School Myths • Lack rigor and/or structure • Do not prepare for career opportunities • No academic challenge • Should be pursued as a hobby, not a profession • Graduates are unemployable outside the arts • Must be famous to be successful • Creates starving artists Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School in the News Visual/Performing Arts majors are the… “Worst-Paid College Majors” – Time “Least Valuable College Majors” – Forbes “Worst College Majors for your Career” – Kiplinger “College Degrees with the Worst Return on Investment” – Salary.com Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Projected More than 25 28 million in 2013 million in 2020 More than 25 million people are working in arts-related industry. By 2020, this is projected to be more that 28 million – a 15% increase. (U.S. Department of Labor) Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Due to the importance of creativity in the innovation economy, more people are working in arts than ever before. Copyright: This presentation -
Michael Wiese Productions 2017 2017 Contents
MICHAEL WIESE PRODUCTIONS 2017 2017 CONTENTS NEW TITLES SCREENWRITING/ 25 The Way of Story 6 Producero t Producer — WRITING 25 Elephant Bucks 2nd Edition 19 The Coffeebreak 26 The Virgin’s Promise 7 Romantic Comedies Screenwriter — 2nd Edition 26 Mind Your Business 8 Making it Big in 26 Dan O’Bannon’s Guide to Shorts — 3rd Edition 19 The Hollywood Standard — 2nd Edition Screenplay Structure 9 The Woman in the 27 The Writer’s Advantage Story — 2nd Edition 19 Your Screenplay Sucks! 27 Rewrite — 2nd Edition 10 Writing Subtext — 2nd 19 Cinematic Storytelling Edition 20 Noteso t Screenwriters 27 Forensic Speak 11 Making the Magic 20 Writing the TV Drama 27 Creating Graphic Novels Happen Seriesd — 3r Edition 28 Shakespeare for 12 Crash! Boom! Bang! 20 Riding the Alligator Screenwriters 13 Write! Shoot! Edit! 20 Stealinge Fir from the 28 The Hidden Tools of Comedy 14 Shooting Better Movies Gods — 2nd Edition 28 Writing the Science 15 Make Some Noise 21 Why Does the Screenwriter Cross Fiction Film 16 Suspense With a Camera the Road? 29 Master Shots 17 Filmmaking for 21 Myth and the Movies 29 Master Shots Vol 1 — Change — 2nd Edition 21 And the Best Screenplay 2nd Edition ® 18 Save the Cat! Goes to... 29 Master Shots Vol 2 ® 18 Save the Cat! 21 Horror Screenwriting 29 Master Shots Vol 3 Goeso t the Movies 22 Story Line 18 The Writer’s Journey — 3rd Edition 22 My Story Can Beat Up DIRECTING/ Your Story VISUALIZATION 18 Memo from the Story Dept. 22 Psychology for 30 Directing Actors Screenwriters 30 The Film Director’s 22 Beat by Beat Intuition 23 -
Seattle Location Management and Scouting
Mark A. Freid – Seattle Location Management and Scouting. Field Producing. (310) 770-3930 [email protected] www.northernlocs.com QUALIFICATIONS Teamster Local 399 Location Manager. CSATF Safety Passport. LOCATION SCOUTING AND MANAGEMENT 2001-2017 FEATURE FILM/TELEVISION: War for Planet of the Apes. 20th Century Fox. VFX Plate Unit Location Manager Ryan Stafford, VFX Producer. 50 Shades Freed, 50 Shades Darker. Focus Features. 2nd Unit Location Manager Scott Ateah, 2nd Unit Dir. Barbra Kelly UPM. Marcus Viscidi Producer. Grey’s Anatomy. ABC/Disney. Location Scout Thomas Barg, Production Supervisor. Vacation. Warner Brothers/New Line. 2nd Unit Location Manager Peter Novak, 2nd Unit Production Supervisor. The Librarians . Electric Entertainment. Location Scout Bobby Warberg, Location Manager. David Drummond, Location Scout. 50 Shades of Grey. Focus Features. 2nd Unit Location Manager David Wasco Production Designer, Barbra Kelly, UPM, Marcus Viscidi Producer. Transformers 4. Paramount Pictures. Location Manager JJ Hook, Location Manager. Daren Hicks, Production Supervisor. They Die By Dawn. Location Manager Jaymes Seymor, Director. Peter Novak, Producer. America’s Most Wanted. STF Productions. Location Manager Miles Perman, Producer. Paranormal Activity The Marked One. Paramount Pictures Location Scout Christopher Landon, Director. Stephenson Crossley, Location Manager. Hayden Lake. Location Manager Ryan Page, Christopher Pomerenke Directors. Linette Shorr, Production Designer. Lacey Leavitt, Producer. Rampart. Lightstream Pictures. Location Manager Oren Moverman, Director. David Wasco Production Designer. Karen Getchell, Production Supervisor. Ben Foster, Lawrence Inglee, Clark Peterson, Ken Kao, Producers. Michael DiFranco and Lila Yacoub Executive Producers. Late Autumn. Location Manager Kim Tae-Yong, Director. Dave Drummond, Co-Location Manager Mischa Jakupcak, Producer. The Details. Key Assistant Location Manager Doug duMas, Location Manager. -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
