Case5:11-Cv-02509-LHK Document102-1 Filed01/19/12 Page1 of 20
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Information Packet for Prospective Students
Information Packet for Prospective Students This packet includes: ! Information about our major ! FAQs ! Press packet with news items on our students, faculty and alumni Be sure to visit our website for more information about our department: http://film.ucsc.edu/ For information about our facilities and to watch student films, visit SlugFilm: http://slugfilm.ucsc.edu/ If you have any questions, you can send an email to [email protected] Scroll Down for packet information More%information%can%be%found%on%the%UCSC%Admissions%website:%% UC Santa Cruz Undergraduate Admissions Film and Digital Media Introduction The Film and Digital Media major at UC Santa Cruz offers an integrated curriculum where students study the cultural impact of movies, television, video, and the Internet and also have the opportunity to pursue creating work in video and interactive digital media, if so desired. Graduates of the UC Santa Cruz Film and Digital Media program have enjoyed considerable success in the professional world and have gained admission to top graduate schools in the field. Degrees Offered ▪ B.A. ▪ M.A. ▪ Minor ▪ Ph.D. Study and Research Opportunities Department-sponsored independent field study opportunities (with faculty and department approval) Information for First-Year Students (Freshmen) High school students who plan to major in Film and Digital Media need no special preparation other than the courses required for UC admission. Freshmen interested in pursuing the major will find pertinent information on the advising web site, which includes a first-year academic plan. advising.ucsc.edu/summaries/summary-docs/FILM_FR.pdf Information for Transfers Transfer students should speak with an academic adviser at the department office prior to enrolling in classes to determine their status and to begin the declaration of major process as soon as possible. -
Estta474185 05/23/2012 in the United States
Trademark Trial and Appeal Board Electronic Filing System. http://estta.uspto.gov ESTTA Tracking number: ESTTA474185 Filing date: 05/23/2012 IN THE UNITED STATES PATENT AND TRADEMARK OFFICE BEFORE THE TRADEMARK TRIAL AND APPEAL BOARD Proceeding 91198236 Party Plaintiff Lucasfilm Ltd., and Lucasfilm Entertainment Company Ltd. Correspondence ROSEMARY S TARLTON Address MORRISON & FOERSTER LLP 425 MARKET ST SAN FRANCISCO, CA 94105 UNITED STATES [email protected], [email protected], [email protected], [email protected] Submission Testimony For Plaintiff Filer's Name Rosemary S. Tarlton Filer's e-mail [email protected],[email protected],[email protected],[email protected] m Signature /Rosemary S. Tarlton/ Date 05/23/2012 Attachments Ex_89.pdf ( 2 pages )(84030 bytes ) Ex_90.pdf ( 2 pages )(119723 bytes ) Ex_91.pdf ( 3 pages )(439591 bytes ) Ex_92.pdf ( 2 pages )(63659 bytes ) Ex_93.pdf ( 2 pages )(251461 bytes ) Ex_94.pdf ( 3 pages )(535218 bytes ) Ex_95.pdf ( 9 pages )(2792159 bytes ) EXHIBIT 89 EXHIBIT 90 EXHIBIT 91 LUCASFILM R{igyãrs"[to¦kxyoz’"Xkrgzouty"""""Æ"""""nzzv@55puhy4r{igyãrs4ius5otzkxtynovy4nzsr""""Æ"""""{to¦kxyoz’xkrgzoutyFr{igyãrs4ius Internship Program R{igy"Roiktyotm"""""Æ""""""R{igy"Utrotk"""""Æ""""""R{igyGxzy"""""Æ""""""ORS"""""Æ""""""Yq’}grqkx"Yu{tj"""""Æ""""""R{igyãrs"Gtosgzout Jedi Academy Overview: ]k"gxk"ruuqotm"lux"g"lk}"muuj"Vgjg}gty'"Znk"R{igyãrs"iusvgtoky"gxk"ruuqotm"lux"mxkgz"ixkgzo¦k"zgrktz"" zu"puot"u{x"g}gxj"}ottotm"zkgsy4 Znk"Pkjo"Gigjks’"Vxumxgs"oy"g"y{sskx"otzkxtynov"zngz"R{igyãrs"x{ty"hkz}kkt"7837<"}kkqy"gz"znk"Rkzzkxsgt" -
Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs
FOR IMMEDIATE RELEASE Media Contact: June 30, 2015 Emel Shaikh 310.360.1981 [email protected] Stephen Kenneally Industrial Light & Magic / Skywalker Sound 415.746.2306 [email protected] Sundance Institute and Skywalker Sound Announce Independent Filmmakers and Film Composers for July Music and Sound Design Labs Fellows Include Kris Bowers, Germaine Franco, Danielle Eva Schwob and Jeremy Turner Creative Advisors Include Academy Award Winner Todd Boekelheide and Emmy Award Winner Laura Karpman Los Angeles, CA — Sundance Institute and Skywalker Sound today announced the independent narrative and documentary directors and composers selected for the Sundance Institute Music and Sound Design Labs at Skywalker Sound. This will be the third year the Music and Sound Design Labs take place at the Skywalker Ranch in northern California. The Labs are part of 24 residential labs the Institute hosts annually to discover and foster the talent of emerging independent artists in film, theatre, new media and episodic content. The Music and Sound Design Labs provide a space for composers, directors and sound designers to collaborate on the process of designing a soundtrack for film. Fellows participate in workshops and creative exercises under the guidance of leading film composers and film music professionals acting as Creative Advisors.The Music and Sound Design Lab for narrative feature films (July 7-21) is a joint initiative of the Institute’s Film Music Program and Feature Film Program, and the Music and Sound Design Lab for documentaries (July 22-30) is a joint initiative of the Film Music Program and Documentary Film Program. Peter Golub, Director of the Sundance Institute Film Music Program, said, "This year’s fellows include an outstanding group of composers whose work will deepen and enrich the experience of the diverse personal stories being told by these fiction and documentary filmmakers. -
M [email protected] (561) 398-5435
MARISSA E. BERNSTEL https://www.mbernstel.co m [email protected] (561) 398-5435 Storyboard Artist on Primetime show “Bless The Harts” — Titmouse – North Hollywood, CA – October 2019 Responsible for analyzing scripts and director’s notes to create drawn sequences that are animatic ready, starting from thumbnails to roughs, then comps and final. Storyboard Revisionist on Primetime show “Duncanville” — Bento Box Entertainment – North Hollywood, CA – May 2019 – October 2019 Responsible for analyzing scripts and director’s notes to create drawn sequences that are animatic ready, making appropriate fixes and tweaks to already existing storyboards, drawing characters on model in a timely and efficient manner, and working collaboratively with all areas of the television production pipeline. Storyboarder on “Star Wars the Clone Wars” -- Lucasfilm Animation – San Francisco, CA – May 2018 – April 2019 Responsible for taking scenes from script into first pass (drawn thumbnails) and then into final layout with Lucasfilm's proprietary 3d software. Boards are a combination of drawing and 3d. Rough planning is drawn via thumbnails, then first pass and final pass of camera and character placement is done in 3d space with the 3d program. Character/acting beats are done on top of layout with drawing for final polish. Animator/Cam Layout for WWE19, 2k Games – Novato, CA – January 2018 – May 2018 Responsible for creating in-game cut scenes in Motion Builder for WWE19, by generating 3d cameras in the scene, importing and cleaning up motion capture data on characters, animating hand poses and facial expressions from scratch. Cinematic Artist, Telltale Games – San Rafael, CA – May 2016 – November 2017 Created in- game cutscenes from their First Pass to the Final Polish of the finished game. -
Lucasarts and the Design of Successful Adventure Games
LucasArts and the Design of Successful Adventure Games: The True Secret of Monkey Island by Cameron Warren 5056794 for STS 145 Winter 2003 March 18, 2003 2 The history of computer adventure gaming is a long one, dating back to the first visits of Will Crowther to the Mammoth Caves back in the 1960s and 1970s (Jerz). How then did a wannabe pirate with a preposterous name manage to hijack the original computer game genre, starring in some of the most memorable adventures ever to grace the personal computer? Is it the yearning of game players to participate in swashbuckling adventures? The allure of life as a pirate? A craving to be on the high seas? Strangely enough, the Monkey Island series of games by LucasArts satisfies none of these desires; it manages to keep the attention of gamers through an admirable mix of humorous dialogue and inventive puzzles. The strength