'Blade Runner' Designer Syd Mead to Get Visual Effects Society Award

Total Page：16

File Type：pdf, Size：1020Kb

'Blade Runner' Designer Syd Mead to Get Visual Effects Society Award

Source URL: http://www.hollywoodreporter.com/behindscreen/bladerunnerdesignersydmead811877 'Blade Runner' Designer Syd Mead to Get Visual Effects Society Award 3:52 PM PDT 7/29/2015 by Carolyn Giardina 423 35 1 His iconic design work has also appeared in 'Tron.' [1] Jenny Risher Syd Mead Visual futurist and conceptual artist Syd Mead — whose design work includes Blade Runner and Tron — will receive the Visual Effects Society's Visionary Award at the 14th Annual VES Awards on Feb. 2 at the Beverly Hilton Hotel. “Syd is truly a defining creative force in the world of visual arts,” said Mike Chambers, VES board chair. “He has a rare ability to create fiercely inventive images, both iconic and sublime, and he has contributed to some of our most unforgettable cinematic experiences. Syd’s legendary contributions to the field of design, and the inspiration he has provided for generations of visual effects artists is immense.” Mead’s career spans six decades and began at Ford Motor Company’s Advanced Styling Studio. After Ford, he took on design assignments for companies including U.S. Steel and Philips Electronics. In 1979, his work in Hollywood started with creation of the V’ger entity for Star Trek: The Motion Picture, followed by Blade Runner and Tron. Mead’s designs for robots, vehicles and otherworldly environments have also been featured in films including 2010, Short Circuit, Aliens, Time Cop, Johnny Mnemonic, Mission Impossible 3 and Elysium. Collections of Mead’s work have been exhibited around the world. A documentary of his career, Visual Futurist, was released in 2007. Links: [1] http://pinterest.com/pin/create/button/?url=www.hollywoodreporter.com/behindscreen/bladerunnerdesignersydmead 811877&media=http://www.hollywoodreporter.com/sites/default/files/imagecache/blog_post_349_width/2015/07/syd_mead_s_15.jpg&description='Blade Runner' Designer Syd Mead to Get Visual Effects Society Award.

Copy Link

Recommended publications

TUGBOAT Volume 26, Number 1 / 2005 Practical
TUGBOAT Volume 26, Number 1 / 2005 Practical TEX 2005 Conference Proceedings General Delivery 3 Karl Berry / From the president 3 Barbara Beeton / Editorial comments Old TUGboat issues go electronic; CTAN anouncement archives; Another LATEX manual — for word processor users; Create your own alphabet; Type design exhibition “Letras Latinas”; The cost of a bad proofreader; Looking at the same text in different ways: CSS on the web; Some comments on mathematical typesetting 5 Barbara Beeton / Hyphenation exception log A L TEX 7 Pedro Quaresma / Stacks in TEX Graphics 10 Denis Roegel / Kissing circles: A French romance in MetaPost Software & Tools 17 Tristan Miller / Using the RPM package manager for (LA)TEX packages Practical TEX 2005 29 Conference program, delegates, and sponsors 31 Peter Flom and Tristan Miller / Impressions from PracTEX’05 Keynote 33 Nelson Beebe / The design of TEX and METAFONT: A retrospective Talks 52 Peter Flom / ALATEX fledgling struggles to take flight 56 Anita Schwartz / The art of LATEX problem solving 59 Klaus Höppner / Strategies for including graphics in LATEX documents 63 Joseph Hogg / Making a booklet 66 Peter Flynn / LATEX on the Web 68 Andrew Mertz and William Slough / Beamer by example 74 Kaveh Bazargan / Batch Commander: A graphical user interface for TEX 81 David Ignat / Word to LATEX for a large, multi-author scientific paper 85 Tristan Miller / Biblet: A portable BIBTEX bibliography style for generating highly customizable XHTML 97 Abstracts (Allen, Burt, Fehd, Gurari, Janc, Kew, Peter) News 99 Calendar TUG Business 104 Institutional members Advertisements 104 TEX consulting and production services 101 Silmaril Consultants 101 Joe Hogg 101 Carleton Production Centre 102 Personal TEX, Inc.
