Virtual Production Unlocking Creative Vision and Business Value the Future of Content Creation: Virtual Production | Unlocking Creative Vision and Business Value
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Media Arts Department Is Composed of Directing, Post-Production, Producing, Screenwriting, and Visual Effects Associate Degree's
C A R E E R / T R A N S F E R C E N T E R M E D I A A R T S : D I R E C T I N G , P O S T - P R O D U C T I O N , P R O D U C I N G , S C R E E N W R I T I N G , V I S U A L E F F E C T S M A J O R G U I D E S H E E T W H A T I S M E D I A A R T S ? The Los Angeles Valley College Media Arts Department is composed of Directing, Post-Production, Producing, Screenwriting, and Visual Effects Associate Degree's. The Cinema and Media Arts curriculum focuses on training students to hone their storytelling skills through, directing, screenwriting classes and visual media classes in production and postproduction. It is the college's mission to prepare students to develop a broad understanding of the many facets of California’s ever-changing entertainment industry, and to learn appropriate skills to obtain internships and to be employed in entry-level positions in a variety of production venues. LAVC DEGREES & CERTIFICATES OFFERED I N T E R E S T S Degrees in Media Arts will give students a thorough ( T H I N G S Y O U background in the aesthetics of film and media. The L I K E T O D O ) department offers courses where the student will gain Creative arts experience in directing a cast and crew in the production of Study of motion pictures a short motion picture. -
Dance Design & Production Drama Filmmaking Music
Dance Design & Production Drama Filmmaking Music Powering Creativity Filmmaking CONCENTRATIONS Bachelor of Master of Fine Arts Fine Arts The School of Filmmaking is top ranked in the nation. Animation Cinematography Creative Producing Directing Film Music Composition Picture Editing & Sound Design No.6 of Top 50 Film Schools by TheWrap Producing BECOME A SKILLED STORYTELLER Production Design & Visual Effects Undergraduates take courses in every aspect of the moving image arts, from movies, series and documentaries to augmented and virtual reality. Screenwriting You’ll immediately work on sets and experience firsthand the full arc of film production, including marketing and distribution. You’ll understand the many different creative leadership roles that contribute to the process and discover your strengths and interests. After learning the fundamentals, you’ll work with faculty and focus on a concentration — animation, cinematography, directing, picture editing No.10 of Top 25 American and sound design, producing, production design and visual effects, or Film Schools by The screenwriting. Then you’ll pursue an advanced curriculum focused on your Hollywood Reporter craft’s intricacies as you hone your leadership skills and collaborate with artists in the other concentrations to earn your degree. No.16 of Top 25 Schools for Composing for Film and TV by The Hollywood Reporter Filmmaking Ranked among the best film schools in the country, the School of Filmmaking produces GRADUATE PROGRAM experienced storytellers skilled in all aspects of the cinematic arts and new media. Students Top 50 Best Film Schools direct and shoot numerous projects alongside hands-on courses in every aspect of modern film Graduate students earn their M.F.A. -
A French Impressionist Critical Approach to Terrence Malick's
Life in Movement: A French Impressionist Critical Approach to Terrence Malick’s Films By Matthew Sellers Johnson A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements of the degree Master of Arts in Film Victoria University of Wellington 2021 i ii Abstract Terrence Malick’s films from Badlands (1973) to The Tree of Life (2011) have generally received critical praise, as well as being the focus of detailed scholarly work. By contrast, his more recent films, what Robert Sinnerbrink refers to as the “Weightless trilogy” with To the Wonder (2012), Knight of Cups (2015) and Song to Song (2017), have been widely criticised and have been largely neglected academically. This thesis endeavours to situate the aesthetic features of these three films within a conceptual framework based in French Impressionist film theory and criticism. I will argue the ways in which these three films use natural light, gestures, close- ups, kinetic images and complex editing in relation to Germaine Dulac’s notions of pure cinema and Jean Epstein’s concept of photogénie. Moreover, these ideas can also be applied to films such as Days of Heaven (1978), The Thin Red Line (1998) and The Tree of Life. Thus, it is my contention that despite the significant changes to his filmmaking style evident in the Weightless trilogy, he remains a highly poetic director interested in the interior lives of his characters and the rhythms of life. iii Acknowledgements The following thesis would not be possible without the academic and personal support of the following people. First and foremost, I would like to thank Dr. -
Visual Effects Society Releases First-Of-Its-Kind Standardized Camera Report
