3. Digital 3D, Parallax Effects, and the Construction of Film Space In
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Viewing Film from a Communication Perspective
Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool. -
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. -
Phil Lelyveld
Phil Lelyveld Program Manager, Consumer 3D Experience Lab, USC Entertainment Technology Center Entertainment Technology Research and Bus Dev Consultant www.etcenter.org www.PhilipLelyveld.com 1" How"does"3D"work?" • The"main"depth"cues"are"monocular" • Disparity"s@mulates"stereopsis" • Stereopsis"signals"only"rela@ve"depth" Source:"Dr."Jim"Sheedy,"Pacific"University’s"3D"and"Vision"Conf.,"6/1/11" Philip"Lelyveld"–"www.PhilipLelyveld.com" 2" Hype"Cycle" (Gartner)" Peak"of"inflated"expecta@ons" Plateau"of"produc@vity" Slope"of"enlightenment" Trough"of"disillusionment" Technology"trigger" Philip"Lelyveld"–"www.PhilipLelyveld.com" 3" 3D Cinema Number of 3D Feature Movies by Year 30 20 10 0 1953 1990 1970 2010 Film-based 3D Movie Titles Digital 3D Movie Titles Source: Digdia (www.Digdia.com), June, 2009 Report – Digital 3D Entertainment, From Theatre to the Home 5 Leading 3D cinema systems Dolby&(color&shi:)& RealD&(polarized)& MasterImage&(polarized)& XpanD&(ac)ve&shu/er)&6" 30,000+ 3D screens worldwide China = 6000+ 3D Screens US/Canada Dean, Beijing Film Academy China 4/27/12 France UK Germany Russia Mexico +50% CinemasSpain worldwide are now digital +50% DigitalJapan cinemas are now 3D capable (Source:"4"Reasons"3D"Movies"Aren’t"Just"a"Fad,"Mashable,"12/22/11)" hYp://www.studiodaily.com/main/news/headlines/StereoZ3DZSmartphoneZMarketZPoisedZtoZExplode_13567.html" Average"perZscreen"revenue" 3D"screens"versus"2D"screens" (Source:"4"Reasons"3D"Movies"Aren’t"Just"a"Fad,"Mashable,"12/22/11Philip"Lelyveld"–"www.PhilipLelyveld.com)"" 9" hYp://www.studiodaily.com/main/news/headlines/StereoZ3DZSmartphoneZMarketZPoisedZtoZExplode_13567.html" -
Success in the Film Industry
1 Abstract This paper attempted to answer the research question, “What determines a film’s success at the domestic box office?” The authors used an OLS regression model on data set of 497 films from the randomly selected years 2005, 2006, 2007, 2009, and 2011, taking the top 100 films from each year. Domestic box-office receipts served as the dependent variable, with MPAA ratings, critical reviews, source material, release date, and number of screens acting as independent variables in the final regression. Results showed that source material, critical reviews, number of screens, release date, and some genres were statistically significant and positively contributed to a film’s domestic revenue. Introduction Each year in the United States, hundreds of films are released to domestic audiences in the hope that they will become the next “blockbuster.” The modern film industry, a business of nearly 10 billion dollars per year, is a cutthroat business (Box Office Mojo). According to industry statistics, six or seven of every ten films are unprofitable, making the business risky at best (Brewer, 2006). Given this inherent risk, how do film studios decide which films to place their bets on? Are there common factors, such as critical reviews, MPAA rating, or production budget, which explain one film’s monetary success relative to another? This question forms the basis of this research project. To answer it, we estimated an Ordinary Least Squares regression that attempted to explain the monetary success of the top films in five years out of the past decade. This regression expanded our original dataset, which used 100 randomly selected films from 2004. -
Filmmaking High School 1AB High School
Filmmaking High School 1AB High School Course Title Filmmaking High School 1A/B Course Abbreviation FILMMAKING 1 A/B Course Code Number 200511/200512 Special Notes Course Description The purpose of this course is to provide a balanced visual arts program, which guides students to achieve the standards in the visual arts. In Filmmaking, students experience both the creative and technical aspects of filmmaking in conjunction with learning about historical and contemporary traditions. Story writing, story-based display, basic visual composition, and general reproduction skills will be included with camera techniques, animation, and line action planning. Traditional filmmaking traditions may be extended with video and multimedia technologies. Interdisciplinary experiences and arts activities lead to refining a personal aesthetic, and a heightened understanding of career opportunities in art and arts-related fields. Instructional Topics Historical Foundations of Cinema Aesthetic Decisions and Personal Judgment Introduction to Filmmaking and Multimedia Preproduction Planning Establishing a Theme Storyboarding and Scriptwriting Set, Prop and Costume Design Camera Techniques Design Elements in Cinema Sound, Lighting, Editing Live Action Filming Animation Techniques Documentation and Portfolio Preparation Careers in Cinema and Multimedia *Topics should be presented in an integrated manner where possible; time spent on each topic is to be based upon the needs of the student, the instructional program, and the scheduling needs of the school. California Visual Arts Content knowledge and skills gained during this course will support student achievement of Content Standards grade level Student Learning Standards in the Visual Arts. High School Proficient Upon graduation from the LAUSD, students will be able to: 1. Process, analyze, and respond to sensory information through the language and skills unique to the visual arts. -
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. -
2019 13-Itcon-Hamzeh.Pdf
