DOCSLIB.ORG

30 Anni Di Animazione Palazzo Delle Esposizioni 9 Ottobre 2018 - 20 Gennaio 2019

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
30 Anni Di Animazione Palazzo Delle Esposizioni 9 Ottobre 2018 - 20 Gennaio 2019 PIXAR 30 anni di animazione Palazzo delle Esposizioni 9 ottobre 2018 - 20 gennaio 2019 Un emozionante percorso che presenta al pubblico l’arte e la creatività dei più grandi artisti dell’animazione mondiale Dal 9 ottobre il Palazzo delle Esposizioni di Roma presenta “Pixar. 30 anni di animazione”, una grande rassegna internazionale promossa da Roma Capitale - Assessorato alla Crescita culturale, prodotta dall’Azienda Speciale Palaexpo, ideata e organizzata da Pixar Animation Studios e realizzata con la collaborazione di MEET | Fondazione Cariplo. Da Toy Story al più recente Coco, passando per Monsters & Co., Alla ricerca di Nemo, Cars e Inside Out, solo per citare alcuni titoli, il pubblico è cresciuto con i personaggi di animazione della Pixar, la celebre casa di produzione cinematografica fondata in California nel 1986 che crea storie originali grazie all’impiego dell'animazione computerizzata. In pochi sanno che questi incredibili film sono il frutto del lavoro di una squadra di creativi e registi che utilizza i tradizionali strumenti dell’arte fondendoli con quelli dei digital media più all’avanguardia. La mostra “Pixar. 30 anni di animazione”, curata da Elyse Klaidman e, per l’edizione italiana, da Maria Grazia Mattei, svela al grande pubblico la fase creativa e nascosta dei maestri dell’animazione mondiale. In rassegna una raffinata selezione di oltre 400 opere che mostrano lo spettacolare patrimonio artistico creato per ciascun film, fatto di disegni a matita e pennarello, dipinti in acrilico, guazzo e acquerelli, dipinti digitali, calchi, modelli fatti a mano, tutti lavori nei quali l'arte e il design giocano un ruolo essenziale e danno vita, insieme all'animazione digitale, al prodotto finale. Il percorso espositivo, diviso in tre sezioni - Personaggi, Storie, Mondi - è arricchito da una selezione di video, proiezioni e due installazioni spettacolari, l’Artscape e lo Zoetrope, che, attraverso la tecnologia digitale, permettono di rivivere le opere esposte ricreando l’emozione e il fascino suggestivo dell’animazione. “Siamo entusiasti di collaborare con il Palazzo delle Esposizioni per portare l'arte di Pixar a Roma, una città che non è solo la patria di un'arte rinomata, ma è di per sé una splendida opera d'arte” dichiara Elyse Klaidman. “Raccontare storie ci consente di condividere la nostra umanità e le nostre reciproche differenze. Impariamo gli uni dagli altri e ci immedesimiamo attraverso temi universali condivisi. Gli artisti danno vita alle storie di Pixar attraverso idee ed emozioni visive. Arte e design hanno un ruolo essenziale nel definire il “tono” dei film Pixar e le reazioni che essi generano in noi. Le istituzioni che espongono il pubblico all'arte sono fondamentali per lo sviluppo del futuro. Molte persone scoprono e sviluppano la loro passione in luoghi come il Palazzo delle Esposizioni. La nostra speranza è che Pixar 30 anni di animazione ispiri tutti coloro che la vedranno e faccia la sua parte nel coltivare la prossima generazione di narratori creativi, artisti e innovatori” conclude la curatrice. «La mostra ripercorre la storia della Pixar dalla sua fondazione, insieme al lavoro di ricerca e la produzione di immagini digitali» commenta Maria Grazia Mattei, curatrice dell’edizione italiana. «“Pixar. 