FOR IMMEDIATE RELEASE QuickTime™ and a decompressor are needed to see this picture. Contact: Naomi Goldman, NLG Communications T: 310-770-2765 [email protected] Visual Effects Society Releases First-of-its-Kind Standardized Camera Report Open Source Initiative to Improve Capture and Exchange of Camera Sheets and Metadata from Production to VFX Los Angeles (December 16, 2013) – The Visual Effects Society (VES), the industry’s professional honorary society, has released a standardized interchange for camera reports, allowing essential visual effects information to be better captured and transferred through production into the post-production visual effects arena. The VES worked in collaboration with leading VFX companies for more than a year to standardize data fields and specify data transfer formats and create a new universal system for providing reliable camera sheets and metadata. The format is open sourced and is available with no fees or restrictions. “A key ingredient to creating high quality visual effects is the ability to recreate a digital replica of the environment in which the scene was captured; yet, despite the fact that most studios agree on the fundamental data that needs to be captured on set, there has not been a consensus on a standard camera report format to ensure accurate notes,” said Jeffrey A. Okun, VES Board Chair. “We’re proud that the VES Technology Committee, under the leadership of Rob Bredow and Sam Richards, have successfully attempted to address this critical challenge and develop a much-needed solution.” The initiative has received tremendous input from data and asset management companies and some of the industry’s biggest VFX companies through a dedicated working group. -
Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time. -
Special Effects
Episode 2 Teacher Resource 11th February 2020 Special Effects 1. Discuss the BTN Special Effects story with another student. Students will explore visual 2. Rising Sun Pictures has worked on the visual effects for serval effects techniques used in film. Hollywood films. Name one. 3. What is the difference between a practical and a computer-generated visual effect? Give examples. 4. What historical event was recreated in the film Ford v Ferrari? 5. What research did the Rising Sun Pictures team do to make the Media Arts – Years 3 & 4 Use media technologies to scene accurate? create time and space through 6. What is a green screen? the manipulation of images, 7. How were the cockpit interior shots filmed? sounds and text to tell stories. 8. What visual effects were added to the cockpit interior shots? Plan, create and present media 9. How long does it take for 80 people to create 8 minutes of visual artworks for specific purposes effects? with awareness of responsible 10. What was surprising about this story? media practice. Media Arts – Years 5 & 6 Develop skills with media technologies to shape space, time, movement and lighting Vocabulary within images, sounds and text. Students will develop a glossary of words and terms that relate to film making Plan, produce and present media and visual effects. Below are some words to get them started. Students will artworks for specific audiences add words and meanings to their glossary as they come across unfamiliar and purposes using responsible words throughout their research. media practice. Computer-generated Green screen Scene imagery Visual effects Shot Animation Further investigation Students will consider using pictures and diagrams to illustrate meanings of the words in the glossary. -
Directors Guild of America Creative Rights Handbook 2011 - 2014
DIRECTORS GUILD OF AMERICA CREATIVE RIGHTS HANDBOOK 2011 - 2014 Los Angeles, CA (310) 289-2000 New York, NY (212) 581-0370 Chicago, IL (312) 644-5050 www.dga.org Taylor Hackford, President • Jay D. Roth, National Executive Director Dear Colleague, As Co-Chairs of the DGA Creative Rights Committee, we spend a lot of time talking to Directors about their Theatrical Creative Rights work problems. Often we nd that trouble begins with Committee TABLE OF CONTENTS those who are unclear about or unaware of creative Jonathan Mostow Steven Soderbergh rights protections they already have as members of the Co-Chair Co-Chair Directors Guild of America. David Ayer Taylor Hackford Donald Petrie CREATIVE RIGHTS CHECKLISTS Some DGA Directors have voiced frustration over Michael Bay John Lee Hancock Sam Raimi Checklists of DGA Directors’ creative rights, practices in the editing room; they did not know John Carpenter Curtis Hanson Brett Ratner codied in this handbook that the DGA Basic Agreement protects them from .…..................….…….…….…….…….….3 interference when they are preparing their cut. Some omas Carter Mary Lambert Jay Roach television Directors have expressed concern about being Martha Coolidge Jonathan Lynn Tom Shadyac excluded from the looping and dubbing process; they Wes Craven Michael Mann Brad Silberling were unaware that they, like feature Directors, have SUMMARY OF CREATIVE RIGHTS Andy Davis Frank Marshall Penelope Spheeris the right to participate in both. And many Directors A summary of a Director’s creative rights did not realize that, because they are Guild members, Roger Donaldson McG Betty omas under the Directors Guild of America Basic they have a right to additional cutting time if necessary David Fincher E. -
An Experiment in Comedy, Stunts, and Visual Effects
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Fall 12-16-2016 “Down to the Last:” An experiment in comedy, stunts, and visual effects Margaret Ann Broach University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Film Production Commons Recommended Citation Broach, Margaret Ann, "“Down to the Last:” An experiment in comedy, stunts, and visual effects" (2016). University of New Orleans Theses and Dissertations. 2246. https://scholarworks.uno.edu/td/2246 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “Down to the Last:” An experiment in comedy, stunts, and visual effects A Thesis Submitted to the Graduate Faculty of the University of New Orleans In partial fulfillment of the Requirements of the degree of Master of Fine Arts In Film and Theatre With a concentration in Film Production By Margaret Broach B.F.A. -