www.itcon.org - Journal of Information Technology in Construction - ISSN 1874-4753 3D VISUALIZATION TECHNIQUES IN THE AEC INDUSTRY: THE POSSIBLE USES OF HOLOGRAPHY SUBMITTED: April 2018 REVISED: April 2019 PUBLISHED: June 2019 at https://www.itcon.org/2019/13 EDITOR: Turk Ž. Farook Hamzeh, Assistant Professor, American University of Beirut; [email protected] Hisham Abou-Ibrahim, PhD Candidate, American University of Beirut; [email protected] Anthony Daou, Graduate Student, American University of Beirut; [email protected] Mazen Faloughi, Graduate Student, American University of Beirut; [email protected] Nadim Kawwa, Graduate Student, American University of Beirut; [email protected] SUMMARY: Different visualization techniques are used to display and communicate information in the architecture, engineering, and construction (AEC) industry. While 2D representations have been historically used to communicate designers’ intent, 3D representation technologies have been increasingly used in the AEC industry. In this regard, designers gained more flexibility to express their 3D designs on one hand, and to communicate their intent to involved stakeholders on the other. However, current 3D visualization tools still rely on different forms of screens as a communication interface between information stored in a computer and involved users which may affect the interpretability of modeled information. In this context, this study explores the use of holography to represent and share construction information in both the design and construction phases of AEC projects. This paper reviews the current state of art in holographic visualization, examines the various techniques used to create holograms, evaluates the potential use of holography in construction, and compares it to other physical and digital modeling methods currently in use. -
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. -
Cinematography
CINEMATOGRAPHY ESSENTIAL CONCEPTS • The filmmaker controls the cinematographic qualities of the shot – not only what is filmed but also how it is filmed • Cinematographic qualities involve three factors: 1. the photographic aspects of the shot 2. the framing of the shot 3. the duration of the shot In other words, cinematography is affected by choices in: 1. Photographic aspects of the shot 2. Framing 3. Duration of the shot 1. Photographic image • The study of the photographic image includes: A. Range of tonalities B. Speed of motion C. Perspective 1.A: Tonalities of the photographic image The range of tonalities include: I. Contrast – black & white; color It can be controlled with lighting, filters, film stock, laboratory processing, postproduction II. Exposure – how much light passes through the camera lens Image too dark, underexposed; or too bright, overexposed Exposure can be controlled with filters 1.A. Tonality - cont Tonality can be changed after filming: Tinting – dipping developed film in dye Dark areas remain black & gray; light areas pick up color Toning - dipping during developing of positive print Dark areas colored light area; white/faintly colored 1.A. Tonality - cont • Photochemically – based filmmaking can have the tonality fixed. Done by color timer or grader in the laboratory • Digital grading used today. A scanner converts film to digital files, creating a digital intermediate (DI). DI is adjusted with software and scanned back onto negative 1.B.: Speed of motion • Depends on the relation between the rate at which -
Choosing Between Communication Studies and Film Studies
Choosing Between Communication Studies and Film Studies Many students with an interest in media arts come to UNCW. They often struggle with whether to major in Communication Studies (COM) or Film Studies (FST). This brief position statement is designed to help in that decision. Common Ground Both programs have at least three things in common. First, they share a common set of technologies and software. Both shoot projects in digital video. Both use Adobe Creative Suite for manipulation of digital images, in particular, Adobe Premiere for video editing. Second, they both address the genre of documentaries. Documentaries blend the interests of both “news” and “narrative” in compelling ways and consequently are of interest to both departments. Finally, both departments are “studies” departments: Communication Studies and Film Studies. Those labels indicate that issues such as history, criticism and theories matter and form the context for the study of any particular skills. Neither department is attempting to compete with Full Sail or other technical training institutes. Critical thinking and application of theory to practice are critical to success in FST and COM. Communication Studies The primary purposes for the majority of video projects are to inform and persuade. Creativity and artistry are encouraged within a wide variety of client- centered and audience-centered production genres. With rare exception, projects are approached with the goal of local or regional broadcast. Many projects are service learning oriented such as creating productions for area non-profit organizations. Students will create public service announcements (PSA), news and sports programming, interview and entertainment prog- rams, training videos, short form documentaries and informational and promotional videos. -
3D-Con2017program.Pdf
There are 500 Stories at 3D-Con: This is One of Them I would like to welcome you to 3D-Con, a combined convention for the ISU and NSA. This is my second convention that I have been chairman for and fourth Southern California one that I have attended. Incidentally the first convention I chaired was the first one that used the moniker 3D-Con as suggested by Eric Kurland. This event has been harder to plan due to the absence of two friends who were movers and shakers from the last convention, David Washburn and Ray Zone. Both passed before their time soon after the last convention. I thought about both often when planning for this convention. The old police procedural movie the Naked City starts with the quote “There are eight million stories in the naked city; this has been one of them.” The same can be said of our interest in 3D. Everyone usually has an interesting and per- sonal reason that they migrated into this unusual hobby. In Figure 1 My Dad and his sister on a keystone view 1932. a talk I did at the last convention I mentioned how I got inter- ested in 3D. I was visiting the Getty Museum in southern Cali- fornia where they had a sequential viewer with 3D Civil War stereoviews, which I found fascinating. My wife then bought me some cards and a Holmes viewer for my birthday. When my family learned that I had a stereo viewer they sent me the only surviving photographs from my fa- ther’s childhood which happened to be stereoviews tak- en in 1932 in Norwalk, Ohio by the Keystone View Com- pany.