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Spatial Design Principles in Digital Animation
Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system. -
Best Enjoyed As Property, Shoe and Hairdo Porn.”
”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Rauno Sainio Tampere University School of Language, Translation and Literary Studies English Philology Pro Gradu Thesis May 2011 ii Tampereen yliopisto Englantilainen filologia Kieli-, käännös- ja kirjallisuustieteiden yksikkö SAINIO, RAUNO: ”Best enjoyed as property, shoe and hairdo porn.” Creating New Vocabulary in Present-Day English: A Study on Film-Related Neologisms in Total Film Pro gradu -tutkielma, 135 sivua + liite (6 sivua) Kevät 2011 Tämän pro gradu -tutkielman tarkoituksena oli tutustua eri menetelmiin, joiden avulla englannin kielen sanastoa voidaan laajentaa. Lähdekirjallisuudesta kerättyä tietoa käsiteltiin tutkielman teoriaosuudessa, minkä jälkeen empiirinen osuus selvitti, kuinka kyseisiä menetelmiä sovelletaan käytännössä nykyenglannissa. Tämän selvittämiseksi käytiin manuaalisesti läpi korpusaineisto, joka koostui isobritannialaisen Total Film -elokuvalehden yhden vuoden aikana julkaistuista numeroista. Elokuvajournalismissa käytettävä kieli valittiin tutkimuksen kohteeksi kirjoittajan henkilökohtaisen kiinnostuksen vuoksi sekä siksi, että elokuva on paitsi merkittävä, myös jatkuvasti kehittyvä taiteen ja populaarikulttuurin muoto. Niinpä tämän tutkielman tarkoitus on myös tutustuttaa lukija sellaiseen sanastoon, jota alaa käsittelevä lehdistö nykypäivänä Isossa-Britanniassa käyttää. Korpuksen pohjalta koottu, 466 elokuva-aiheista uudissanaa käsittävä sanaluettelo analysoitiin -
Analysis and Development Film Legend of the Galela Using Three Dimensional Animation
International Journal of Advanced Research in Computer Engineering & Technology (IJARCET) Volume 6, Issue 7, July 2017, ISSN: 2278 – 1323 Analysis And Development Film Legend Of The Galela Using Three Dimensional Animation M. Kasyif Gufran Umar people [2]. Video or movie is known as one of the most Abstract— The animated movie is a growing industry in effective media to convey the message or information directly Indonesia. Animated film serves as a medium not only to humans [2]. The development of film in Indonesia has entertain, but also educate because it contains a moral message many versions, ranging from action movies, adventure, and didactic. Currently, the making of animated films in documentary, comedy and animated films [3]. Currently, addition to having an interesting story line, also has a specific animated films began to dominate the film market in purpose. There is an important message to be conveyed, such as Indonesia. Besides more the theme of education, created the presenting a legend or cultural heritage that became extinct from the public gaze. In fact, there are many people even animated film is able to attract people to watch it [4]. younger generation, have minimal knowledge about the legend Developing an animated film also has many types and their own areas. Society tends to like to enjoy other versions such as: 2D animation; 3D animation; Stop motion entertainment than on listening to the legend that is considered animation; and the Japanese Animation (Anime) [3] .In old-fashioned. The number of alternative technologies utilized addition, the animated film was developed by considering the by the loss of consciousness to be a factor for preserving election theme of the story that raised the local legend of both cultural heritage. -
Application of Performance Motion Capture Technology in Film and Television Performance Animation
