DOCSLIB.ORG

Meiermovies Short Films by Star Rating

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

MeierMovies Short Films by Star Rating Theatrically released motion pictures of 40 minutes or less For every great feature, there’s a great short, and this list attempts to chronicle just some of those tiny masterpieces – and their not-so-masterful counterparts. For films to make this list, they must have played in at least one film festival or showcase, or theatrical venue, for a paying audience. Films shown only on television (or available only on DVD, Blu-ray, video or online) are reserved for my Television list. Also not included here are student films and similar projects that have never been presented at a theatrical venue that charged admission to viewers. (Please note that this is slightly more lenient than the qualifications for the feature- film lists, which require that a film of more than 40 minutes play at least two major festivals, or have a limited or general release.) Theatrical newsreels (pre-television) and theatrically released trailers are not eligible for this list, although mini-documentaries and travelogues (typically playing alongside trailers and B-features in the 1930-1950s) are. Short films shown at theme parks and museums are eligible, but not if they rely on animatronic/interactive/live elements. Shorts produced for timed competitions, such as 48-hour or 24-hour projects, are not included here, unless those films were subsequently screened at a second venue. The ratings system is the same as that of the feature-film list, just with no half or quarter stars. That difference is due to simplification and also to the fact that it’s admittedly difficult, and perhaps somewhat unfair, to compare a 2-minute film to a 40- minute one using quarter stars. (So please keep in mind there is some variation with each star rating.) I discourage you from comparing a 5-star short with a 5-star feature, as they are different animals. Instead, please compare shorts to shorts, and features to features. This list also differs from the feature-film lists in that many of these short films were directed and written by amateurs, first- timers and students working with little time and virtually no budget. Therefore, I would strongly suggest that you avoid condemning filmmakers who produce a 1-star or 0-star short film. Indeed, it might be more appropriate when judging a student film to treat a 2-star rating as a thumbs-up, a 1-star as mediocre and a 0-star as a learning experience on the road to better things. Also note that, somewhat unlike the feature-film list, I give some short films more credit than they deserve here, if judged by today’s standards, by virtue of their historic contribution to cinema. Examples include the first motion ever captured by a single-lens camera (Louis Le Prince’s Roundhay Garden Scene from 1888) and films by the Lumière Brothers, Edwin Porter, Georges Méliès and Alice Guy, and, to a lesser extent, the Biograph movies of D.W. Griffith. (On a historical note, this list does not recognize Louis Le Prince’s Man Walking Around a Corner from 1887 as a true film by the modern definition, as it was shot on a 16-lens camera, not a single-lens one. Also not included here are the stop-motion creations of Eadweard Muybridge using multiple cameras, the earliest of which was a race-horse study in 1878; the 12-images-per-second photo collages of Etienne Jules Marey; and the phenakistiscope creations of Joseph Plateau as early as the 1830s. However, these experiments are worth mentioning as links between true cinematography and the magic-lantern and still-photograph sequences of the early and mid 19th century.) Short films originally released in theaters as part of a feature are not listed here, even if they later received separate releases outside of the feature format. Examples include Disney’s Peter and the Wolf as part of Make Mine Music, and Disney’s Wind in the Willows as part of The Adventures of Ichabod and Mr. Toad. This means no content appears on both this list and the feature lists. Another shortcoming of this list is that it does not attempt – and never could – to chronicle all the short films I’ve ever seen, unlike the feature-film lists, which do just that. It’s simply too tough. Making it even more difficult to compile such a list is the fact that the industry makes it too difficult to see new shorts after they have played at film festivals or other, similar venues. For this reason, I passionately support fellow film lovers who advocate a system of greater exposure for short films, both online and as feature- film companions in mainstream cinemas. And I encourage you to contribute your voices to this cause – and to support studios such as Disney that play shorts before their features. Sadly, the over-priced American film-going experience now consists of