DOCSLIB.ORG

Master Class with Douglas Trumbull Selected Bibliography 1 the Higher

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Master Class with Douglas Trumbull Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Redefining the “Cinema of Attractions” (General) Abel, Richard. “The Cinema of Attractions.” in The Cine Goes to Town: French Cinema, 1896-1914. Berkeley: University of California Press, 1994. ---. “The Cinema of Attractions in France, 1896-1904.” in The Silent Cinema Reader. Lee Grieveson and Peter Krämer (eds). London: Routledge, 2006. 63-75. Buckland, Warren. “A Rational Reconstruction of ‘The Cinema of Attractions’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 41- 56. Bukatman, Scott. “Spectacle, Attractions and Visual Pleasure.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 71-82. Elsaesser, Thomas. “Discipline through Diegesis: The Rube Film between ‘Attractions’ and ‘Narrative Integration’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 205-223. Gaudreault, André and Tom Gunning. “Early Cinema as a Challenge to Film History.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 365-380. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Wide Angle 8. 3-4 (1986): 63–70. ---. “1902-1903: Movies, Stories, and Attractions.” in American Cinema, 1890-1909: Themes and Variations. André Gaudreault (ed). New Brunswick, NJ: Rutgers University Press, 2009. ---. “Non-continuity, Continuity, Discontinuity: a Theory of Genres in Early Films; ‘Primitive’ Cinema: A Frame-Up? or, the Trick's On Us.” in Early Cinema: Space, Frame, Narrative. Thomas Elsaesser and Adam Barker (eds). London: BFI Pub, 1990. 1 Master Class with Douglas Trumbull Selected Bibliography ---. “’Now You See It, Now You Don't’: The Temporality of the Cinema of Attractions.” in The Silent Cinema Reader. Lee Grieveson and Peter Krämer (eds). London: Routledge, 2006. 41-50. McMahan, Alison. “Chez le Photographe c'est chez moi: Relationship of Actor and Filmed Subject to Camera in Early Film and Virtual Reality Spaces.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 291-308. Musser, Charles. “1896-1897: Movies at the Beginning of Cinema.” in American Cinema, 1890-1909: Themes and Variations. André Gaudreault (ed). New Brunswick, NJ: Rutgers University Press, 2009. Paci, Viva. “The Attraction of the Intelligent Eye: Obsessions with the Vision Machine in Early Film Theories.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 121-138. Røssaak, Eivind. “Figures of Sensation: Between Still and Moving Images.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 321-336. Strauven, Wanda. “From ‘Primitive Cinema’ to ‘Marvelous’.” in The Cinema of Attractions Reloaded. Wanda Strauven (ed). Amsterdam: Amsterdam University Press, 2006. 105-120. Redefining the “Cinema of Attractions” (Widescreen Cinema) Aversano, Rudolph C. Cinerama and Its Effects on the Motion Picture Industry. Long Island: Hofstra University, 1953. Belton, John, Sheldon Hall, and Stephen Neale. Widescreen Worldwide. New Barnet, Herts: John Libbey Publishing, 2010. Belton, John. Widescreen Cinema. Cambridge: Harvard University Press, 1992. Carr, Robert E. and R.M. Hayes. Wide Screen Movies: A History and Filmography of Wide Gauge Filmmaking. Jefferson, N.C: McFarland & Company, 1988. Cinerama Plunges You into a Startling New World. New York: Cinerama Inc., 1952. 2 Master Class with Douglas Trumbull Selected Bibliography Cossar, Harper. Letterboxed: The Evolution of Widescreen Cinema. Lexington: University Press of Kentucky, 2011. Crowther, Bosley. “Moon Show at the Fair: Film Viewed on 80-Foot Dome, Offers Dandy, Dizzying Sensations.” The New York Times (May 16, 1964). Accessed July 23, 2012. http://movies.nytimes.com/movie/review?res=950DE3D71030E033A25755C1A9639C946591D6 CF Deutschen Kinematek – Museum für Film und Fernsehen. 70 mm – Bigger than Life. Berlin: Bertz + Fischer, 2009. Limbacher, James L. Four Aspects of the Film. New York: Brussel & Brussel Inc., 1968. Wollen, Tana. “The Bigger the Better: From Cinemascope to IMAX.” in Future Visions: New Technologies of the Screen. Philip Hayward and Tana Wollen (eds). London: BFI Publishing, 1993. 10-30. Wysotsky, Michael Z. Wide-Screen Cinema and Stereophonic Sound. London: Focal Press, 1971. Redefining the “Cinema of Attractions” (IMAX and Event Cinema) Griffiths, Alison. Shivers Down Your Spine: Cinema, Museums, and the Immersive View. New York: Columbia University Press, 2008. ---. “Time Travelling IMAX Style: Tales from the Giant Screen.” in Virtual Voyages: Cinema and Travel. Jeffrey Rouff (ed). Durham, N.C: Duke University Press, 2006. 238-257. McQuire, Scott. Maximum Vision: Large-format and Special-Venue Cinema. Woolloomooloo: Australian Film Commission, 1999. Redefining the “Cinema of Attractions” (Cinematic Motion-Simulation Rides) Darley, Andrew. “Simulation Rides: The Almost Motionless Voyage.” in Visual Digital Culture: Surface Play and Spectacle in New Media Genres. New York: Routledge, 2000. 160-162. Ghamari-Tabrizi, Sharon. “The Convergence of the Pentagon and Hollywood: The Next Generation of Military Training.” in Memory Bytes: History Technology and Digital Culture. Lauren Rabinovitz and Abraham Geil (eds). Durham, NC: Duke University Press, 2004. 