Proceedings of the 2nd International Symposium on Computer, Communication, Control and Automation (ISCCCA-13) Application of Performance Motion Capture Technology in Film and Television Performance Animation ZHANG Manyu Dept. Animation of Art, Tianjin Academy of Fine Arts Tianjin , CHINA E-mail: [email protected] Abstract—In today’s animation films, virtual character tissue simulation technique” for the first time, so that acting animation is a research field developing rapidly in computer skills of actors can be delivered to viewers maximally. graphics, and motion capture is the most significant What’s more, people realize that “motion capture component, which has brought about revolutionary change for technology” shall be called as “performance capture 3D animation production technology. It makes that animation technology” increasingly. Orangutan Caesar presented in producers are able to drive animation image models directly with the use of actors’ performance actions and expressions, Rise of the Apes through “motion capture” technology is which has simplified animation manufacturing operation very classical. Various complicated and subtle expressions greatly and enhanced quality for animation production. and body languages of Caesar’s not vanished bestiality and initially emerged human nature have been presented Keywords- film and television films, motion capture, naturally and freshly in the film, which has achieved the technology excellent realm of mixing the false with the genuine. When Caesar stands in front of Doctor Will in equal gesture, its I. INTRODUCTION independence and arbitrariness in its expression with dignity With the development of modern computer technology, of orangutan has undoubtedly let viewers understand computer animation technology has developed rapidly. -
3. Digital 3D, Parallax Effects, and the Construction of Film Space In
3. Digital 3D, Parallax Effects, and the Construction of Film Space in Tangled 3D and Cave of Forgotten Dreams 3D Kristen Whissel Abstract This essay analyzes how parallax effects in Cave of Forgotten Dreams 3D (2010) and Tangled 3D (2010) effectively blur the boundaries between the past and present, sight and touch, and diegetic space and the space of reception in order to give form to themes concerning the dimensionality of the moving image. I show how these films function as ideal case studies for demonstrating digital 3D’s transformation of film space by organizing seeing, knowing, and feeling along the screen’s z-axis. Keywords: Digital 3D, parallax effects, affect, haptics, uncanny Since the release of Chicken Little 3D (Mark Dindal) in 2005, digital 3D cinema has had the odd historical status of being a ‘new’ medium that has returned to us from the past as a harbinger of cinema’s future. To be sure, digital 3D has transformed our understanding of the (pre-)history of the cinema itself, which now must include Charles Wheatstone’s invention of the stereoscope (1838) and Charles Babbage’s invention of the Analytical Engine (1837) in the first half of the 19th century. However long this history, the return of stereoscopic 3D as a digital medium demands a rethinking of film history to include the changing dimensionality of the moving image and, with it, transformations in the articulation of film space. Much as digital tools provide new means for organizing the image along and around the x- (horizontal) and y- (vertical) axes, they have also provided, as Stephen Prince has argued, new means for ‘choreographing’ story, character, and action along the z-axis—a continuum that stretches from the extreme Sæther, S.Ø. -
Dictionary of Westerns in Cinema