a bombardment of loud and obnoxious content – commercials, TV promos, dumbed-down trailers and other junk – so I would argue that it makes sense, both financially and aesthetically, to include a good short film among this pre-feature smorgasbord. For a guide to colors and symbols, see Key. Click back to home page of MeierMovies.com 5 stars (great films and masterpieces) Location seen (if known) Year Director 1. Dissonance (English-narration version) FL Florida Film Festival 2016 2015 Till Nowak The Ballad of Holland Island House Global Peace FF 2015 Lynn Tomlinson Le Ballon Rouge (The Red Balloon) FL 1956 Albert Lamorisse The Band Concert 1935 Wilfred Jackson/Walt Disney Bao * 2018 Domee Shi Beanstalk Bunny 1955 Chuck Jones Bear Story * Manhattan Short FF/Oscar Shorts 2014 Gabriel Osorio Vargas Blind Vaysha Oscar Shorts 2017 2016 Theodore Ushev The Blue Umbrella Wide release 2013 Saschka Unseld/John Lasseter Body Memory (Keha Malu) Florida Film Festival 2013 2011 Ulo Pikkov Un Chien Andalou SlWS (sound on disc) 1929 Luis Buñuel/Salvador Dali Clock Cleaners 1937 Ben Sharpsteen/Walt Disney Copy Shop 2001 Virgil Widrich Curfew * Enzian (Oscar Shorts) 2012 Shawn Christensen DeKalb Elementary Oscar Shorts 2018 2017 Reed Van Dyk Destino 1946/2003 D. Monféry/S. Dali/J. Hench/W & R Disney A Dog’s Life Sl 1918 Charlie Chaplin Dood Van Een Schaduw (Death of a Shadow) FL Enzian (Oscar Shorts) 2012 Tom Van Avermaet Duck Amuck 1953 Chuck Jones Duck Dodgers in the 24½th Century 1953 Chuck Jones Easy Street Sl 1917 Charlie Chaplin Edith+Eddie Oscar Shorts 2018 2017 Laura Checkoway The Elephant’s Song 2018 Lynn Tomlinson The Eleven O’Clock Oscar Shorts 2018 2016 Derin Seale Emit Orlando Film Festival 2013 2013 J.S. Mayank Ennemis Interieurs (Enemies Within) FL Enzian (Oscar Shorts) 2016 Selim Azazzi The Fantastic Flying Books of Mr. Morris Lessmore * 2011 William Joyce/Brandon Oldenburg La Femme et le TGV (The Woman and the TGV) FL Enzian (Oscar Shorts) 2016 Timo von Gunten Ferdinand the Bull * 1938 Dick Rickard/Walt Disney Flowers and Trees * 1932 Burt Gillett/Walt Disney Friday Manhattan Short FF 2012 Seb Edwards Galapagos (3-D version) Smithsonian 1999 David Clark/Al Giddings Garden Party Oscar Shorts 2018 2017 F. Babikian/V. Bayoux/V. Caire/L. Navarro Geri’s Game * Wide release 1997 Jan Pinkava/John Lasseter Get a Horse! (3-D version) Wide release 2013 Lauren MacMullan Grave Hands FL Florida Film Festival 2020 2020 Aaron Inman Guaxuma FL Florida Film Festival 2019 2018 Nara Normande Hair-Raising Hare 1946 Charles M. Jones The Hand 1965 Jirí Trnka Head Over Heels Enzian (Oscar Shorts) 2012 Timothy Reckart Helium FL * Enzian (Oscar Shorts) 2013 Anders Walter Henry FL Enzian (Oscar Shorts) 2012 Yan England The Immigrant Sl 1917 Charlie Chaplin I Am Yup’ik Florida Film Festival 2016 2015 Daniele Anastasion/Nathan Golon I Have a Message for You FL Ct. Florida Jewish FF 2018 2017 Matan Rochlitz Impressions de France (Impressions of France) Disney World (Epcot) 1982 Rick Harper Joe’s Violin Oscar Shorts 2017 2016 Kahane Cooperman/Raphaela Neihausen Lend a Paw * 1941 Clyde Geronimi/Walt Disney Life Overtakes Me FL Oscar Shorts 2020 2019 John Haptas/Kristine Samuelson Little Red Riding Rabbit 1944 Friz Freleng Lost & Found 2018 Andrew Goldsmith/Bradley Slabe Lost Property Office Oscar Shorts 2018 2017 Daniel Agdag La Luna (The Moon) Wide release 2011 Enrico Casarosa Magic Journeys (3-D version) Disney World (Epcot and MK) 1982 Murray Lerner The Man Who Planted Trees (a.k.a. L'Homme Qui Plantait des Arbre) * 1987 Frédéric Back Mémorable FL Oscar Shorts 2020 2019 Bruno Collet Ménilmontant Sl 1926 Dimitri Kirsanoff Meshes of the Afternoon SlWS 1943/59 Maya Deren/Alexander Hammid Mickey and the Beanstalk 1947 Hamilton Luske/Bill Roberts/Walt Disney Click back to home page of MeierMovies.com 2 Mickey’s Christmas Carol 1983 Burny Mattinson Mickey’s Fire Brigade 1935 Ben Sharpsteen/Walt Disney Mickey’s Garden 1935 Wilfred Jackson/Walt Disney Mickey’s Trailer 1938 Ben Sharpsteen/Walt Disney Mindscape/Le Paysagiste 1976 Jacques Drouin Negative Space Oscar Shorts 2018 2017 Ru Kuwahata/Max Porter Neighbours (a.k.a. Voisins) (original director’s version) * 1952 Norman McLaren Nuit et Brouillard (Night and Fog) FL 1955 Alain Resnais The Old Mill * 1937 Walt Disney One Froggy Evening 1955 Chuck Jones One Week Sl 1920 Buster Keaton Operation: Rabbit 1951 Chuck Jones Paperman * Wide release 2012 John Kahrs Pas de Deux (a.k.a. Duo) 1968 Norman McLaren The Pawnshop Sl 1916 Charlie Chaplin Pay Day 1922 Charlie Chaplin The Phone Call * Enzian (Oscar Shorts 2015) 2013 Mat Kirkby/James Lucas Pigs is Pigs 1937 Friz Freleng Pitter Patter Goes My Heart FL Florida Film Festival 2016 2015 Christoph Rainer Pluto’s Judgement Day 1935 David Hand/Walt Disney Presto Wide release 2008 Doug
Recommended publications
  • UPA : Redesigning Animation