30 anni di animazione” è concepita per approfondire il lavoro di quella che è una vera e propria bottega rinascimentale digitale che crea capolavori, dove disegno a mano, scultura e informatica coesistono sul grande schermo in una sintesi armonica. Il digitale, per Pixar, è sia strumento che linguaggio. Siamo di fronte a una sorta di nuovo Umanesimo: grazie alla commistione di innovazione e creatività, si guarda alla tecnologia in una dimensione artistica e profondamente umana» conclude Mattei. Durante il periodo della mostra, la rassegna cinematografica Passione Pixar, in Sala Cinema dal 19 ottobre al 13 gennaio, offrirà l’occasione per vedere o riammirare i capolavori che hanno cambiato il mondo dell’animazione: da Toy Story fino a Gli Incredibili 2, i film Pixar sapranno catturare il pubblico di ogni età in una girandola di adrenalina, allegria, commozione, simpatia e nostalgia - spesso in rapida successione - per lasciarlo, alla fine, con quel sorriso appagato che solo il grande cinema classico sa regalare. La mostra sarà accompagnata da un ciclo di incontri di approfondimento, dal titolo A regola d’arte: per entrare nell’universo magico dell’animazione Pixar e comprenderlo a fondo, il Palazzo delle Esposizioni ha invitato alcuni esperti a raccontare la loro esperienza di lavoro o di studio. Analizzando i capolavori Pixar dal punto di vista estetico, culturale e scientifico, sveleranno gli elementi e i contributi umani che fanno di ogni film un’opera d’arte unica e indimenticabile. Il Laboratorio d’arte propone visite in mostra e laboratori per scuole e famiglie. Un percorso guidato per capire cosa c’è dietro la realizzazione dei capolavori d’animazione. Una visita speciale dedicata agli amanti dei cartoni per scoprire i segreti della più interessante industria d’animazione digitale. Dopo la visita animata, in laboratorio, una grande sorpresa. Si aprono le porte del Cubo: il pubblico viene condotto nel mondo della simulazione 3D e della narrazione. Si può entrare in scena, sentirsi piccoli come insetti, venire circondati da fili d’erba alti quanto il soffitto. La mostra che celebra il trentennale della Pixar, dopo il debutto al MOMA di New York nella sua prima edizione, approda a Roma a seguito di un tour internazionale che, dal Messico all’Estremo Oriente, ha fatto tappa nelle più importanti capitali mondiali riscuotendo un grande successo di pubblico. Scheda informativa Titolo: Pixar. 30 anni di animazione Sede: Palazzo delle Esposizioni, via Nazionale 194 - 00184 Roma Periodo: 9 ottobre 2018 - 20 gennaio 2019 Promossa da: Roma Capitale - Assessorato alla Crescita culturale Prodotta da: Azienda Speciale Palaexpo Ideata e organizzata da: Pixar Animation Studios Realizzata con la collaborazione di: MEET | Fondazione Cariplo Orari: Domenica, martedì, mercoledì e giovedì: dalle 10.00 alle 20.00; venerdì e sabato: dalle 10.00 alle 22.30; lunedì chiuso Informazioni e prenotazioni: Singoli, gruppi e laboratori d’arte tel. 06 39967500 www.palazzoesposizioni.it Biglietti: Intero € 12,50; ridotto € 10,00; scuole € 4,00 per studente Ragazzi dai 7 ai 18 anni € 6,00; bambini fino a 6 anni gratuito Pacchetto famiglia 2 adulti e max 3 bambini under 7 € 20,00 Pacchetto famiglia 2 adulti e max 2 bambini 7-18 € 25,00 Ufficio stampa Azienda Speciale Palaexpo Piergiorgio Paris, T. 06 48941206 - [email protected] Segreteria: Dario Santarsiero T. 06 48941205 - [email protected] Ufficio Stampa MEET | Fondazione Cariplo Giulia Perfetti per Mirandola Comunicazione, T. 345 7258786 - [email protected] Testo in catalogo di E L Y S E K L A I D M A N Direttore delle Mostre e degli Archivi Pixar Animation Studios In genere quando si pensa alla Pixar, si pensa ai film e alle avvincenti storie che raccontano. La Pixar è anche nota per la sua tecnologia all’avanguardia e per la sbalorditiva computer grafica, ma pochi sono consapevoli del ruolo essenziale rivestito dall’arte tradizionalmente intesa e dal design all’interno del processo creativo. Quando, nel 2004, il Museum of Modern Art di New York ci ha invitato a esporre l’arte della Pixar, la risposta è stata un entusiastico “sì”. Riferendosi alla realizzazione dei film, gli autori della Pixar citano spesso tre aspetti essenziali: la storia, il personaggio e il mondo. Alla Pixar la creazione della