Sony Pictures Imageworks Arnold
Sony Pictures Imageworks Arnold CHRISTOPHER KULLA, Sony Pictures Imageworks ALEJANDRO CONTY, Sony Pictures Imageworks CLIFFORD STEIN, Sony Pictures Imageworks LARRY GRITZ, Sony Pictures Imageworks Fig. 1. Sony Imageworks has been using path tracing in production for over a decade: (a) Monster House (©2006 Columbia Pictures Industries, Inc. All rights reserved); (b) Men in Black III (©2012 Columbia Pictures Industries, Inc. All Rights Reserved.) (c) Smurfs: The Lost Village (©2017 Columbia Pictures Industries, Inc. and Sony Pictures Animation Inc. All rights reserved.) Sony Imageworks’ implementation of the Arnold renderer is a fork of the and robustness of path tracing indicated to the studio there was commercial product of the same name, which has evolved independently potential to revisit the basic architecture of a production renderer since around 2009. This paper focuses on the design choices that are unique which had not evolved much since the seminal Reyes paper [Cook to this version and have tailored the renderer to the specic requirements of et al. 1987]. lm rendering at our studio. We detail our approach to subdivision surface After an initial period of co-development with Solid Angle, we tessellation, hair rendering, sampling and variance reduction techniques, decided to pursue the evolution of the Arnold renderer indepen- as well as a description of our open source texturing and shading language components. We also discuss some ideas we once implemented but have dently from the commercially available product. This motivation since discarded to highlight the evolution of the software over the years. is twofold. The rst is simply pragmatic: software development in service of lm production must be responsive to tight deadlines CCS Concepts: • Computing methodologies → Ray tracing; (less the lm release date than internal deadlines determined by General Terms: Graphics, Systems, Rendering the production schedule). -
Budget Reports
DEVELOPMENT Development 1100 Story & Screenplay Producers Unit Directors Unit Budget Preparation Accounting Legal Office Overhead Transportation Research Travel/Living Additional Expenses Miscellaneous TOTAL 0 Story & Other Rights 1200 Story Rights Purchase Writers Fees Story Consultant/Editor Secretary Research Typing Duplication Miscellaneous TOTAL 0 Continuity & Treatment 1300 Writer Research Typing Duplication Travel & Living Story Editor Consultants Legal Clearances Secretaries Office Expenses Entertainment Script Timing Miscellaneous TOTAL 0 Producers 1400 Executive Producer Executive Producer Producer Co-Producer Line Producer Supervising Producer Coordinating Producer Associate Producer Production Executive Secretaries Office Expenses Research Packaging Fee Miscellaneous TOTAL 0 Director 1500 Director Directors Assistant Choreographer Dialogue Coach Secretary Storyboard Artist Office Expenses Travel/Living Second Unit Director Miscellaneous TOTAL 0 Cast 1600 Principal Roles Supporting Roles Day Players Stunt Gaffer Assistant Stunt Gaffer Stunt Players Stunt Doubles Utility Stunt Players Casting Expenses Screen Tests Overtime/Turnaround Musicians Looping Second Run Residuals (TV) Welfare Worker/Teacher Rehearsal Expenses Contractuals Miscellaneous TOTAL 0 Above-the-line travel & living 1700 Hotels Travel Per Diem Car Rentals Misc. Expenses TOTAL 0 PRODUCTION Production Staff 2100 Production Manager Unit Production Manager First Assistant Manager 2nd Assistant Manager 2nd 2nd Assistant Other Assistants DGA Trainees Production Associates