    UPA : Redesigning Animation

    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
  • The University of Chicago Looking at Cartoons

    The University of Chicago Looking at Cartoons

    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
  • Affective Temporalities in Gob Squad’S Kitchen (You’Ve Never Had It So Good)

    Affective Temporalities in Gob Squad’S Kitchen (You’Ve Never Had It So Good)

    56 ANA PAIS AFFECTIVE TEMPORALITIES IN GOB SQUAD’S KITCHEN (YOU’VE NEVER HAD IT SO GOOD) In this article I will be drawing upon affect theory to unpack issues of authenticity, mediation, participation in the production Gob Squads’s Kitchen, by Gob Squad. English/German collective reconstructed Andy Warhol’s early film Kitchen, shot 47 years before, in the flamboyant Factory, starring ephemeral celebrities such as Eve Sedgwick. Alongside Eat (1964), Sleep (1963) and Screen Test (1964-66). Although it premièred in Berlin, in 2007, the show has been touring in several countries and, in 2012, it received the New York Drama Desk Award for Unique Theatrical Experience.I will be examining how the production’s spatial dispositive creates a mediated intimacy that generates affective temporalities and how their performativity allows us to think of the audience as actively engaged in an affective resonance with the stage. Intimacy creates worlds (Berlant 2000). It brings audience and performer closer not only to each other but also to the shifting moment of Performance Art’s capture by institutional discourses and market value. Unleashing affective temporalities allows the audience to embody its potency, to be, again, “at the beginning”.Drawing upon André Lepecki’s notion of reenactments as activations of creative possibilities, I will be suggesting that Gob Squads’s Kitchen merges past and present by disclosing accumulated affects, promises and deceptions attached to the thrilling period of the sixties in order to reperform a possibility of a new beginning at the heart of a nowthen time. In conclusion, this article will shed new light on the performative possibilities of affect to surmount theatrical separation and weave intensive attachments.
  • Csflyer485 Sm