storia è un processo iterativo che può perdurare per gran parte dei quattro o cinque anni che occorrono alla produzione di un film. Per ogni storia, ci sforziamo di creare personaggi interessanti cui il nostro pubblico possa affezionarsi. I personaggi creati, inoltre, devono abitare in un mondo credibile che sia del tutto unico e peculiare alla storia stessa. La maggior parte dei lavori che si possono ammirare nella mostra derivano dal processo di creazione di questi tre elementi. L’esposizione dei lavori realizzati durante la fase di sviluppo del concept e della storia nell’ambito di un allestimento museale spinge a chiedersi se si tratti davvero di opere d’arte. Qual è il rapporto tra questi oggetti e il mondo dell’arte? Discutendone è facile venire fuorviati da questioni di distribuzione e audience, perdendo di vista gli oggetti in sé e le loro intrinseche qualità artistiche. Gli artisti Pixar parlano con modestia del proprio lavoro. La maggior parte di loro non avrebbe mai immaginato di vederlo un giorno incorniciato, figuriamoci esposto in un museo. Questo atteggiamento si deve in gran parte al fatto che progettano e creano concept art in stretta collaborazione con il regista e il production designer. Tuttavia, considerando questi oggetti, così sapientemente costruiti, separatamente dal film e osservandoli uno per uno, la prospettiva può cambiare radicalmente. D’altronde il dibattito su “cosa è arte” è antico quanto l’arte stessa. Sono gli artisti a fare i nostri film e, come tutti gli altri, anche i nostri artisti scelgono gli strumenti che consentono loro di suscitare un’emozione o una reazione nel modo più efficace. La mostra presenta un’ampia varietà di media e di tecniche: disegni a matita e pennarello, dipinti ad acrilico, gouache e acquarelli, dipinti digitali, calchi, modelli fatti a mano e lavori realizzati con media digitali. Un artista di formazione tradizionale può anche aver aggiunto la pittura digitale alla propria scatola degli attrezzi per riuscire a esprimere qualcosa che non avrebbe potuto esprimere altrimenti. Accanto alle opere d’arte, due installazioni uniche nel loro genere, create per l’esposizione 20 Years of Animation al MoMA, continuano ad accompagnare la mostra itinerante. L’Artscape è un’installazione multimediale ad alta risoluzione, su widescreen, creata utilizzando i lavori realizzati durante le fasi di creazione e sviluppo del concept. Utilizzando la tecnologia digitale, i lavori bidimensionali vengono esplorati in un movimento tridimensionale simulato.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Richer Worlds for Next Gen Games: Data Amplification Techniques Survey
    Richer Worlds for Next Gen Games: Data Amplification Techniques Survey Natalya Tatarchuk 3D Application Research Group ATI Research, Inc. Overview • Defining the problem and motivation • Data Amplification • Procedural data generation • Geometry amplification • Data streaming • Data simplification • Conclusion Overview • Defining the problem and motivation • Data Amplification • Procedural data generation • Geometry amplification • Data streaming • Data simplification • Conclusion Games and Current Hardware • Games currently are CPU-limited – Tuned until they are not GPU-limited – CPU performance increases have slowed down (clock speed hit brick walls) – Multicore is used in limited ways Trends in Games Today • Market demands larger, more complex game worlds – Details, details, details • Existing games already see increase in game data – Data storage progression: Floppies → CDs → DVDs – HALO2.0 - 4.2GB – HD-DVD/Blueray → 20GB [David Blythe, MS Meltdown 2005] Motivation • GPU performance increased tremendously over the years – Parallel architecture allows consumption of ever increasing amounts of data and fast processing – Major architectural changes happen roughly every 2 years – 2x speed increase also every 2 years – Current games tend to be • Arithmetic limited (shader limited) • Memory limited • GPUs can consume ever increasing amounts of data, producing high fidelity images – GPU-based geometry generation is on the horizon – Next gen consoles Why Not Just Author A Ton of Assets? • Rising development cost – Content creation is the bottleneck