Promotional Websites in the Film Industry. the Case of the Spanish Cinema Las Páginas Webs Promocionales En La Industria Cinematográfica
Promotional websites in the film industry. The case of the Spanish cinema Las páginas webs promocionales en la industria cinematográfica. El caso del cine español Sergio Jesús Villén Higueras holds a PhD in Audiovisual Communication and Advertising from the University of Malaga, receiving the European mention. He is a member of various research groups in which he analyses the promotional strategies of the cultural industries on websites and social networks; the ecosystem of Chinese social media and, particularly, the impact of Wechat on young Chinese students; and the cultural and technological transformations that the contemporary Chinese film industry has experimented. University of Málaga, Spain [email protected] ORCID: 0000-0002-6813-3614 Francisco Javier Ruiz del Olmo is a full professor at the University of Malaga. He develops his teaching and research work in the Faculty of Communication Sciences and the Faculty of Fine Arts. He has investigated the communicative models of audio-visual media and the representation of contemporary audio-visual forms, as well as the technical and social uses of them; a second research line is related to communication and new media. Both work lines have in common a significant interest in the qualitative methodologies. University of Málaga, Spain [email protected] ORCID: 0000-0002-1953-1798 ISSN: 1696-019X / e-ISSN: 2386-3978 Received: 09/06/2018 - Accepted: 18/09/2018 Recibido: 09/06/2018 - Aceptado: 18/09/2018 Abstract: Resumen: The development of web languages and the new communicative El desarrollo de los lenguajes web y las nuevas necesidades comuni- needs of the film industry have fostered the evolution of official cativas de la industria cinematográfica han favorecido la evolución movie websites. -
Brief History of Special/Visual Effects in Film
Brief History of Special/Visual Effects in Film Early years, 1890s. • Birth of cinema -- 1895, Paris, Lumiere brothers. Cinematographe. • Earlier, 1890, W.K.L .Dickson, assistant to Edison, developed Kinetograph. • One of these films included the world’s first known special effect shot, The Execution of Mary, Queen of Scots, by Alfred Clarke, 1895. Georges Melies • Father of Special Effects • Son of boot-maker, purchased Theatre Robert-Houdin in Paris, produced stage illusions and such as Magic Lantern shows. • Witnessed one of first Lumiere shows, and within three months purchased a device for use with Edison’s Kinetoscope, and developed his own prototype camera. • Produced one-shot films, moving versions of earlier shows, accidentally discovering “stop-action” for himself. • Soon using stop-action, double exposure, fast and slow motion, dissolves, and perspective tricks. Georges Melies • Cinderella, 1899, stop-action turns pumpkin into stage coach and rags into a gown. • Indian Rubber Head, 1902, uses split- screen by masking areas of film and exposing again, “exploding” his own head. • A Trip to the Moon, 1902, based on Verne and Wells -- 21 minute epic, trompe l’oeil, perspective shifts, and other tricks to tell story of Victorian explorers visiting the moon. • Ten-year run as best-known filmmaker, but surpassed by others such as D.W. Griffith and bankrupted by WW I. Other Effects Pioneers, early 1900s. • Robert W. Paul -- copied Edison’s projector and built his own camera and projection system to sell in England. Produced films to sell systems, such as The Haunted Curiosity Shop (1901) and The ? Motorist (1906). -
Visual Effects Cinematography the Cinematographer’S Filmic Technique from Traditional to Digital Era
The Turkish Online Journal of Design, Art and Communication - TOJDAC April 2012 Volume 2 Issue 2 VISUAL EFFECTS CINEMATOGRAPHY THE CINEMATOGRAPHER’S FILMIC TECHNIQUE FROM TRADITIONAL TO DIGITAL ERA Nawal Mohamed Salah ELDIN College of Applied Sciences,Ibri, Sultanate of Oman [email protected] ABSTRACT Special effects cinematography is as old as cinema itself. The cinematographer had a major role in making the special effects scene either by making the whole effect in camera or combined with the optical effects in laboratory after shooting. A question pops up after the digital revolution: Does the cinematographer have the same role as before? Is there a need to adopt new techniques to master the cinematographer work in the digital era? This paper attempts to explore the differences between the conventional and the digital visual effects from the cinematographer’s technical point of view, based on a comparative study. Before the digital era most of the effects were done by the camera or in the laboratory. Nowadays, however, there are new tools and techniques such as digital visual effects that overruled the cinema industry, sometimes the only live-action elements are the actors. The term CGI (Computer Generated Images) is currently well known to many people and filming is only the first step to be followed by many other procedures. The mentioned procedures are called post production, which is the region where most of the visual effects creation takes place. Keywords: Cinematography, Digitalization, Visual Effects 1. INTRODUCTION ‘Special effects’ are created where techniques beyond the ‘normal’ film making procedures are used. -
Filmography 1963 Through 2017 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
MacGillivray Freeman Films Filmography 1963 through 2017 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time.