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Bachelorarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver der Hochschule Mittweida BACHELORARBEIT Frau Annett Petzold Digital Effects in Spielfilmen 2016 Fakultät Medien BACHELORARBEIT Digital Effects in Spielfilmen Autor: Frau Annett Petzold Studiengang: Medientechnik (Ba. Eng.) Seminargruppe: MT12F-B Erstprüfer: Professor Doktor-Ingenieur Robert J. Wierzbicki Zweitprüfer: Master of Science Rika Fleck Einreichung: Mittweida, 08.01.2016 Faculty of Media BACHELOR THESIS Digital Effects in Feature Films author: Ms. Annett Petzold course of studies: Media Engineering seminar group: MT12F-B first examiner: Professor Doctor-Engineer Robert J. Wierzbicki second examiner: Master of Science Rika Fleck submission: Mittweida, 08.01.2016 IV Bibliografische Angaben: Nachname, Vorname: Digital Effects in Spielfilmen: Werden Spezialeffekte in Zukunft nur noch digital umgesetzt? Digital Effects in Feature Films: Are there going to be only computer- generated effects in the future? 2016 - 69 Seiten Mittweida, Hochschule Mittweida (FH), University of Applied Sciences, Fakultät Medien, Bachelorarbeit, 2016 Abstract Ziel dieser Arbeit ist es, den aktuellen Einsatz von Filmeffekten im Spielfilmbereich zu untersuchen und mit Hilfe der Ergebnisse auf zukünftige Entwicklungen zu schließen. Im Fokus des Forschungsinteresses steht dabei die Frage, ob Digital Effects das Potential besitzen, den Gebrauch traditioneller Special Effects auf lange Sicht in Spielfilmproduktionen zu ersetzen. Diese Untersuchungen -
Star Wars Insider Nov 2018 (Usps 003-027) (Issn 1041-5122)
UP TO SPEED: THE GALACTIC HOT RODS OF STAR WARS TARKIN ™ THE HORROR STAR BEHIND STAR WARS’ THEH E OFFICIALOFF FFII CCII A L MAGAZINEMAGAZINI N E FINEST VILLAIN! + WIN! A STAR WARS PRIZE WORTH $400! DROID UPRISING! L3-37 leads the fi ght for freedom! JON KASDAN Exclusive interview with the co-writer of Solo: A Star Wars Story! SHOOTING SOLO Behind the scenes on the making of the smash-hit movie! IN CONCERT Star Wars goes live with the London Symphony Orchestra! GALACTIC GEOGRAPHIC: EXPLORING THE COLORFUL worlds of STAR WARS A MESSAGE FROM THE EDITOR ™ NOV 2018 TITAN EDITORIAL Editor / Chris Cooper Senior Editor / Martin Eden WELCOME... Assistant Editors / Tolly Maggs, Jake Devine Art Editor / Andrew Leung Whenever you hear the first note of John Williams’ LUCASFILM Star Wars main title theme, I’m willing to bet that the Senior Editor / Brett Rector hairs on the back of your neck still tingle. That opening Art Director / Troy Alders Creative Director / Michael Siglain fanfare triggers so many fond memories for me, often Asset Management / Tim Mapp, entirely unrelated to actually watching one of the movies. Erik Sanchez, Bryce Pinkos, For those of us ancient enough to remember vinyl Nicole LaCoursiere, Shahana Alam Story Group / Pablo Hidalgo, Leland Chee, records before hyper-cool hipsters and audiophiles Matt Martin brought them back, the Star Wars Original Soundtrack CONTRIBUTORS album was a very special thing—it was literally the closest Tricia Barr, Tara Bennett, Natalie Clubb, you could get to experiencing the film at home, the tracks Megan Crouse, Michael Kogge, Tom Miller, on that double-LP a visceral link to the movie itself. -
Ultimate Movie Collectables London - Los Angeles
Ultimate Movie Collectables London - Los Angeles Prop Store - London Office Prop Store - Los Angeles Office Great House Farm 9000 Fullbright Ave Chenies Chatsworth, CA 91311 Rickmansworth USA Hertfordshire Ph: +1 818 727 7829 WD36EP Fx: +1 818 727 7958 UK Contact: Ph: +44 1494 766485 Stephen Lane - Chief Executive Officer Fx: +44 1494 766487 [email protected] [INTRODUCTION] Prop Store Office: London Prop Store Office: Los Angeles How do you best serve your greatest passion in life? the pieces that they sought, but also establish the standards for finding, You make it your business. acquiring and preserving the props and costumes used in Hollywood’s most beloved films. In 1998, UK native Stephen Lane did just that. Stephen’s love for movies led him ENTER: THE PROP STORE OF LONDON to begin hunting for the same props and Stephen and his team came to market already looking beyond the business costumes that were used to create his of