    [Show full text]
  • Hereby the Screen Stands in For, and Thereby Occludes, the Deeper Workings of the Computer Itself
    John Warnock and an IDI graphical display unit, University of Utah, 1968. Courtesy Salt Lake City Deseret News . 24 doi:10.1162/GREY_a_00233 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00233 by guest on 27 September 2021 The Random-Access Image: Memory and the History of the Computer Screen JACOB GABOURY A memory is a means for displacing in time various events which depend upon the same information. —J. Presper Eckert Jr. 1 When we speak of graphics, we think of images. Be it the windowed interface of a personal computer, the tactile swipe of icons across a mobile device, or the surreal effects of computer-enhanced film and video games—all are graphics. Understandably, then, computer graphics are most often understood as the images displayed on a computer screen. This pairing of the image and the screen is so natural that we rarely theorize the screen as a medium itself, one with a heterogeneous history that develops in parallel with other visual and computa - tional forms. 2 What then, of the screen? To be sure, the computer screen follows in the tradition of the visual frame that delimits, contains, and produces the image. 3 It is also the skin of the interface that allows us to engage with, augment, and relate to technical things. 4 But the computer screen was also a cathode ray tube (CRT) phosphorescing in response to an electron beam, modified by a grid of randomly accessible memory that stores, maps, and transforms thousands of bits in real time. The screen is not simply an enduring technique or evocative metaphor; it is a hardware object whose transformations have shaped the ma - terial conditions of our visual culture.
    [Show full text]
  • Castle in the Sky: Dynamic Sky Replacement and Harmonization in Videos
    Castle in the Sky: Dynamic Sky Replacement and Harmonization in Videos Zhengxia Zou University of Michigan, Ann Arbor [email protected] Figure 1: We propose a vision-based method for generating videos with controllable sky backgrounds and realistic weather/lighting conditions. First and second row: rendered sky videos - flying castle and Jupiter sky (leftmost shows a frame from input video and the rest are the output frames). Third row: weather and lighting synthesis (day to night, cloudy to rainy). Abstract generalization of our method in both visual quality and lighting/motion dynamics. Our code and animated results This paper proposes a vision-based method for video sky are available at https://jiupinjia.github.io/skyar/. replacement and harmonization, which can automatically arXiv:2010.11800v1 [cs.CV] 22 Oct 2020 generate realistic and dramatic sky backgrounds in videos with controllable styles. Different from previous sky edit- 1. Introduction ing methods that either focus on static photos or require inertial measurement units integrated in smartphones on The sky is a key component in outdoor photography. shooting videos, our method is purely vision-based, with- Photographers in the wild sometimes have to face uncon- out any requirements on the capturing devices, and can be trollable weather and lighting conditions. As a result, well applied to either online or offline processing scenar- the photos and videos captured may suffer from an over- ios. Our method runs in real-time and is free of user inter- exposed or plain-looking sky. Let’s imagine if you were on actions. We decompose this artistic creation process into a beautiful beach but the weather was bad.