PERFORMING ARTS • FILM HISTORICAL DICTIONARY OF Historical Dictionaries of Literature and the Arts, No. 26 VARNER When early filmgoers watched The Great Train Robbery in 1903, many shrieked in terror at the very last clip, when one of the outlaws turned toward the camera and seemingly fired a gun directly at the audience. The puff of WESTERNS smoke was sudden and hand-colored, and it looked real. Today we can look back at that primitive movie and see all the elements of what would evolve HISTORICAL into the Western genre. Perhaps the Western’s early origins—The Great Train DICTIONARY OF Robbery was the first narrative, commercial movie—or its formulaic yet enter- WESTERNS in Cinema taining structure has made the genre so popular. And with the recent success of films like 3:10 to Yuma and The Assassination of Jesse James by the Coward Robert Ford, the Western appears to be in no danger of disappearing. The story of the Western is told in this Historical Dictionary of Westerns in Cinema through a chronology, a bibliography, an introductory essay, and hundreds of cross-referenced dictionary entries on cinematographers; com- posers; producers; films like Butch Cassidy and the Sundance Kid, Dances with Wolves, The Good, the Bad, and the Ugly, High Noon, The Magnificent Seven, The Searchers, Tombstone, and Unforgiven; actors such as Gene Autry, in Cinema Cinema Kirk Douglas, Clint Eastwood, Henry Fonda, Jimmy Stewart, and John Wayne; and directors like John Ford and Sergio Leone. PAUL VARNER is professor of English at Abilene Christian University in Abilene, Texas. -
3D Cinematography Principles and Their Applications to Stereoscopic Media Processing∗
3D Cinematography Principles and Their Applications to Stereoscopic Media Processing∗ Chun-Wei Liu Tz-Huan Huang Ming-Hsu Chang National Taiwan University National Taiwan University National Taiwan University Taipei, Taiwan Taipei, Taiwan Taipei, Taiwan [email protected] [email protected] [email protected] Ken-Yi Lee Chia-Kai Liang Yung-Yu Chuang National Taiwan University Lytro, Inc. National Taiwan University Taipei, Taiwan Mountain View, California USA Taipei, Taiwan [email protected] [email protected] [email protected] ABSTRACT screens, and even mobile devices. Binocular consumer cam- This paper introduces 3D cinematography principles to the eras can be found now at very affordable prices. The wide field of multimedia and illustrates their usage in stereoscopic deployment of stereoscopic displays and binocular cameras media processing applications. These principles include (1) has made the capture and display of stereoscopic media easy, maintaining coordination among views, (2) having a con- and has led to more such media. Thus we are seeing the tinuous depth chart, (3) placing rest areas between strong advent of the stereoscopic multimedia era. Unfortunately, in 3D shots, (4) using a shallow depth of field for shots with spite of the rapid progress in stereoscopic hardware for both excessive depth brackets, and (5) being careful about the acquisition and display, little progress has been made on the stereoscopic window. Taking these principles into account, software side, especially for consumer 3D media processing. we propose designs for stereoscopic extensions of two pop- Professional 3D movie makers either use proprietary pro- ular 2D media applications|video stabilization and photo grams or even the current generation of 2D tools for 3D film slideshow|to provide a better 3D viewing experience. -
Featured Artists Saturday, 10Pm - 12Am at the Nevada City and Venues
SYRCL’s 12th ANNUAL WILD & SCENIC® FILM FESTIVAL Welcome to SYRCL’s 12th Annual and foster this dialogue. As always, we aim to have you Wild & Scenic Film Festival. leaving inspired and hopeful. The human “emPOWERment” piece is what does that for us. Knowing there are others The South Yuba River Citizens League (SYRCL) is thrilled to out there who care. Who work tirelessly to make a positive once again produce the Wild & Scenic Film Festival. Now in difference. And that small changes at a local level really do our 12th year, what started as two nights of film has grown into contribute to meaningful change at a global scale. Our fellow The Wild & Scenic® four nights and two full days of inspiring film, art, music, activist human beings give us hope. That more than 4,500 people turn Film Festival is brought to you workshops, speakers, excursions, and