[Show full text]
WARGAMES: WHEN HACKING WENT MAINSTREAM Tuesday, September 20, 2011 - 11:40 AM by Alex Goldman / PJ Vogt
WHERE TO LISTEN CONTACT US WARGAMES: WHEN HACKING WENT MAINSTREAM Tuesday, September 20, 2011 - 11:40 AM By Alex Goldman / PJ Vogt Share Tweet 9 Like 0 The concept of hacking entered the American popular imagination through a fairly unlikely medium – the Hollywood blockbuster. Specifically, the 1983 film Wargames, about a high school hacker whose computer tampering nearly starts a nuclear war. Conservative Bloggers Vindicated, Advice When WarGames was released, the way that people used for Leakers, and More computers had just dramatically changed. Computers, which had An 11-year-old and his 3D printer once been solely the province of big research universities, had Who’s gonna pay for this stuff? become small and fast enough to make their way into the homes A Journalistic Civil War Odyssey of hobbyists in the 1970's. WarGames was released during the A New Incentive for Cord Cutters lifespan of the Apple II and the IBM PC 5150, some of the first A Source for Sources truly successful mass marketed home computers. Web Only Audio Extra - TV Cord Cutters (MGM/United Artists) Angelina Jolie's Secret Test Results With IRS Scandal, Conservative Bloggers JOIN THE DISCUSSION [3] Feel Vindicated Brooke Gladstone + Cyndi Lauper WarGames trailer FEEDS On The Media : Latest Episodes (Atom) On The Media : Latest Stories (Atom) On the Media Feed (Atom) hack week Feed (Atom) On The Media Podcast However, when the film was pitched, no one really understood its premise. The script was rejected by numerous studios. According to the filmmakers, one basic problem was that no one knew what genre it fit into – the technology depicted in the movie (for instance, dial-up modems) was so new that studio representatives thought the movie only made sense as science fiction.
[Show full text]
Free Catalog
Featured New Items DC COLLECTING THE MULTIVERSE On our Cover The Art of Sideshow By Andrew Farago. Recommended. MASTERPIECES OF FANTASY ART Delve into DC Comics figures and Our Highest Recom- sculptures with this deluxe book, mendation. By Dian which features insights from legendary Hanson. Art by Frazetta, artists and eye-popping photography. Boris, Whelan, Jones, Sideshow is world famous for bringing Hildebrandt, Giger, DC Comics characters to life through Whelan, Matthews et remarkably realistic figures and highly al. This monster-sized expressive sculptures. From Batman and Wonder Woman to The tome features original Joker and Harley Quinn...key artists tell the story behind each paintings, contextualized extraordinary piece, revealing the design decisions and expert by preparatory sketches, sculpting required to make the DC multiverse--from comics, film, sculptures, calen- television, video games, and beyond--into a reality. dars, magazines, and Insight Editions, 2020. paperback books for an DCCOLMSH. HC, 10x12, 296pg, FC $75.00 $65.00 immersive dive into this SIDESHOW FINE ART PRINTS Vol 1 dynamic, fanciful genre. Highly Recommened. By Matthew K. Insightful bios go beyond Manning. Afterword by Tom Gilliland. Wikipedia to give a more Working with top artists such as Alex Ross, accurate and eye-opening Olivia, Paolo Rivera, Adi Granov, Stanley look into the life of each “Artgerm” Lau, and four others, Sideshow artist. Complete with fold- has developed a series of beautifully crafted outs and tipped-in chapter prints based on films, comics, TV, and ani- openers, this collection will mation. These officially licensed illustrations reign as the most exquisite are inspired by countless fan-favorite prop- and informative guide to erties, including everything from Marvel and this popular subject for DC heroes and heroines and Star Wars, to iconic classics like years to come.
[Show full text]
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation.
[Show full text]
Postmodernism
Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 1 Black Black POSTMODERNISM STYLE AND SUBVERSION, 1970–1990 TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 Edited by Glenn Adamson and Jane Pavitt V&A Publishing TJ254-3-2011 IMUK VLX0270 Postmodernism W:247mmXH:287mm 175L 130 Stora Enso M/A Magenta(V) 130 Stora Enso M/A 175L IMUK VLX0270 Postmodernism W:247mmXH:287mm TJ254-3-2011 2 3 Black Black Exhibition supporters Published to accompany the exhibition Postmodernism: Style and Subversion, 1970 –1990 Founded in 1976, the Friends of the V&A encourage, foster, at the Victoria and Albert Museum, London assist and promote the charitable work and activities of 24 September 2011 – 15 January 2012 the Victoria and Albert Museum. Our constantly growing membership now numbers 27,000, and we are delighted that the success of the Friends has enabled us to support First published by V&A Publishing, 2011 Postmodernism: Style and Subversion, 1970–1990. Victoria and Albert Museum South Kensington Lady Vaizey of Greenwich CBE London SW7 2RL Chairman of the Friends of the V&A www.vandabooks.com Distributed in North America by Harry N. Abrams Inc., New York The exhibition is also supported by © The Board of Trustees of the Victoria and Albert Museum, 2011 The moral right of the authors has been asserted.