    [Show full text]
  • Meiermovies Short Films A-Z
    MeierMovies Short Films A-Z Theatrically released motion pictures of 40 minutes or less Before perusing this list, I suggest reading my introduction to short films at the beginning of my By Star Rating list. That introduction will help explain my star choices and criteria. For a guide to colors and symbols, see Key. Movie Stars Location seen (if known) Year Director A A.D. 1363, The End of Chivalry 2 Florida Film Festival 2015 2015 Jake Mahaffy A la Francaise 3 Enzian (Oscar Shorts) 2013 Hazebroucq/Leleu/Boyer/Hsien/Lorton The Aaron Case 3 Enzian (FilmSlam 5/16) 2015 Sarah Peterson Aashpordha (Audacity) FL 2 Enzian (South Asian FF) 2011 Anirban Roy Abandoned Love 2 Enzian (Brouhaha 2014) 2014 Sarah Allsup ABC FL 1 Florida Film Festival 2014 2014 Nanna Huolman Abnie Oberfork: A Tale of Self-Preservation 0 Florida Film Festival 2018 2017 Shannon Fleming Abortion Helpline, This Is Lisa 3 Florida Film Festival 2020 2019 Barbara Attie/Janet Goldwater/Mike Attie Abiogenesis 2 Enzian (Oscar Shorts) 2012 Richard Mans The Absence of Eddy Table 4 Florida Film Festival 2017 2016 Rune Spaans Acabo de Tener un Sueño (I’ve Just Had a Dream) FL 3 Love Your Shorts 2016 2014 Javi Navarro Accidents, Blunders and Calamities 1 Florida Film Festival 2016 2015 James Cunningham Accordion Player Sl 1 1888 Louis Le Prince The Accountant 0 Enzian (FilmSlam 10/15) 2015 Stephen Morgan/Alex Couch Achoo 2 Oscar Shorts 2018 2018 L. Boutrot/E. Carret/M. Creantor Acide FL 2 Orlando International FF 2020 2018 Just Philippot Acoustic Ninja 2 Enzian (Brouhaha 2016) 2016 Robert Bevis Ace in the Hole 0 Orlando Film Festival 2013 2013 Wesley T.
    [Show full text]
  • Introduction to Renderman 1977: Star Wars IV: a New Hope
    1 History of RenderMan, I 2 Introduction to RenderMan 1977: Star Wars IV: A New Hope Mike Bailey [email protected] Oregon State University 1979: Ed Catmull, Alvy Ray Smith, and others leave NYIT to form the Computer Division of Lucasfilm This work is licensed under a Creative Image Digital Editing Effects Image/Volume Commons Attribution-NonCommercial- NoDerivatives 4.0 International License Processing and Compositing Rendering Hardware 1984: John Lassiter leaves Disney Animation to join Pixar Oregon State University Oregon State University Computer Graphics Computer Graphics IntroToRenderMan.pptx mjb – December 26, 2016 mjb – December 26, 2016 History of RenderMan, II 3 History of RenderMan, III 4 Pixar Animation Image/Volume Studios Rendering Hardware 1986: Steve Jobs buys Pixar for $10M Pixar Image Rendering Steve Jobs adds another $60M to keep Pixar running Computer Software 1986: Luxo Jr.– Nominated for an Academy Award Star Trek II (1982) Young Sherlock Holmes (1985) 1988: Tin Toy – won Academy Award for Best Animated Short REYES 1993: RenderMan wins a Technical Academy Award 1995: Toy Story RenderMan 1984 (1984) Pixar Animation 1995: Pixar IPO -- Steve Jobs’s stake is now worth $1.2B Studios RIB Shade Trees 2004: Pixar bought by Disney for $7B, making Steve Jobs’s stake now worth $3.5B Steve Jobs is now Disney’s largest shareholder (7%) – Oregon State University Oregon State University Computer Graphics prman Computer Graphicsway ahead of even Roy Disney (1%) mjb – December 26, 2016 mjb – December 26, 2016 5 6 Toy Story 2,
    [Show full text]
  • Alvy Ray Smith Co-Founder of Pixar
    Alvy Ray Smith Co-founder of Pixar Dr Alvy Ray Smith is the co-founder of two successful startups: Pixar, an animation studio which was sold to Disney, and Altamira, a software company which was sold to Microsoft. Smith also co-founded the Lucas film Computer Division which developed computer graphics software including early renderer technology. As director of the Computer Graphics Project, he created and directed the "Genesis Demo" in The Wrath of Khan, and conceived and directed the short animated film The Adventures of Andre and Wally B., starring the animator John Lasseter. He proposed and negotiated the Academy-Award winning Disney computer animation production system, CAPS. Smith was an original member of the Computer Graphics Lab of the New York Institute of Technology and was the First Graphics Fellow at Microsoft. While at Xerox PARC, he witnessed the birth of the personal computer and received two technical Academy Awards, for the alpha channel and digital paint systems. He invented the first full-colour paint program, the HSV (or HSB) colour transform, and the alpha channel. Smith was instrumental, as a Regent, in initiating the Visible Human Project of the National Library of Medicine and was a star witness in a trial that successfully invalidated five patents that threatened Adobe Photoshop. He was also active in the development of the HDTV standard. Smith holds a Ph.D. from Stanford University and an honorary doctorate from New Mexico State University. He is a member of the National Academy of Engineering, a Fellow of the American Association for the Advancement of Science, and a Fellow of the American Society of Genealogists.