    Csflyer485 Sm

    Sun Apr 15 THE BOLSHOI BALLET: GISELLE 12:55 Sun Apr 15 4:30, 7:30 Mon Tue Wed Apr 16 17 18 IN THE FADE 7:30 Thu Fri Apr 19 20 A FANTASTIC WOMAN 7:30 Sat Apr 21 2:30, 7:30 Sun Apr 22 THE SULTAN AND THE SAINT Special Screening 5:15 Sun Apr 22 2:30, 7:30 Mon Tue Wed Apr 23 24 25 HOSTILES 7:30 Thu Fri Apr 26 27 ANNIHILATION 7:30 Sat Apr 28 2:30, 7:30 General Admission $10 Sun Apr 29 2:30, 7:30 Mon Tue Wed Apr 30 May 1 2 THE PARTY 7:30 Friends of Cinestudio $7 Thu May 3 CLOSED FOR PRIVATE EVENT Senior Citizens (62+) $8 Students with valid ID Fri May 4 TRINITY FILM FESTIVAL presents DESIGN NIGHT OUT: SCREEN FREE ADMISSION 6:00 ® Ticket Prices for NTLive, Special Shows & Benefits vary Fri May 4 OSCAR NOMINATED LIVE ACTION SHORTS 8:30 Sat May 5 OSCAR® NOMINATED ANIMATED SHORTS 2:30 Cinestudio’s boxoffice is now online, so you can buy Sat May 5 TRINITY FILM FESTIVAL Doors open at 4:00, Festival begins at 5:00 tickets for any listed show at any time - online Sun May 6 2:30, 7:30 or at the boxoffice. We’re on Fandango too. Mon Tue Wed May 7 8 9 LEANING INTO THE WIND 7:30 DONATING TO CINESTUDIO? You can do that online or at the boxoffice, and now Thu May 10 NTLive: MACBETH LIVE from LONDON 2:00 100% of your donation comes to Cinestudio! Thu Fri May 10 11 LOVE, SIMON 7:30 Sat May 12 2:30, 7:30 Sun May 13 NTLive: MACBETH ENCORE from LONDON 1:00 Sun May 13 5:00, 7:30 Mon Tue Wed May 14 15 16 ISMAËL’S GHOSTS 7:30 Thu Fri May 17 18 BLACK PANTHER 7:30 Sat May 19 2:30, 7:30 Sun May 20 5:00, 7:30 Mon Tue Wed May 21 22 23 LOVELESS 7:30 Thu Fri May 24 25 ISLE
  • I1465 I SHOT ANDY WARHOL (USA, 1996) (Other Titles: Ho Sparato a Andy Warhol)

    I1465 I SHOT ANDY WARHOL (USA, 1996) (Other Titles: Ho Sparato a Andy Warhol)

    I1465 I SHOT ANDY WARHOL (USA, 1996) (Other titles: Ho sparato a Andy Warhol) Credits: director, Mary Harron ; writers, Mary Harron, Daniel Minahan. Cast: Lili taylor, Jared Harris, Stephen Dorff, Martha Plimpton. Summary: Biographical melodrama set in 1960s New York City. A journey into the cultural whirlwind of events surrounding Valerie Solanas’ shooting of pop-art superstar Andy Warhol. Solanis (Taylor) arrived in mid-‘60s New York City with a single-minded mission: to spread the word on female superiority. While feverishly putting her radical ideas down on paper, she becomes a fringe member of the psychedelic entourage surrounding Andy Warhol (Harris). But when her feminist zeal grows too bizarre and violent, even for this avant-garde circle, the consequences are explosive. Includes passing references to the anti-Vietnam War movement. Adams, Thelma. [I shot Andy Warhol] New York post (May 1, 1996), p. 39. [Reprinted in Film review annual 1997] Alexander, Al. “‘Warhol’ a fascinating look at a tragedy” Patriot ledger [Quincy, MA] (May 18, 1996), p. 36. Alleva, Richard. “Insane times: ‘Warhol’ & ‘Anne Frank’” Commonweal 123 (Jul 12, 1996), p. 21-2. Andersen, Soren. “Review: Fact-based ‘I shot Andy Warhol,’ is fascinating film” News tribune [Tacoma, WA] (Jun 14, 1996), SoundLife, p. SL6. Ansen, David. “When the fun ended” Newsweek 127/19 (May 6, 1996), p. 78. [Reprinted in Film review annual 1997] Artner, Alan G. “Andy Warhol: His 15 minutes never ended” Chicago tribune (May 19, 1996), Arts & entertainment, p. 1. B., L. “I shot Andy Warhol” Art in America 84 (Sep 1996), p. 40-41.
  • ANNUAL REPORT 2016-2017 Published by Strategic Planning and Government Relations P.O

    ANNUAL REPORT 2016-2017 Published by Strategic Planning and Government Relations P.O