more. And we’re excited out for this environmental film festival gives us hope. So thank by SYRCL, to bring you the most programming ever in Grass Valley as well YOU for being here, being present, and contributing the South Yuba River as our “usual” lineup in Nevada City. to positive change. Citizens League. Our theme of “emPOWERment” promotes both the subject Happy viewing, SYRCL unites the community of energy and the human spirit that is positive and inspirational. to protect and restore the Yuba River. Energy is crucial for all of us and often cited as one of the Caleb Dardick Melinda Booth world’s most pressing environmental issues. Clean energy Executive Director Festival Director Please become a dues-paying vs. -
4. 1. Research Output Iv) Screenings
4. 1. Research Output iv) Screenings Table 4.1.9. is summary for film production done from AY July 2007-till present. I have introduced animated content into my works since 2007 and since 2010 HD DCP/Digital Cinema Projection and Two channel Stereoscopic HD 3D animation for passive/active 3D stereo DCP/Digital Cinema. In addition films were adapted for various immersive stereoscopic visualization platforms such as the following: 320 The Immesrive Room in the NTU/Institute for Media Innovation Immersive Room (5 channels)1 Ars Electronica, presetigious stereo venue Deep Space for the ocasion of the most reputable festival of digital arts in the world Ars Electronica Festival (2011, 2013).2 Glass-free stereoscopic version of the film for Alioscopy 3D HD 55" LV TV Platform British Academy Awards (BAFTA) qualifying festival, renowned Brooklyn Film Festival, New York (2011) The resulting 3D stereoscopic animated films won 15 awards (14 International) and were selected in 47 festivals/theatrical screenings. Film was submitted in more than 70 international juried events such as: The 14th International Beverly Hills Film Festival(2014), SPARK [FWD] 3D, VFX & Advanced Imaging Conference Vancouver by prestigious Emily Carr/S3D Centre and the Canadian 3D and Advance Imaging Society (2013), 67th Edinburgh International Film Festival, UK (2013)3 The 15th Annual Washington DC Independent Film Festival(2013),Canada International Film Festival (2013), Acclaimed Festival Anima Mundi Brazil (2011 and 2013)4 ,6th Annual, Los Angeles, the world's largest all digital 3D stereoscopic Film, Music & Interactive Festival (2013), Dimension 3 Festival, Seine-Saint–Denis, France (2010) The 27th Southeast Asian Games (SEAG) (2013). -
Watershed June 2010 Podcast – Cannes 2010
Watershed, 1 Canon’s Road, Harbourside, Bristol BS1 5TX Box Office: 0117 927 6444 Watershed June 2010 Podcast – Cannes 2010 Each year I approach the Cannes Film Festival with much anticipation especially after last year’s outstanding selection which unspooled Antichrist, A Prophet and The White Ribbon to name but three in one competition. So for 2010 the bar was high and yes it never achieved such heady heights but it produced a handful of stimulating, and (in the hands of three British veteran directors), three solid films. The headline for me seems to be that the critics are always looking for the next big thing whereas it’s in the evolution of the little things that exciting work is happening. Apichatpong Weersatukel’s Palme d’or-winning Uncle Bonaroo is the case in point. The other headline is that 3D is very much on the agenda and having a real impact on the future of cinema. On arrival my first film in the market was The Shock Labyrinth, a Japanese HD 3D feature film which was both classic horror and effective 3D. I followed that with a 10 minute promo of a 3D natural history feature film about elephants which looked impressive. In conferences and trade papers everyone was proclaiming the growth in 3D production – Werner Herzog, Dario Argento are but two directors entering the 3D world - and audience demand has met with this. I even bumped into film critic Mark Kermode who Watershed goers may know stated that he would eat his shoes if we screened a 3D film by the likes of David Lynch. -