[Show full text]
The “Tron: Legacy”
Release Date: December 16 Rating: TBC Run time: TBC rom Walt Disney Pictures comes “TRON: Legacy,” a high-tech adventure set in a digital world that is unlike anything ever captured on the big screen. Directed by F Joseph Kosinski, “TRON: Legacy” stars Jeff Bridges, Garrett Hedlund, Olivia Wilde, Bruce Boxleitner, James Frain, Beau Garrett and Michael Sheen and is produced by Sean Bailey, Jeffrey Silver and Steven Lisberger, with Donald Kushner serving as executive producer, and Justin Springer and Steve Gaub co-producing. The “TRON: Legacy” screenplay was written by Edward Kitsis and Adam Horowitz; story by Edward Kitsis & Adam Horowitz and Brian Klugman & Lee Sternthal; based on characters created by Steven Lisberger and Bonnie MacBird. Presented in Disney Digital 3D™, Real D 3D and IMAX® 3D and scored by Grammy® Award–winning electronic music duo Daft Punk, “TRON: Legacy” features cutting-edge, state-of-the-art technology, effects and set design that bring to life an epic adventure coursing across a digital grid that is as fascinating and wondrous as it is beyond imagination. At the epicenter of the adventure is a father-son story that resonates as much on the Grid as it does in the real world: Sam Flynn (Garrett Hedlund), a rebellious 27-year-old, is haunted by the mysterious disappearance of his father, Kevin Flynn (Oscar® and Golden Globe® winner Jeff Bridges), a man once known as the world’s leading tech visionary. When Sam investigates a strange signal sent from the old Flynn’s Arcade—a signal that could only come from his father—he finds himself pulled into a digital grid where Kevin has been trapped for 20 years.
[Show full text]
Music by Daft Punk Original Motion Picture Soundtrack
ORIGINAL MOTION PICTURE SOUNDTRACK MUSIC BY DAFT PUNK © Disney Enterprises, Inc. I had been listening to Daft Punk for almost ten years before I met them at the 101 Coffee Shop in Hollywood one morning in November 2007. I sat down not knowing what to expect, and I was immediately struck by their deep knowledge and love of film and particularly the sanctity in which they held Steven Lisberger’sTRON. It quickly became clear to me that this had the potential to be an exciting collaboration. With topics that ranged from Bernard Hermann to Wendy Carlos, the discussion revealed a shared desire to create a score that blended classic orchestral themes with an electronic minimalism in a way that had never been done before. I walked out knowing that there was an opportunity here to create something truly special. Now, three years later, we are in the final stages of mixing and the result has truly exceeded my high expectations. Because the score was developed in parallel with the production of the film, I’ve had the opportunity to live with it for over a year now and it never fails to thrill and inspire me as we near the finish line. I am excited for you to experience Daft Punk’s first contribution to the world of film scoring – I have a feeling it won’t be their last. Joseph Kosinski / September 2010 © Disney Enterprises, Inc. More than twenty five years ago I inspired Daft Punk with the originalTRON. With this score, that inspiration has come back to me in full measure.