of this formula has allowed the Monkey Island series, along with the other varied adventure game offerings from LucasArts, to remain a viable alternative in a computer game marketplace increasingly filled with big- budget first-person shooters and real-time strategy games. Indeed, the LucasArts adventure games are the last stronghold of adventure gaming in America. What has allowed LucasArts to create games that continue to be successful in a genre that has floundered so much in recent years? The solution to this problem is found through examining the history of Monkey Island. LucasArts’ secret to success is the combination of tradition and evolution. With each successive title, Monkey Island has made significant strides in technology, while at the same time staying true to a basic gameplay formula. -
10700990.Pdf
The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date. -
Scummvm Documentation
ScummVM Documentation CadiH May 10, 2021 The basics 1 Understanding the interface4 1.1 The Launcher........................................4 1.2 The Global Main Menu..................................7 2 Handling game files 10 2.1 Multi-disc games...................................... 11 2.2 CD audio.......................................... 11 2.3 Macintosh games...................................... 11 3 Adding and playing a game 13 3.1 Where to get the games.................................. 13 3.2 Adding games to the Launcher.............................. 13 3.3 A note about copyright.................................. 21 4 Saving and loading a game 22 4.1 Saving a game....................................... 22 4.2 Location of saved game files............................... 27 4.3 Loading a game...................................... 27 5 Keyboard shortcuts 30 6 Changing settings 31 6.1 From the Launcher..................................... 31 6.2 In the configuration file.................................. 31 7 Connecting a cloud service 32 8 Using the local web server 37 9 AmigaOS 4 42 9.1 What you’ll need...................................... 42 9.2 Installing ScummVM.................................... 42 9.3 Transferring game files.................................. 42 9.4 Controls........................................... 44 9.5 Paths............................................ 44 9.6 Settings........................................... 44 9.7 Known issues........................................ 44 10 Android 45 i 10.1 What you’ll need..................................... -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
Disney and Lucasfilm Celebrate Iconic Heroes from a Galaxy Far, Far Away...With Star Wars Forces of Destiny
Disney and Lucasfilm Celebrate Iconic Heroes from a Galaxy Far, Far Away...with Star Wars Forces of Destiny April 13, 2017 Micro-series of original, animated shorts will focus on untold stories of everyday heroism that shape the destinies of Rey, Jyn Erso, Sabine Wren, Princess Leia, Ahsoka Tano and others Daisy Ridley, Felicity Jones, Tiya Sircar, Ashley Eckstein and Lupita Nyong'o reprise their roles for new series launching in July Books, apparel and toys including new ‘Adventure Figures' from Hasbro launching this summer GLENDALE, Calif.--(BUSINESS WIRE)-- Disney and Lucasfilm today announced Star Wars Forces of Destiny, a new initiative celebrating the inspiring stories of iconic heroes from across the Star Wars universe. An original series of animated shorts (each 2-3 minutes in length) will explore exciting, all new adventures of key characters including Rey, Jyn Erso, Sabine Wren, Princess Leia, Ahsoka Tano and others, ahead of books and a TV special later in the year. The stories will also be supported by a line of toys from Hasbro, including new ‘Adventure Figures' - a fusion between traditional dolls and action figures, creating a whole new way to play Star Wars. This Smart News Release features multimedia. View the full release here: http://www.businesswire.com/news/home/20170412006283/en/ "Star Wars Forces of Destiny is for anyone who has been inspired by Leia's heroism, Rey's courage, or Ahsoka's tenacity," said Kathleen Kennedy, President of Lucasfilm. "We're thrilled that so many of the original actors are reprising their roles in these shorts which capture the small moments and everyday decisions that shape who these characters are. -