simply collecting and selling movie props. Instead, the Prop Store team favorite films. It was the early days of the set out like a band of movie archaeologists, looking to locate, research internet and an entire world of largely and preserve the treasure troves of important artifacts that hid in dark, isolated collectors was just beginning to sometimes forgotten corners all over the world. And it’s now thanks to come together. As Stephen began making Stephen’s vision and the hard work of his dedicated team that so many of friends and connections all over the world— film history’s most priceless artifacts have found their way into either the relationships that continue today—he loving hands of private collectors or, as one of Stephen’s greatest movie realized that he was participating in the explosion of a hobby that would heroes would say, “into a museum!” soon reach every corner of the globe. -
Dot and Line PART2 Week7
Dot and Line + Stereopsis Week 7 https://www.youtube.com/watch?v=n8TJx8n9UsA Cybernetic Serendipity Computer art Digital art Virtual artworks New vocabulary: erase # delete ‘erasure is to line what stains is to drawing” = ‘deleting’ is to algorithm (or code). Rather than points and dots, pixels, the smallest physical elements of a digital display device, were created as squares. Discussion: are pixels square or round? Russel Kirsch – the first digital image 1957 “Computer graphics are pictures and films created using computers. Usually, the term refers to computer-generated CG andCGI image data created with help from specialized graphical hardware and software.” “The term was coined in 1960, The term computer graphics by computer graphics refers to several different things, researchers Verne Hudson and for example: William Fetter of Boeing. It is 1.the representation and manipulation of image data by a often abbreviated as CG, computer though sometimes referred to 2.the various technologies used as computer-generated to create and manipulate images imagery (CGI).” 3.the sub-field of computer science which studies methods for digitally synthesizing and * sometimes CG means Character manipulating visual content, see Generator” study of computer graphics (1977) The computer graphics for the first Star Wars film was created by Larry Cuba in the 1970s at the Electronic Visualization Laboratory (EVL) (at the time known as the Circle Graphics Habitat) at the University of Illinois at Chicago. For more information on the lab, visit our website -- www.evl.uic.edu and Larry Cuba at www.well.com/user/cuba “Once he had landed the bid to make the short animated sequence, he turned to DeFanti (Tom De Fanti, CALIT2), whose lab had worked already on one film (a forgettable 1974 thriller, "UFO: Target Earth") and was becoming known for its Graphics Symbiosis System, a programming language DeFanti had developed at Ohio State and gave the very-'70s acronym GRASS. -
Tim Mclaughlin I. Personal Information
Tim McLaughlin Curriculum Vitae I. Personal Information Full Name Timothy David McLaughlin Title Associate Professor and Department Head Education • Master of Science in Visualization Sciences, Texas A&M University, 1994 • Bachelor of Environmental Design, Texas A&M University, 1990 • Associate of Arts, Kilgore College, 1987 Teaching and Administrative Experience • 2008-present: Associate Professor and Department Head, Department of Visualization, College of Architecture, Texas A&M University, College Station, Texas • 2007-2008: Chair of Visualization Faculty and Associate Professor, Department of Architecture, Texas A&M University • Spring 2000: Visiting Professor, The Media School, Bournemouth University, Bournemouth, England Professional Experience • 2006-2007: Front End Supervisor, Lucasfilm Animation, Nicasio, California • 1994-2006: Various positions including Associate Visual Effects Supervisor, Creature Supervisor, Creature Technical Director, and Technical Director at Industrial Light & Magic, San Francisco and San Rafael, California • 1990-1991: Draftsman, HKS, Inc. Dallas, Texas • 1990: Draftsman, Cunningham Architects, Dallas, Texas Memberships • Current Member, Association for Computing Machinery (ACM) • Current Member, ACM – SIGGRAPH • Current Member, College Art Association (CAA) • Current Member, International Game Developers Association (IGDA) • Current Board Member, Visual Effects Society (VES) II. Research and Creative Activities A. Feature Film Exhibitions and Related Projects Projects listed in reverse chronological order. 