[Show full text]
Reconstructing the Death Star: Myth and Memory in the Star Wars Franchise
Abilene Christian University Digital Commons @ ACU Electronic Theses and Dissertations Electronic Theses and Dissertations Spring 5-2018 Reconstructing the Death Star: Myth and Memory in the Star Wars Franchise Taylor Hamilton Arthur Katz [email protected] Follow this and additional works at: https://digitalcommons.acu.edu/etd Recommended Citation Katz, Taylor Hamilton Arthur, "Reconstructing the Death Star: Myth and Memory in the Star Wars Franchise" (2018). Digital Commons @ ACU, Electronic Theses and Dissertations. Paper 91. This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at Digital Commons @ ACU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ ACU. ABSTRACT Mythic narratives exert a powerful influence over societies, and few mythic narratives carry as much weight in modern culture as the Star Wars franchise. Disney’s 2012 purchase of Lucasfilm opened the door for new films in the franchise. 2016’s Rogue One: A Star Wars Story, the second of these films, takes place in the fictional hours and minutes leading up to the events portrayed in 1977’s Star Wars: Episode IV – A New Hope. Changes to the fundamental myths underpinning the Star Wars narrative and the unique connection between these film have created important implications for the public memory of the original film. I examine these changes using Campbell’s hero’s journey and Lawrence and Jewett’s American monomyth. In this thesis I argue that Rogue One: A Star Wars Story was likely conceived as a means of updating the public memory of the original 1977 film.
[Show full text]
Space Architecture in Film Environ- Ments: an Opportunity Lost
108 SEEKING THE CITY Defying Gravity: Space Architecture in Film Environ- ments: An Opportunity Lost TERRI MEYER BOAKE University of Waterloo INTRODUCTION Unlike architecture, fi lm spaces have never had to be realistic, nor have they been obliged to possess Film gives us the rare opportunity to completely a conscience. That is not to say, however, that question all that has come to be accepted in terms the notions of science or conscience have failed to of the language of architecture as well as cultural be vital motivations behind the creation of many and historic convention. It allows for educated fi lms. Film producers and directors though, can speculation on what may have been in the past, make a conscious decision whether to choose to and what the world of the future might become. respect scientifi c accuracy, and how to portray Current fi lm technologies provide such a high de- moral and political conscience. An examination of gree of realism in the product, that architectural scientifi c timelines can begin to allow us to un- education can use these fi lms as vehicles for criti- derstand the development of the space genre of cal discussion of the ethos of these environments. fi lm as it relates to accurate scientifi c invention.1 Much like, and yet experientially speaking, well If scientifi c knowledge was available at the time of beyond the efforts of the Visionary architects of the writing of books and making of fi lms, it will be the 18th century, fi lm can create speculations of assumed that such was purposefully ignored, for realistic feeling environments that can be used to either artistic or technological cause, if not shown reinvent the meaning and defi ning factors of ar- to be respected.
[Show full text]
Lightspeed Magazine Issue 22, March 2012
Lightspeed Magazine Issue 22, March 2012 Table of Contents Editorial, March 2012 by John Joseph Adams “Cleopatra Brimstone”—Elizabeth Hand (ebook- exclusive novella) The Games—Ted Kosmatka (novel excerpt) Interview: R. A. Salvatore Interview: Ian McDonald Artist Gallery: Ed Basa Artist Spotlight: Ed Basa “The Day They Came”—Kali Wallace (SF) “My She”—Mary Rosenblum (SF) “Electric Rains”—Kathleen Ann Goonan (SF) “Test”—Steven Utley (SF) “Alarms”—S. L. Gilbow (fantasy) “The Legend of XI Cygnus”—Gene Wolfe (fantasy) “Beauty”—David Barr Kirtley (fantasy) “Halfway People”—Karen Joy Fowler (fantasy) Author Spotlight: Elizabeth Hand (ebook-exclusive) Author Spotlight: Kali Wallace Author Spotlight: Mary Rosenblum Author Spotlight: Kathleen Ann Goonan Author Spotlight: Steven Utley Author Spotlight: S. L. Gilbow Author Spotlight: David Barr Kirtley Author Spotlight: Karen Joy Fowler Coming Attractions © 2012, Lightspeed Magazine Cover Art and artist gallery images by Ed Basa. Ebook design by Neil Clarke. www.lightspeedmagazine.com Editorial, March 2012 John Joseph Adams Welcome to issue twenty-two of Lightspeed! This month, our ebook-exclusive novella is “Cleopatra Brimstone” by Elizabeth Hand. Then we have original science fiction by new writer Kali Wallace (“The Day They Came”) and Steven Utley (“Test”), and SF reprints by award-winning authors Mary Rosenblum (“My She”) and Kathleen Ann Goonan (“Electric Rains”). We also have original fantasy by S. L. Gilbow (“Alarms”) and David Barr Kirtley (“Beauty”), and fantasy reprints by bestselling author Karen Joy Fowler (“Halfway People”) and the legendary Gene Wolfe (“The Legend of XI Cygnus”). All that plus our artist showcase, our usual assortment of author spotlights, and feature interviews with R.