    ANNUAL REPORT 2016-2017 Published by Strategic Planning and Government Relations P.O. Box 6100, Station Centre-ville Montreal, Quebec H3C 3H5 Internet: onf-nfb.gc.ca/en E-mail: [email protected] Cover page: ANGRY INUK, Alethea Arnaquq-Baril © 2017 National Film Board of Canada ISBN 0-7722-1278-3 2nd Quarter 2017 Printed in Canada TABLE OF CONTENTS 2016–2017 IN NUMBERS MESSAGE FROM THE GOVERNMENT FILM COMMISSIONER FOREWORD HIGHLIGHTS 1. THE NFB: A CENTRE FOR CREATIVITY AND EXCELLENCE 2. INCLUSION 3. WORKS THAT REACH EVER LARGER AUDIENCES, RAISE QUESTIONS AND ENGAGE 4. AN ORGANIZATION FOCUSED ON THE FUTURE AWARDS AND HONOURS GOVERNANCE MANAGEMENT SUMMARY OF ACTIVITIES IN 2016–2017 FINANCIAL STATEMENTS ANNEX I: THE NFB ACROSS CANADA ANNEX II: PRODUCTIONS ANNEX III: INDEPENDENT FILM PROJECTS SUPPORTED BY ACIC AND FAP AS THE CROW FLIES Tess Girard August 1, 2017 The Honourable Mélanie Joly Minister of Canadian Heritage Ottawa, Ontario Minister: I have the honour of submitting to you, in accordance with the provisions of section 20(1) of the National Film Act, the Annual Report of the National Film Board of Canada for the period ended March 31, 2017. The report also provides highlights of noteworthy events of this fiscal year. Yours respectfully, Claude Joli-Coeur Government Film Commissioner and Chairperson of the National Film Board of Canada ANTHEM Image from Canada 150 video 6 | 2016-2017 2016–2017 IN NUMBERS 1 VIRTUAL REALITY WORK 2 INSTALLATIONS 2 INTERACTIVE WEBSITES 67 ORIGINAL FILMS AND CO-PRODUCTIONS 74 INDEPENDENT FILM PROJECTS
  • 2017 Academy Award BALLOT

    2017 Academy Award BALLOT

    2017 ACADEMY AWARD BALLOT BEST PICTURE DIRECTING COSTUME DESIGN FOREIGN LANGUAGE ARRIVAL ARRIVAL ALLIED FILM FENCES Denis Villeneuve Joanna Johnston LAND OF MINE — Denmark HACKSAW RIDGE HACKSAW RIDGE FANTASTIC BEASTS AND A MAN CALLED OVE — HELL OR HIGH WATER Mel Gibson WHERE TO FIND THEM Sweden HIDDEN FIGURES LA LA LAND Colleen Atwood THE SALESMAN — Iran LA LA LAND Damien Chazelle FLORENCE FOSTER TANNA — Australia LION MANCHESTER BY THE SEA JENKINS TONI ERDMANN — Germany MANCHESTER BY THE SEA Kenneth Lonergan Consolata Boyle MOONLIGHT MOONLIGHT JACKIE PRODUCTION DESIGN Barry Jenkins Madeline Fontaine ARRIVAL ACTOR IN A LA LA LAND FANTASTIC BEASTS AND LEADING ROLE SCREENPLAY Mary Zophres WHERE TO FIND THEM CASEY AFFLECK (ADAPTED) HAIL, CAESAR! Manchester by the Sea ARRIVAL MUSIC LA LA LAND ANDREW GARFIELD Screenplay by Eric Heisserer (ORIGINAL SCORE) PASSENGERS Hacksaw Ridge FENCES JACKIE —Mica Levi RYAN GOSLING Screenplay by August Wilson LA LA LAND — SHORT FILM La La Land HIDDEN FIGURES Justin Hurwitz (ANIMATED) VIGGO MORTENSEN Screenplay by Allison Schro- LION BLIND VAYSHA Captain Fantastic eder and Theodore Melfi Dustin O’Halloran and BORROWED TIME DENZEL WASHINGTON LION Hauschka PEAR CIDER AND Fences Screenplay by Luke Davies MOONLIGHT CIGARETTES MOONLIGHT Nicholas Britell PEARL ACTRESS IN A Screenplay by Barry Jen- PASSENGERS PIPER LEADING ROLE kins; Story by Tarell Alvin Thomas Newman ISABELLE HUPPERT McCraney SHORT FILM Elle MUSIC (LIVE ACTION) RUTH NEGGA SCREENPLAY (ORIGINAL SONG) ENNEMIS INTÉRIEURS Loving (ORIGINAL) AUDITION (THE
  • Blue Screen Matting

