Steve Goldberg Biography

Total Page：16

File Type：pdf, Size：1020Kb

Steve Goldberg Biography Steve is currently an animator and manager of the character animation group at PDI. After earning a B.S. degree in Computer Science from California State University, Northridge, Steve worked as a technical director at both Robert Abel and Associates and Digital Productions in Los Angeles. Steve came on board with Pacific Data Images in early 1987, and enjoys working on projects with complex models and motion. In addition to his normal production animation, he recently produced, directed, modelled and animated (with help from other PDI staff) a longer format character animation called "Locomotion" which is being shown in numerous film festivals and is receiving international recognition. PDI Animator/Technical Director Production Credits include: 1989 "The Wave" "ABC Sports ID Package" "SKY Television Movies ID" 1988 "VH1-Cruiser" "NBA Opening" "ABC Election Campaign" "Australia Channel Seven ID" "ABC Fall Campaign" (Co-Animator) 1987 "Gaylord Broadcasting Package" (Co-Animator) "NBC Affiliate Customizations" Special Projects: 1989 "Locomotion" (Producer/Director/Animator) 1988 "Burning Love" (Modeller) Awards: 1990 Houston International Film Festival Gold Award in Experimental Film/Video-Animation - "Locomotion" 1990 National Computer Graphics Association Computer Animation Competition First Place in Short Films/Videos Computer Graphics Category - "Locomotion" 1990 National Computer Graphics Association Computer Animation Competition Second Place in Broadcast Category - "VH1 Cruiser" 1990 Imagina Pixel-INA Awards First Place in Advertising - "The Wave" 1990 Imagina Pixel-INA Awards Second Place in "Fiction" - "Locomotion" 1989 Nicograph - Audio Visual Age (AVA) Awards Art & Entertainment Computer Graphics Award - "Locomotion" 1989 International Computer Graphics Festival of London Best of Show "Media Award" - "Locomotion" Winner Creative Facilities Category - "Locomotion" 1989 New York Festivals Gold Award - Non-broadcast Computer Graphics - "Locomotion" 1989 Broadcast Designers Association Gold Award - "VHl-Cruiser" 1988 Emmy Award "Gaylord Broadcasting Package".

Copy Link

Recommended publications

CLONES, BONES and TWILIGHT ZONES: PROTECTING the DIGITAL PERSONA of the QUICK, the DEAD and the IMAGINARY by Josephj
CLONES, BONES AND TWILIGHT ZONES: PROTECTING THE DIGITAL PERSONA OF THE QUICK, THE DEAD AND THE IMAGINARY By JosephJ. Beard' ABSTRACT This article explores a developing technology-the creation of digi- tal replicas of individuals, both living and dead, as well as the creation of totally imaginary humans. The article examines the various laws, includ- ing copyright, sui generis, right of publicity and trademark, that may be employed to prevent the creation, duplication and exploitation of digital replicas of individuals as well as to prevent unauthorized alteration of ex- isting images of a person. With respect to totally imaginary digital hu- mans, the article addresses the issue of whether such virtual humans should be treated like real humans or simply as highly sophisticated forms of animated cartoon characters. TABLE OF CONTENTS I. IN TR O DU C T IO N ................................................................................................ 1166 II. CLONES: DIGITAL REPLICAS OF LIVING INDIVIDUALS ........................ 1171 A. Preventing the Unauthorized Creation or Duplication of a Digital Clone ...1171 1. PhysicalAppearance ............................................................................ 1172 a) The D irect A pproach ...................................................................... 1172 i) The T echnology ....................................................................... 1172 ii) Copyright ................................................................................. 1176 iii) Sui generis Protection
[Show full text]
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
[Show full text]
Federal Register/Vol. 80, No. 158/Monday, August 17, 2015/Notices
Federal Register / Vol. 80, No. 158 / Monday, August 17, 2015 / Notices 49269 and downloaded at this Justice 2015, Public Law 114–27. In accordance before January 1, 2014. If eligible under Department Web site: http:// with Section 405(a) of TAARA 2015, these requirements, OTAA will certify www.justice.gov/enrd/consent-decrees. which amended the Trade Act of 1974, the group of workers as eligible to apply We will provide a paper copy of the Public Law 93–618 (‘‘the Trade Act’’), for adjustment assistance under title II Consent Decree upon written request the Director of the Office of Trade of the Trade Act. and payment of reproduction costs. Adjustment Assistance, Employment Further, worker groups that did not Please mail your request and payment and Training Administration (OTAA) submit petitions between January 1, to: Consent Decree Library, U.S. DOJ— has taken the following action for 2014 and June 29, 2015, but wish to be petitions that were filed with the ENRD, P.O. Box 7611, Washington, DC considered under the group eligibility Secretary of Labor under section 221(a) 20044–7611. for workers based on the 2015 Program of the Trade Act on or after January 1, Please enclose a check or money order may file a new petition within 90 days for $5.00 (25 cents per page 2014, and before June 29, 2015, and are of enactment of the new 2015 law which reproduction cost) payable to the United identified in the Appendices to this was signed by President Barak Obama States Treasury. notice. OTAA has reopened investigations of on June 29, 2015.