1. Untitled feature film project. Position: Front End Supervisor. Reported to: Tony Plett, Visual Effects Supervisor. Fully animated feature film development project. Directed by George Lucas. Project indefinitely postponed in August 2007 while in story development, pre- production, and pipeline building phase. 2. Eragon. Position: Creature Technical Director. Reported to: Aaron Ferguson, Creature Supervisor. Live action film with visual effects by Industrial Light & Magic. -
Dossier 40 Anys Sitges Festival Internacional De
2 INDEX / ÍNDICE/ SUMMARY I Edició, 1968 ..................................................... p. 3 II Edició, 1969 ..................................................... p. 4 III Edició, 1970 ..................................................... p. 5 IV Edició, 1971 ..................................................... p. 6 V Edició, 1972 ..................................................... p. 8 VI Edició, 1973 ..................................................... p. 10 VII Edició, 1974 ..................................................... p. 12 VIII Edició, 1975 ..................................................... p. 14 IX Edició, 1976 ..................................................... p. 16 X Edició, 1977 ..................................................... p. 18 XI Edició, 1978 ..................................................... p. 20 XII Edició, 1979 ..................................................... p. 22 XIII Edició, 1980 ..................................................... p. 24 XIV Edició, 1981 .................................................... p. 26 XV Edició, 1982 .................................................... p. 28 XVI Edició, 1983 .................................................... p. 30 XVII Edició, 1984 .................................................... p. 32 XVIII Edició, 1985 .................................................... p. 34 XIX Edició, 1986 ................................................... p. 36 XX Edició, 1987 .................................................... p. 38 XXI Edició, 1988 -
Case Study: Metro Screen
Sydney International Film School Sydney International Film School is an independent film school which aims to train exceptionally skilled and talented individuals for careers in the global film industry. The two year intensive training course teaches through a hands-on creative process that emulates worldwide industry practice. Students are encouraged to produce up to 8 films during their two year study, as well as collaborating with other students on their work. The school provides equipment, software and sophisticated production facilities. "ASED IN 2OSEBERY IN CENTRAL 3YDNEY THE )NTERNATIONAL &ILM 3CHOOL 3YDNEY IS A 2EGISTERED 4RAINING /RGANISATION PROVIDING training and assessment services in filmmaking, 86H:HIJ9N/B:IGDH8G::C Metro Screen has over 27 years’ experience in the screen industry, serving the professional and production development needs of screen practitioners in NSW across film, television, online and portable media. Metro Screen’s primary focus is on screen skills development and the production of quality screen works. Each year Metro Screen supports the production of over 140 screen works across all genres. In 2009 Metro Screen productions won both Tropfest and Trop Jr 1st prize awards, with many of the short film works going on to screen and win awards at numerous national and international festivals. Metro Screen, located in the Paddington Town Hall, attracts a wide range of people passionate about film, from school children who participate in short school holiday programs to seasoned professionals who need to learn advanced techniques on the latest software. Metro Screen’s program includes a regular series of professional development seminars on areas like pitching, marketing & distribution, speed networking, career advice and copyright & legal matters. -
The Director's Method in Contemporary Visual Effects Film