    [Show full text]
  • How to Innovate Like Walt Disney and the Pixarians Bill Capodagli
    Dreams and Dreamers How to Innovate Like Walt Disney and the Pixarians Bill Capodagli www.capojac.com Why Pixar? • 1995 • Corporate Playground • Toy Story, Looking at the World Through the Eyes of a Child Through the Eyes of a Child “As naïve as it may sound, making Toy Story felt like an extension of school, we were just making a film we wanted to make for us and our friends to enjoy.” Pete Docter Goals • Paint a picture of Pixar’s magical playground • Inspire you to create your own playground where collective creativity abounds. • Provide ideas for addressing key issues in your own organizations Key Issues • Teamwork • Turnover/Maintaining Talent • Do More with Less • Speed of Innovation The Dreamers • Walt Disney • Ed Catmull • Alvy Ray Smith • John Lasseter •Dream Like a Child •Believe in Your Playmates •Dare to Jump in the Water and Make Waves •Do Unleash Your Childlike Potential Dream Like a Child Where did the Creativity Go? • First-mover advantage not always the case • 1912 White Castle – 1961 McDonalds • 1871 Woolworth – 1962 Wal-Mart • 1919 Felix the Cat – 1928 Mickey Mouse Short-Term Stupidity • “It is never about cheaper faster. It’s creating for the long-term. People here love the characters and they are aware these films, if done correctly are living things.” Brad Bird Hey Kids, Let’s Put on a Show! • “What makes a movie successful is not only the technology but the story that brings people to see it over and over–it’s got to be heartfelt and warm.” Andrew Slabin, entertainment analyst Hey Kids, Let’s Put on a Show! • Toy Story 2 (1999) “direct to video” • “These were the people that put out Cinderella II.
    [Show full text]
  • Der Computeranimierte Spielfilm
    Klaus Kohlmann Der computeranimierte Spielfilm Klaus Kohlmann (Dr. phil.) arbeitet als 3-D-Artist für mehrere Agen- turen sowie als Autor für Fachmagazine. Er ist Universitätslehrbe- auftragter für 3-D-Computergrafik. (www.klauskohlmann.de) Klaus Kohlmann Der computeranimierte Spielfilm. Forschungen zur Inszenierung und Klassifizierung des 3-D-Computer-Trickfilms Das Buch ist eine von der Philosophischen Fakultät der Universität zu Köln angenommene Dissertation zur Erlangung des Doktorgrades Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. © 2007 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Umschlaggestaltung & Innenlayout: Kordula Röckenhaus, Bielefeld Lektorat & Satz: Klaus Kohlmann Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-635-9 Gedruckt auf alterungsbeständigem Papier mit chlorfrei gebleichtem Zellstoff. Besuchen Sie uns im Internet: http://www.transcript-verlag.de Bitte fordern Sie unser Gesamtverzeichnis und andere Broschüren an unter: [email protected] INHALT Einleitung 13 1. Portrait des konventionellen Trickfilms 21 1.1 Ausprägungen und Gattungen 22 1.2 Anfänge der Animation 25 1.3 Stationen des Zeichentrickfilms 26 1.4 Inszenierungsforschung des konventionellen Trickfilms 29 1.5 Der Puppentrickfilm 33 2. Historie und Disposition der 3-D-computerbasierten Bilderzeugung 37 2.1 Computergrafik 37 2.2 3-D-Computergrafik 38 2.3 3-D-Computeranimation 44 2.4 Entwicklungsgeschichtlicher Zusammenhang von Film und Computer 45 2.5 Der vollständig computergenerierte Trickfilm 52 2.6 Der abendfüllende computergenerierte Spielfilm 55 3. Disposition des Computers in der Trickfilmproduktion 57 3.1 CGI im filmwissenschaftlichen Diskurs 57 3.2 Algorithmisierung 58 3.3 Stationen der CG-Produktionslinie 61 3.4 Exkurs: Die 3-D-Applikation 3ds max 71 4.