[Show full text]
To Academy Oral Histories Marvin J. Levy
Index to Academy Oral Histories Marvin J. Levy Marvin J. Levy (Publicist) Call number: OH167 60 MINUTES (television), 405, 625, 663 ABC (television network) see American Broadcasting Company (ABC) ABC Circle Films, 110, 151 ABC Pictures, 84 A.I. ARTIFICIAL INTELLIGENCE, 500-504, 615 Aardman (animation studio), 489, 495 AARP Movies for Grownups Film Festival, 475 Abagnale, Frank, 536-537 Abramowitz, Rachel, 273 Abrams, J. J., 629 ABSENCE OF MALICE, 227-228, 247 Academy Awards, 107, 185, 203-204, 230, 233, 236, 246, 292, 340, 353, 361, 387, 432, 396, 454, 471, 577, 606, 618 Nominees' luncheon, 348 Student Academy Awards, 360 Academy of Motion Pictures Arts and Sciences, 361-362, 411 Academy Board of Governors, 312, 342, 346-349, 357, 521 Academy Film Archive, 361, 388, 391, 468 Public Relations Branch, 342, 344, 348, 356 Visiting Artists Program, 614, 618 ACCESS HOLLYWOOD (television), 100, 365 Ackerman, Malin, 604 Activision, 544 Actors Studio, 139 Adams, Amy, 535 THE ADVENTURES OF HUCKLEBERRY FINN, 71, 458 THE ADVENTURES OF TINTIN, 126 Aghdashloo, Shohreh, 543 Aldiss, Brian, 502 Aldrich, Robert, 102, 107, 111 Alexander, Jane, 232, 237 Ali, Muhammad, 177 ALICE IN WONDERLAND (2010), 172, 396 ALIVE, 335 Allen, Debbie, 432 Allen, Herbert, 201, 205 Allen, Joan, 527-528 Allen, Karen, 318, 610 Allen, Paul, 403-404 Allen, Woody, 119, 522-523, 527 ALMOST FAMOUS, 525-526, 595 ALWAYS (1989), 32, 323, 326, 342, 549 Amateau, Rod, 133-134 Amazing Stories (comic book), 279 AMAZING STORIES (television), 278-281, 401 Amblimation, 327, 335-336, 338, 409-410
[Show full text]
Commercials Issueissue
May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era.
[Show full text]
Delle Rae Maxwell My Expertise Is in Graphic/UI Design, and Technical 40 Minoca Road Writing
Delle Rae Maxwell My expertise is in graphic/UI design, and technical 40 Minoca Road writing. I am interested in the clear, effective display Portola Valley, CA 94028 and communication of information in graphic and H (650) 529 1439 written form. C (650) 281 4237 [email protected] www.dellerae.com Professional Experience QLogic, 2006-2009 QLogic Corp. Engineering content for technical documentation, including HCA ASIC, HCA driver, and MPI programming. Design of intranet and wiki. Continuation of freelance position at PathScale (see below) after acquisition by QLogic. Freelance Design, 1989-2009 Professional projects have included: Illustration for PointSource Communications technical marketing communications. 2009. PathScale, Inc. Technical documentation for ASIC hardware and interconnect software for high performance computing and for PathScale compilers. Also UI design for performance analysis tools for Linux clusters with parallel computing applications. Developed prototype help system for performance analysis tools. 2004 –2006. Re-design of web site for Golden Gate Hotel, San Francisco. 2004. In use until 2007. Original Logo, icons, web site, and online help system for Tableau Software, 2003-2004. In use until 2005. Taught course at Rhode Island School of Design, "Building Digital Skills for Freshmen," with Cynthia Rubin. Instruction in image creation, animation, and web page design fundamentals, January 2003. Developed all course materials. Graphic design for Azul Systems, 2003. Re-design and maintenance of web site for Gamble Garden Center in Palo Alto, CA, 2002-2006. Still in use. Icon, UI graphics, and splash screen design for various applications for Silicon Graphics, 2002. 3D interactive demo creation for Steerable Media Prototype, Sony Research Lab, 1999-2001.