The Director’s Method in Contemporary Visual Effects Film: The Influence of Digital Effects on Film Directing Gianluca Balla PhD University of York Theatre, Film and Television September 2016 Abstract The director’ s method – meant as the organisation of the filmmaking process – is usually characterised by common procedures such as work on the script, shot design and the actors’ performance. For films involving a large-scale use of digital effects, directors consistently approach such procedures with a particular attitude dictated by the digital pipeline, the step-by- step technical procedure through which computer-generated images are created. In light of this, the use of digital effects might influence the director’s method. This thesis aims to define what is considered to be a consensual methodological approach to direct films with no or few digital effects and then compares this approach to when such effects are conspicuously involved. This analysis is conducted through interviews with working directors, visual effects companies and practitioners, and integrated with the current literature. The frame of the research is represented by a large spectrum of contemporary films produced in western countries and which involve digital effects at different scales and complexity but always in interaction with live-action. The research focuses on commercial films and excludes computer-animated and experimental films. The research is intended to address an area in production studies which is overlooked. In fact, although the existent literature examines both digital effects and film directing as distinct elements, there is to date no detailed analysis on the influence that the former has on the latter. -
A Bibliography of Publications in ACM SIGGRAPH Computer Graphics: 1972–1999
A Bibliography of Publications in ACM SIGGRAPH Computer Graphics: 1972{1999 Nelson H. F. Beebe University of Utah Department of Mathematics, 110 LCB 155 S 1400 E RM 233 Salt Lake City, UT 84112-0090 USA Tel: +1 801 581 5254 FAX: +1 801 581 4148 E-mail: [email protected], [email protected], [email protected] (Internet) WWW URL: http://www.math.utah.edu/~beebe/ 22 March 2018 Version 1.38 Title word cross-reference DL90, ESYAE94, FF99a, FB98b, For99b, FJ96, GN89, GI99, GB95, GCF+94, GMS+98, Hag91, Hal99, HH90, Han99c, HSK89, HD91, Hog99, HMB+99, HCF+98, IMT99, Int97, #1 [Kur99b, LH87, Por99]. #11 [CH98]. Kak99, Kau87, KYB90, Kir98, Kni99, Lan99h, #111 [Nes98a]. #13 [Bur99b]. #2 Las87, Lat99, Leb96, LSHW98, Lev96, LC87, [Bur88, O'R87a, TS99]. #3 [O'R87b]. #4 MF98, MBM+95, MCR90, MKDY90, MHC90, [O'R88]. #506 [Smi98a]. #87 [Dod98b]. MHSW+90, Mor81, MIT98b, NGM+97, #9 [Bur99c]. #M1251 [Pel99]. Pal98a, Par97, Pfa96, PBG92, PDHN93, Pol95a, Pol95b, PH87, PSG98, RH94, + + $ [UAW 99]. 2 [CDB 89, CMS88, Cuc99, Rou98b, Sab88, ST90a, SN99, SW95, San99b, + FBC 95, NLN87, Pao99, SG92, SGWM93b, SF91, Sie95, SHR+92, SC92, Sul98c, Sul98d]. 21 + SGWM93a, SATK99, Smi87, WG99]. 2 3 [Tee98, TT90, TK96, Tur98, VFP 99, [Lit91]. 3 Var98, Var99, Voe99a, fWCF90, Wil90a, [Ano96-39, Ano96d, Ano96e, APP96, BW98a, WG99, Win98a, Wol98e, Wol98c, YO98, + BBX95, Bau98, BBC 99a, Bil98a, BI94, Yam98a, ZHR+93, ZHH96, Zel98a, Zel98b, BV99, BCH98, BJSS93, BC99, Bux98a, Zha98a, Zha98b, ZPMW92]. 4 + BF98a, Car82, CDB 89, CR94, CMS88, [Boc99, Gra85]. 8 [Col98b]. 3 [Sha75]. TM CM99, CP97, Coq90, Cor99, Cur99, Dat98c, [Hec87]. -
Review of Star Wars by Jim Sherry Outside: Traffic Jams Around The
Review of Star Wars By Jim Sherry Outside: traffic jams around the theater, block-long lines of people at the ticket counters, and box office phones that won't stop ringing. Inside: cheers from the audience even before the film begins, and more cheers, applause and laughter as the story unfolds. These are just some of the effects of a movie that seems to have taken over southern California with a spirit-like force out of its own fantasy world. The movie is Star Wars, written and directed by thirty-three year old George Lucas and produced by Gary Kurtz. Hailed by both critics and movie-goers alike, Star Wars is fast on its way to rivaling that whale of a fish story Jaws as the greatest box office success of all time. Even now, during its first run, Star Wars has attracted the kind of camp devotion in its followers that most classic movies take years to