[Show full text]
Disney+ Disney+ Will Be the Ultimate Streaming Destination for Entertainment from Disney, Pixar, Marvel, Star Wars, and National Geographic
Welcome to Disney+ Disney+ will be the ultimate streaming destination for entertainment from Disney, Pixar, Marvel, Star Wars, and National Geographic. Disney+ will offer ad-free programming with a variety of original feature films, documentaries, episodic and unscripted series and short-form content, along with unprecedented access to Disney’s incredible library of films and television series. The service will also be the exclusive streaming home for films released by The Walt Disney Studios in 2019 and beyond, including Captain Marvel, Avengers: Endgame, Aladdin, Toy Story 4, The Lion King, Frozen 2, and Star Wars: Episode IX. Disney+ will launch in the U.S. on November 12, 2019 for $6.99 per month. The service will be available on a wide range of mobile and connected devices, including gaming consoles, streaming media players, and smart TVs. Visit DisneyPlus.com to register your email and be kept up to date on the service. Page 1 of 10 Disney+ Originals Never-before-seen original feature films, series, short-form content and documentaries exclusively for Disney+ subscribers. High School Musical: The Musical: The Series - The 10-episode scripted Live Action series, set at the real-life East High, where the original movie was filmed, follows Series a group of students as they countdown to opening night of their school's first-ever production of “High School Musical.” With meta references and some docu-style elements, it’s a modern take on the “classic” from 15 years ago. Show-mances blossom; friendships are tested, while new ones are made; rivalries flare; songs are sung; and lives are changed forever as these young people discover the transformative power that only high school theater can provide.
[Show full text]
DOT Spring 2012
Art Center College of Design SPRING 2012 • 01 ARTCENTER.EDU/DOT SCAN QR CODE FOR INSTANT ACCESS. BESPOKE INNOVATIONS’ CUSTOMIZED “FAIRINGS” FOR PROSTHETIC LIMBS ADDRESS THE HUMAN NEEDS OF THE USER. SEE PAGE 8. Dot magazine is published by the Department of Marketing and Communications Art Center College of Design 1700 Lida Street, Pasadena, CA 91103 artcenter.edu Interim Co-Editors: Jered Gold, Mike Winder Writer s: Rebecca Epstein, Jered Gold, Mike Padilla, Mike Winder Art Director : Winnie Li Designers : Andrea Carrillo, Winnie Li, Miguel Ramirez Production Manager : Audrey Krauss Web Designer: Eliana Dominguez 02 27 A Web Production: Chuck Spangler SPRING 2012 r around the world feature t Center Dot Board Chairman: Robert C. Davidson, Jr. Smartproducts,exhibitions,ventures Replacing Pigment with People President: Lorne M. Buchman Senior Vice President, Development and andexperiencesbyArtCenter ArtistandGraduateArtfaculty External Affairs : Arwen Duffy students,alumniandfaculty. memberLitaAlbuquerquerevisits Associate Vice President, Advancement andexpandsherseminal1980 Services : Armik Allen Associate Vice President, Development : 08 earthwork,Spine of the Earth,in Maya Chalich LosAngeles’BaldwinHillsScenic Associate Vice President, Marketing and feature Communications : Wendy Shattuck OutlookfortheGetty’sPacific Director, Communications: Teri Bond Custom Made for the Soul Standard Time. Director, Design Office: Ellie Eisner StudentSethAstle,designerof Director, Promotion and Public Affairs: anaward-winningfootandpedal Jered Gold systemforpara-cyclists,and 35 Cover: Stellar Axis: Antarctica by Lita BespokeInnovations,themakers dot news Albuquerque. Photo by Jean de Pomereu. of“Fairings”forprostheticlimbs, Campusnews:TEDxmeetsArt Photography: © Art Center College of sharethesamegoal:improving Center,DwellonDesign,Kickstarter, Design/Steven A. Heller; Vahé D’Ala; thequalityofpeople’slives. SouthCampusexpansion,Honoring Catherine R. Wygal & Deanna McClure Civility,DOTLaunch. © 2012 Art Center College of Design.
[Show full text]