[Show full text]
Presseheft DIE PINGUINE AUS MADAGASCAR.Pdf
Regie ........................................................................................................................ ERIC DARNELL .................................................................................................................................. SIMON J. SMITH Produktion .................................................................................................... LARA BREAY, p.g.a. .......................................................................................................................... MARK SWIFT, p.g.a. Ausführende Produktion................................................................................ TOM McGRATH ................................................................................................................................ MIREILLE SORIA ................................................................................................................................... ERIC DARNELL Ko-Produktion .................................................................................................... TRIPP HUDSON Drehbuch .................................................................................................... MICHAEL COLTON & ....................................................................................................................................... JOHN ABOUD ................................................................................................................. and BRANDON SAWYER Story ......................................................................................................
[Show full text]
Dreamworks Animation SKG, Inc
DreamWorks Animation SKG, Inc. Website dreamworksanimation.com DreamWorks Animation SKG, Inc. (NASDAQ: DWA) is an American animation studio based in Glendale, California that creates animated feature films, television program and online virtual worlds. They have released a total of 22 feature films, including Shrek, Madagascar, Kung Fu Panda and How to Train Your Dragon series. Although the studio also made traditionally animated films about serious subjects earlier, such as The Prince of Egypt, Joseph: King of Dreams, The Road to El Dorado, Spirit: Stallion of the Cimarron, and Sinbad: Legend of the Seven Seas, most of their computer-generated films and television series have now gained the studio a reputation for being focused on popular culture and satire. The studio was formed by the merger of the feature animation division of DreamWorks and Pacific Data Images (PDI). Originally formed under the banner of DreamWorks in 1997 by some of Amblin Entertainment's former animation branch Amblimation alumni, it was spun off into a separate public company in 2004. DreamWorks Animation currently maintains two campuses: the original DreamWorks feature animation studio in Glendale, California and the PDI studio in Redwood City, California. Films produced by DreamWorks Animation are currently distributed worldwide by Paramount Pictures, a subsidiary of Viacom, who acquired the DreamWorks live-action studio in February 2006, spinning it off again in 2008. History The PDI/DreamWorks Studio in Redwood City, California 1994–2004 On October 12, 1994, DreamWorks SKG was formed and founded by a trio of entertainment players, director and producer Steven Spielberg, music executive David Geffen, and former Disney executive Jeffrey Katzenberg.
[Show full text]
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication.
[Show full text]
First Choice Niket Shah ([email protected]); +91 22 3982 5426 Investors Are Advised to Refer Through Disclosures Made at the End of the Research Report
Initiating Coverage | 26 August 2013 Sector: Entertainment PVR First Choice Niket Shah ([email protected]); +91 22 3982 5426 Investors are advised to refer through disclosures made at the end of the Research Report. PVR PVR: First Choice Page No. Summary .......................................................................................................... 3-5 India’s largest and fastest growing multiplex chain ................................... 5-11 Profitability higher than peers; to improve further ................................ 12-19 Evolving into a lifestyle entertainment company.................................... 20-22 Expect earnings CAGR of 49% over FY13-15 .............................................. 23-24 Initiating coverage with a Buy rating........................................................ 25-26 Annexure-I: Company background ............................................................ 27-29 Annexure-II: Key industry trends ............................................................... 30-36 Financials and valuation............................................................................. 37-38 26 August 2013 2 Initiating Coverage | 26 August 2013 Sector: Entertainment PVR BSE SENSEX S&P CNX 18,519 5,472 CMP: INR368 TP: INR470 Buy First choice; aggressive expansion extending leadership Initiating coverage with a Buy rating Post the acquisition of Cinemax, PVR has become India’s largest multiplex chain with 89 Bloomberg PVR IN properties, 383 screens and 93k seats. Being the only player that is still expanding Equity Shares (m) 39.6 aggressively, it is further extending its leadership. M.Cap. (INR b)/(USD b) 14.4/0.3 With 55m footfalls annually, 23-25% Bollywood box office share and 30-35% Hollywood 52-Week Range (INR) 375/179 box office share, we expect PVR to attract greater ad spends. Post amalgamation of 1,6,12 Rel. Perf. (%) 13/18/94 Cinemax, PVR will get the benefit of economies of scale, helping to reduce costs in the F&B segment, a 70% gross margin business.