    [Show full text]
  • Icon Steve Jobs
    iCon Steve Jobs The Greatest Second Act in the History of Business by Jeffrey S. Young and William L. Simon John Wiley & Sons © 2005 368 pages Focus Take-Aways Leadership & Mgt. • Steven Jobs has always had charisma and inspirational talent, but his early career Strategy was marked by manipulative, dishonest, boorish behavior. Sales & Marketing • Ever since he co-founded Apple Computer, Inc., Jobs has had a fl air for attractive, Corporate Finance user-friendly industrial design and excellent user interfaces. Human Resources • Many of Jobs' blunders came from trusting his own instincts above everything else. Technology & Production Small Business • Jobs' ventures after Apple were marked by product failures and enormous losses. Economics & Politics • Jobs' road back to success began when he let go of his obsession with hardware, Industries & Regions and focused instead on software and content. Career Development • As CEO, Jobs stuck with Pixar Animation Studios – pouring in millions of dollars for Personal Finance no return – until he and the studio became major forces in Hollywood. Concepts & Trends • Jobs is the only CEO who mastered – and inspired – Apple's renegade culture. • Combined, the iPod, iTunes and iTunes Music Store transformed the music industry. • Under Jobs, Apple has positioned itself carefully for an assault on Microsoft's dom- inance in computers. • At 50, Jobs has learned from his past, is a better man and is tackling new chal- lenges. Rating (10 is best) Overall Applicability Innovation Style 9 7 8 10 To purchase abstracts, personal subscriptions or corporate solutions, please visit our Web site at www.getAbstract.com or call us at our U.S.
    [Show full text]
  • Digital Paint Systems: an Anecdotal and Historical Overview
    Digital Paint Systems: An Anecdotal and Historical Overview Alvy Ray Smith The history of digital paint systems derives from many things— chance meetings, coincidences and boredom, artistic license, brilliant researchers, a wealthy benefactor, and, of course, lawsuits. Alvy Ray Smith tells the fascinating story—facts first, then anecdotes—in his own words. This article is based on a talk presented in tal 2D (two-dimensional) and 3D modeling and January 2000 at an evening hosted by the animation, film recording, video editing, and Computer History Museum on Moffatt Field, audio synthesis. An excellent rendering of my near Palo Alto, California. I shared the floor time with Dick Shoup (sounds like “shout,” not with longtime colleague Richard G. “Dick” like “hoop”) in the early days at Xerox PARC Shoup who figures highly in what follows. It is (Palo Alto Research Center) can be found in the also based on a document I submitted to the recent book Dealers of Lightning: Xerox PARC Academy of Motion Picture Arts and Sciences and the Dawn of the Computer Age.4 For other (AMPAS) in 1997 in answer to a call from them PARC references, see Lavendel,5 Pake,6 Perry,7 for information about early paint programs and and Smith.8 their contribution to the film business.1 The time frame dates from the late 1960s to Definitions the early 1980s, from the beginnings of the A digital paint program and a digital paint technology of digital painting up to the first system are distinguished by their functions. A consumer products that implemented it.
    [Show full text]