create. And though new fans continue to pour through the doors and fill up the seats at every performance, a growing percentage of Star Wars current audience consists of second and third time viewers. One Orange County youth claims to have already seen the film seventeen times. Of course the most obvious and publicized attraction of Star Wars is its dazzling special effects—its brilliant and wholly convincing creation of a fantasy world where intergalactic grotesques hobnob in space-age nightclubs, and where rebel star- ships dog-fight against backdrops that are simply out of this world. The creations of Stuart Freeborn, John Barry, and Rick Baker (who also did the make-up for King Kong), the cast of space oddities includes google-eyed Sand People, an eight foot 2 "wookie" who looks like he just stepped off the set of Planet of the Apes, assorted robots and mobile computers, and a whole menagerie of reptile-like creatures who are perhaps only too appropriate to the amphibious world of a port city in any galaxy. -
Starwars Episode Vi Revenge of the Jedi
S T A R W A R S EPISODE VI REVENGE OF THE JEDI BY LAWRENCE KASDAN AND GEORGE LUCAS FROM THE NOVEL BY GEORGE LUCAS SECOND DRAFT - DECEMBER 19, 1982 1 SPACE 1 The boundless heavens serve as a back-drop for the MAIN TITLE, followed by a ROLL-UP, which crawls into infinity. Episode VI: REVENGE OF THE JEDI... Luke Skywalker has returned to his home planet of Tatooine in an attempt to rescue his friend Han Solo from the clutches of the vile gangster Jabba the Hutt. Little does Luke know that the GALACTIC EMPIRE has secretly begun construction on a new armored space station even more powerful than the first dreaded Death Star. When completed, this ultimate weapon will spell certain doom for the small band of Rebels struggling to restore freedom to the galaxy... PAN DOWN to reveal a monstrous half-completed Death Star, its massive superstructure curling away from the completed section like the arms of a giant octopus. Beyond, in benevolent contrast, floats the small, green moon of ENDOR. An Imperial Star Destroyer moves overhead toward the massive armored space station, followed by two zipping TIE fighters. A small Imperial shuttle rockets from the main bay of the ship and hustles toward the Death Star. 2 INT IMPERIAL SHUTTLE - COCKPIT 2 The shuttle captain makes contact with the Death Star. SHUTTLE CAPTAIN Command station, this is ST 321. Code Clearance Blue. We're starting our approach. Deactivate the security shield. DEATH STAR CONTROLLER (filtered VO) The security deflector shield will be deactivated when we have confirmation of your code transmission. -
Listening for the Story: Inside the DVD Commentary September 27, 2005
sign off | your settings | your collection | site Welcome gleva help starwars.com > Hyperspace > Member Exclusives > Kessel Mines > Feature Listening for the Story: Inside the DVD Commentary September 27, 2005 Translating the Creative Process Skywalker, By Bonnie Burton Translating the Anakin Creative A child For every emotional acting scene or Process born of magnificent digital effect there's a side prophecy, story, and Revenge of the Sith DVD Untold Stories he has left Commentary Producer Gary Leva is there a mark on to capture it for fans wanting to know more. Excerpts the history Leva not only offered his expertise to record of the and edit the audio commentary tracks for galaxy... Revenge of the Sith (due to be released Nov. 1 on DVD), but for the entire Star Wars saga. He has also produced a number of featurettes on previous Star Wars DVDs, such as Birth of a Lightsaber, Characters of Star Wars and The Legacy of Star Wars in the Star Wars Trilogy set, the Deleted Scenes Documentary on Episode I, and State of the Art: Feature: An The Previsualization of Episode II documentary on Attack of the Clones. Introduction to Episode III "This was my seventh commentary with George [Lucas], including all six Star Wars films and THX 1138," Leva says. "We have fun together and, since I've also produced Feature: Star Wars documentaries for all the previous DVD sets, I know the ground we're covering pretty well Episode I: Production by now. So I can ask intelligent questions and sort of guide him into areas I think would Notes be interesting for fans.