Television Academy Awards
2020 Primetime Emmy® Awards Nomination Press Release Outstanding Character Voice-Over Performance Big Mouth • How To Have An Orgasm • Netflix • Netflix Maya Rudolph as Connie the Hormone Monstress Central Park • Episode One • Apple TV+ • 20th Century Fox Television Leslie Odom, Jr. as Owen Crank Yankers • Bobby Brown, Wanda Sykes & Kathy Griffin • Comedy Central • Kimmelot, ITV, Central Productions, LLC Wanda Sykes as Gladys The Mandalorian • Chapter 8: Redemption • Disney+ • Lucasfilm Ltd. Taika Waititi as IG-11 The Simpsons • Better Off Ned • FOX • Gracie Films in association with 20th Century Fox Television Nancy Cartwright as Bart Simpson, Nelson, Ralph, Todd The Simpsons • Frinkcoin • FOX • Gracie Films in association with 20th Century Fox Television Hank Azaria as Professor Frink, Moe, Chief Wiggum, Carl, Cletus, Kirk, Sea Captain Outstanding Animated Program Big Mouth • Disclosure The Movie: The Musical! • Netflix • Netflix Nick Kroll, Executive Producer Andrew Goldberg, Executive Producer Mark Levin, Executive Producer Jennifer Flackett, Executive Producer Joe Wengert, Co-Executive Producer Kelly Galuska, Supervising Producer Gil Ozeri, Supervising Producer Ben Kalina, Supervising Producer Shannon Prynoski, Supervising Producer Chris Prynoski, Supervising Producer Anthony Lioi, Supervising Producer Mike L. Mayfield, Co-Supervising Director Nate Funaro, Produced by Emily Altman, Producer / Writer Victor Quinaz, Writer Bob Suarez, Director David Bastian, Animation Timer Edgar Larrazabal, Animation Timer Maureen Mlynarczyk, Animation -
Learning Through Collaboration and Co-Production in the Singapore Film Industry : Opportunities for Development
This may be the author’s version of a work that was submitted/accepted for publication in the following source: Wong, Caroline & Matthews, Judith (2009) Learning through collaboration and co-production in the Singapore film in- dustry: opportunities for development. In Rose, E & Fisher, G (Eds.) ANZIBA: The Future of Asia-Pacific Business- Beyond the Crisis. ANZIBA, CD Rom, pp. 1-25. This file was downloaded from: https://eprints.qut.edu.au/27761/ c Copyright 2009 please contact the authors This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. http:// www.anziba.org/ conf.html QUT Digital Repository: http://eprints.qut.edu.au/ Wong, Caroline and Matthews, Judy H. -
Guynes and Hassler-Forest, Star Wars and the History of Transmedia Storytelling.Split-And-Merged
TRANSMEDIA Edited by Sean Guynes and Dan Hassler-Forest STAR WARS and the History of Transmedia Storytelling Star Wars and the History of Transmedia Storytelling Transmedia: Participatory Culture and Media Convergence The book series Transmedia: Participatory Culture and Media Convergence provides a platform for cutting-edge research in the field of media studies, with a strong focus on the impact of digitization, globalization, and fan culture. The series is dedicated to publishing the highest-quality monographs (and exceptional edited collections) on the developing social, cultural, and economic practices surrounding media convergence and audience participation. The term ‘media convergence’ relates to the complex ways in which the production, distribution, and consumption of contemporary media are affected by digitization, while ‘participatory culture’ refers to the changing relationship between media producers and their audiences. Interdisciplinary by its very definition, the series will provide a publishing platform for international scholars doing new and critical research in relevant fields. While the main focus will be on contemporary media culture, the series is also open to research that focuses on the historical forebears of digital convergence culture, including histories of fandom, cross- and transmedia franchises, reception studies and audience ethnographies, and critical approaches to the culture industry and commodity culture. Series editors Dan Hassler-Forest, Utrecht University, the Netherlands Matt Hills, University of