SHSU Video Archive Basic Inventory List Department of Library Science
SHSU Video Archive Basic Inventory List Department of Library Science A & E: The Songmakers Collection, Volume One – Hitmakers: The Teens Who Stole Pop Music. c2001. A & E: The Songmakers Collection, Volume One – Dionne Warwick: Don’t Make Me Over. c2001. A & E: The Songmakers Collection, Volume Two – Bobby Darin. c2001. A & E: The Songmakers Collection, Volume Two – [1] Leiber & Stoller; [2] Burt Bacharach. c2001. A & E Top 10. Show #109 – Fads, with commercial blacks. Broadcast 11/18/99. (Weller Grossman Productions) A & E, USA, Channel 13-Houston Segments. Sally Cruikshank cartoon, Jukeboxes, Popular Culture Collection – Jesse Jones Library Abbott & Costello In Hollywood. c1945. ABC News Nightline: John Lennon Murdered; Tuesday, December 9, 1980. (MPI Home Video) ABC News Nightline: Porn Rock; September 14, 1985. Interview with Frank Zappa and Donny Osmond. Abe Lincoln In Illinois. 1939. Raymond Massey, Gene Lockhart, Ruth Gordon. John Ford, director. (Nostalgia Merchant) The Abominable Dr. Phibes. 1971. Vincent Price, Joseph Cotton. Above The Rim. 1994. Duane Martin, Tupac Shakur, Leon. (New Line) Abraham Lincoln. 1930. Walter Huston, Una Merkel. D.W. Griffith, director. (KVC Entertaiment) Absolute Power. 1996. Clint Eastwood, Gene Hackman, Laura Linney. (Castle Rock Entertainment) The Abyss, Part 1 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss, Part 2 [Wide Screen Edition]. 1989. Ed Harris. (20th Century Fox) The Abyss. 1989. (20th Century Fox) Includes: [1] documentary; [2] scripts. The Abyss. 1989. (20th Century Fox) Includes: scripts; special materials. The Abyss. 1989. (20th Century Fox) Includes: special features – I. The Abyss. 1989. (20th Century Fox) Includes: special features – II. Academy Award Winners: Animated Short Films. -
PRICES REALIZED DETAIL - Hollywood - Summer 2016 Auction 83, Auction Date
26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood - Summer 2016 Auction 83, Auction Date: LOT ITEM PRICE PREMIUM 1 THEDA BARA (36) VINTAGE ORIGINAL PHOTOGRAPHIC PORTRAITS. $3,250 $650 2 (100+) VINTAGE ORIGINAL BEHIND THE SCENES PHOTOGRAPHS OF EARLY $1,500 $300 HOLLYWOOD STUDIOS AND FILMMAKING. 3 MGM STARS OF THE 1930S (53) VINTAGE ORIGINAL PHOTOGRAPHIC $1,300 $260 PORTRAITS BY HURRELL AND BULL. 4 JEAN HARLOW (7) VINTAGE ORIGINAL PHOTOGRAPHIC PORTRAITS BY BULL, $450 $90 GRIMES, AND HURRELL. 5 CAROLE LOMBARD VINTAGE ORIGINAL PHOTOGRAPHIC PORTRAIT BY $225 $45 CLARENCE SINCLAIR BULL. 6 CAROLE LOMBARD (50+) VINTAGE ORIGINAL PHOTOGRAPHIC PORTRAITS. $2,750 $770 7 CLARK GABLE (14) VINTAGE ORIGINAL PHOTOGRAPHS. $300 $60 8 GONE WITH THE WIND (40+) VINTAGE ORIGINAL PRODUCTION PHOTOS AND (1) $1,100 $308 WINDOW CARD. 9 LAUREN BACALL (2) VINTAGE OVERSIZE PHOTOGRAPHIC PORTRAITS BY JOHN $2,250 $450 ENGSTEAD. 10 REBEL WITHOUT A CAUSE (22) VINTAGE ORIGINAL SET CONTINUITY $400 $80 PHOTOGRAPHS. 11 COLLECTION OF (5000+) ORIGINAL VINTAGE AND CONTEMPORARY $37,500 $7,500 ENTERTAINMENT PHOTOGRAPHS. 12 COLLECTION OF (5000+) ORIGINAL VINTAGE AND CONTEMPORARY $35,000 $7,000 ENTERTAINMENT PHOTOGRAPHS. 13 COLLECTION OF (5000+) ORIGINAL VINTAGE AND CONTEMPORARY $37,500 $7,500 ENTERTAINMENT PHOTOGRAPHS. 14 COLLECTION OF (500+) VINTAGE AND CONTEMPORARY OVERSIZE $9,000 $1,800 PHOTOGRAPHIC PORTRAITS. 15 LON CHANEY, SR. VINTAGE ORIGINAL PHOTOGRAPHER SIGNED GLASS PLATE $450 $90 NEGATIVE. 16 COLLECTION OF (1000++) ORIGINAL VINTAGE AND CONTEMPORARY $5,500 $1,100 NEGATIVES, SLIDES, AND COLOR TRANSPARENCIES. Page 1 of 71 26662 Agoura Road, Calabasas, CA 91302 Tel: 310.859.7701 Fax: 310.859.3842 PRICES REALIZED DETAIL - Hollywood - Summer 2016 Auction 83, Auction Date: LOT ITEM PRICE PREMIUM 17 IN OLD CHICAGO VINTAGE ORIGINAL SCRIPT.