    Blue Screen Matting

    Blue Screen Matting Alvy Ray Smith and James F. Blinn Microsoft Corporation ABSTRACT allowed to pass through and illuminate those parts desired but is blocked everywhere else. A holdout matte is the complement: It is A classical problem of imaging—the matting problem—is separa- opaque in the parts of interest and transparent elsewhere. In both tion of a non-rectangular foreground image from a (usually) rectan- cases, partially dense regions allow some light through. Hence gular background image—for example, in a film frame, extraction of some of the color film image that is being matted is partially illu- an actor from a background scene to allow substitution of a differ- minated. ent background. Of the several attacks on this difficult and persis- The use of an alpha channel to form arbitrary compositions of tent problem, we discuss here only the special case of separating a images is well-known in computer graphics [9]. An alpha channel desired foreground image from a background of a constant, or al- gives shape and transparency to a color image. It is the digital most constant, backing color. This backing color has often been equivalent of a holdout matte—a grayscale channel that has full blue, so the problem, and its solution, have been called blue screen value pixels (for opaque) at corresponding pixels in the color image matting. However, other backing colors, such as yellow or (in- that are to be seen, and zero valued pixels (for transparent) at creasingly) green, have also been used, so we often generalize to corresponding color pixels not to be seen.
  • Alpha and the History of Digital Compositing

    Alpha and the History of Digital Compositing

    Alpha and the History of Digital Compositing Technical Memo 7 Alvy Ray Smith August 15, 1995 Abstract The history of digital image compositing—other than simple digital imple- mentation of known film art—is essentially the history of the alpha channel. Dis- tinctions are drawn between digital printing and digital compositing, between matte creation and matte usage, and between (binary) masking and (subtle) mat- ting. The history of the integral alpha channel and premultiplied alpha ideas are pre- sented and their importance in the development of digital compositing in its cur- rent modern form is made clear. Basic Definitions Digital compositing is often confused with several related technologies. Here we distinguish compositing from printing and matte creation—eg, blue-screen matting. Printing v Compositing Digital film printing is the transfer, under digital computer control, of an im- age stored in digital form to standard chemical, analog movie film. It requires a sophisticated understanding of film characteristics, light source characteristics, precision film movements, film sizes, filter characteristics, precision scanning de- vices, and digital computer control. We had to solve all these for the Lucasfilm laser-based digital film printer—that happened to be a digital film input scanner too. My colleague David DiFrancesco was honored by the Academy of Motion Picture Art and Sciences last year with a technical award for his achievement on the scanning side at Lucasfilm (along with Gary Starkweather). Also honored was Gary Demos for his CRT-based digital film scanner (along with Dan Cam- eron). Digital printing is the generalization of this technology to other media, such as video and paper.
  • Free-Digital-Preview.Pdf

    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.
  • Duncan Public Library Board of Directors Meeting Minutes June 23, 2020 Location: Duncan Public Library

    Duncan Public Library Board of Directors Meeting Minutes June 23, 2020 Location: Duncan Public Library

    Subject: Library Board Meeting Date: August 25, 2020 Time: 9:30 am Place: Zoom Meeting 1. Call to Order with flag salute and prayer. 2. Read minutes from July 28, 2020, meeting. Approval. 3. Presentation of library statistics for June. 4. Presentation of library claims for June. Approval. 5. Director’s report a. Summer reading program b. Genealogy Library c. StoryWalk d. Annual report to ODL e. Sept. Library Card Month f. DALC grant for Citizenship Corner g. After-school snack program 6. Consider a list of withdrawn items. Library staff recommends the listed books be declared surplus and be donated to the Friends of the Library for resale, and the funds be used to support the library. 7. Consider approving creation of a Student Library Card and addition of policy to policy manual. 8. Old Business 9. New Business 10. Comments a. By the library staff b. By the library board c. By the public 11. Adjourn Duncan Public Library Claims for July 1 through 31, 2020 Submitted to Library Board, August 25, 2020 01-11-521400 Materials & Supplies 20-1879 Demco......................................................................................................................... $94.94 Zigzag shelf, children’s 20-2059 Quill .......................................................................................................................... $589.93 Tissue, roll holder, paper, soap 01-11-522800 Phone/Internet 20-2222 AT&T ........................................................................................................................... $41.38
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar

    Wmc Investigation: 10-Year Analysis of Gender & Oscar

    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.