[Show full text]
Dreamworks Customer Case Study
DreamWorks speeds film production with HP Halo Collaboration Studio Studio’s image and audio transmission capabilities unify geographically dispersed creative teams “Innovation is a critical part of the filmmaking process at DreamWorks Animation, and HP is always willing to push the envelope. The engineering talents at HP have helped us create a profoundly new virtual experience that rivals in-person collaboration. Halo is fundamentally changing how we run our business.” — Ed Leonard, Chief Technology Officer, DreamWorks Animation Objective: Speed film production, link creative teams. Approach: HP Halo Collaborative Studio. IT improvements: • Trouble-free conferencing systems. HP customer case • End-to-end video collaboration. study: HP Halo • Remote-site connections. Collaboration Studio • High-function collaborative work rooms. enables DreamWorks • Instant voice and video data transmission. Animation SKG to • Excellent video and audio quality. unify creative teams, accelerate production Business benefits: • Production efficiencies. Industry: Motion • Speeds production. Once upon a time, three princes came together to picture build a great kingdom. But their artisans, craftsmen • Unifies work teams. and builders were scattered far and wide, and could • Decreases travel costs. not easily speak with one another… • Increases time efficiency. This could be the beginning of a movie from • Enhance profitability. DreamWorks Animation SKG—maker of Shrek, Shrek2, and Shrek the Third. But it isn’t. It’s the true story of how DreamWorks used the HP Halo Virtual Collaboration Studio to accelerate its production processes and ease collaboration among top animators. DreamWorks was formed in 1994 by industry icons Steven Spielberg, Jeffrey Katzenberg and David Geffen to produce high-quality family entertainment through the use of computer-generated animation.
[Show full text]
(Walt Disney Pictures & Pixar Animation
Cast Crew Hanham Players Hanham Players Youth Group Act 2 – Creatures to Animals Frozen… (Walt Disney Animation Studios, Walt Disney Pictures, Walt Disney Studio Motion Pictures (2013)) Minions… (Illumination Entertainment & Universal Pictures International (2015)) The Nightmare Before Christmas… (Touchstone Pictures, Skellington Productions Inc., Tim Burton Productions & Walt Disney Pictures (1993)) Monsters Inc.… (Walt Disney Pictures, Pixar Animation Studios & Buena Vista International (2001)) Shrek… (DreamWorks Animation, DreamWorks SKG, Pacific Data Images & United International Pictures (2001)) There will be a 20 minute interval between the two acts. The use of photography and filming equipment is strictly prohibited. Aladdin… (Walt Disney Pictures, Silver Screen Partner, Walt Disney Feature Animation & Buena Vista International Monsters vs. Aliens… (DreamWorks Animation (2009)) (1992)) Despicable Me… (Universal Pictures, Illumination Entertainment & Universal Studios (2010)) Brave… (Walt Disney Pictures, Pixar Animation Studios & Walt Disney Studio Motion Pictures (2012)) Anastasia… (Twentieth Century Fox Film Corporation, Fox Animation Studios, Fox Family Films, The Big Gun Project, Little Wolf Entertainment & 20th Centure Fox (1997)) Toy Story… (Pixar Animation Studios, Walt Disney Pictures & Buena Vista International (1995)) Cars… (Walt Disney Pictures & Pixar Animation Studios (2006)) The Polar Express… (Castle Rock Entertainment, Shangri-La Entertainment, Playtone, ImageMovers, Golden Mean, Universal CGI, Warner Bros. & Park
[Show full text]