150-175. 3 Master Class with Douglas Trumbull Selected Bibliography Huhtamo, Erkki. “Encapsulated Bodies in Motion: Simulators and the Quest for Total Immersion.” in Critical Issues in Electronic Media. Simon Penny (ed). Albany: State University of New York Press, 1995. Rabinovitz, Lauren. “Conclusion: The Fusion of Movies and Amusement Parks.” in Electric Dreamland: Amusement Parks, Movies, and American Modernity. New York: Columbia University Press, 2012. 162-174. ---. “From Hale’s Tours to Star Wars: Virtual Voyages, Travel Ride Films, and the Delirium of the Hyper- Real.” in Virtual Voyages: Cinema and Travel. Jeffrey Rouff (ed). Durham, N.C: Duke University Press, 2006. 42-60. ---. “More than Movies: A History of Somatic Visual Culture through Hale’s Tours, IMAX, and Motion Simulation Rides.” in Memory Bytes: History Technology and Digital Culture. Lauren Rabinovitz and Abraham Geil (eds). Durham, N.C: Duke University Press, 2004. 99-125. ---. “Thrill Ride Cinema: Hale’s Tours and Scenes of the World.” in Electric Dreamland: Amusement Parks, Movies, and American Modernity. New York: Columbia University Press, 2012. 66-95. Special Effects Cinematography in Film Brosnan, John. Movie Magic: The Story of Special Effects in the Cinema. New York: St. Martin’s Press, 1974. Clark, Frank P. Special Effects in Motion Pictures: Some Methods for Producing Mechanical Special Effects. New York: Society of Motion Picture and Television Engineers, 1966. Fielding, Raymond. The Technique of Special Effects Cinematography. New York: Hastings House Publishers Inc., 1965. Finch, Christopher. Special Effects: Creating Movie Magic. New York: Abbeville Press, 1984. Foster, Jeff. The Green Screen Handbook: Real-world Production Techniques. Indianapolis: Wiley Pub, 2010. Glintenkamp, Pamela. Industrial Light and Magic: The Art of Innovation. New York: Abrams, 2011. Hutchison, David. Film Magic: The Art and Science of Special Effects. New York: Prentice-Hall, 1987. Klein, Norman M. The Vatican to Vegas: A History of Special Effects. New York: New Press, 2004. 4 Master Class with Douglas Trumbull Selected Bibliography McClean, Shilo T. Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge, MA: The MIT Press, 2007. Miller, Ron. Special Effects: An Introduction to Movie Magic. Minneapolis: Twenty-first Century Books, 2006. Mitchell, A.J. Visual Effects for Film and Television. Oxford: Focal Press, 2004. Netzley, Patricia D. Encyclopedia of Movie Special Effects. Phoenix, AZ: Oryx Press, 2000. O'Connor, Jane and Katy Hall. Magic in the Movies: The Story of Special Effects. Garden City, NY: Doubleday, 1980. Pierson, Michele. Special Effects: Still in Search of Wonder. New York: Columbia University Press, 2002. Pinteau, Pascal. “Interview with Douglas Trumbull: Memories of 2001.” in Special Effects: An Oral History – Interviews with 38 Masters Spanning 100 Years. New York: Harry N. Abrams, 2004. 54-58. Prince, Stephen. Digital Visual Effects in Cinema: The Seduction of Reality. New Brunswick, NJ: Rutgers University Press, 2012. Rickitt, Richard. Special Effects: The History and Technique. London: Aurum Press, 2006. Sawicki, Mark. Filming the Fantastic: A Guide to Visual Effects Cinematography. Waltham, MA: Focal Press, 2011. Smith, Thomas G. Industrial Light & Magic: The Art of Special Effects. New York: Ballantine Books, 1986. Turnock, Julie. “From Star Wars to Avatar: Contemporary Special Effects, Industrial Light and Magic, and the Legacy of the
Recommended publications
  • Legacy Effects Impact of Motion Control and CG

    Legacy Effects Impact of Motion Control and CG

    Cory Radtke CVFX: Legacy Effects Impact of Motion Control And CG Imaging In Cinema “It’s easy to create something that has a lot of luster, but it’s very hard to make something that has a lot of depth.” These words, from John Dykstra – a motion control pioneer – encapsulate the state of mind in the film effects industry in the late 60’s. Special effects for cinema had reached a point which at audiences required more impressive visuals that were more detailed and realistic to suspend their disbelief. The weariness had set in, in the 50’s/early 60’s because of the bombardment of super low budget B-movie action and horror films. With the established use of stop motion and optical printing techniques, effects technicians- provoked by visionary filmmakers worked to push the envelope. The content also dictated the advancements necessary to tell/show the stories. One such film that changed the industry forever was Stanley Kubrick’s 2001: A Space Odyssey. The production of the film gave birth to motion control and and slit-scan photography, pushed by a visionary and a vision - “Do it right, do it better then do it all over again”(Costa 5). Kubrick helped open the door to following decades of visual marvels that have since become staples in motion picture effects work. Innovation after innovation, the technical achievements pushed forward by motion-control - soon after included: Star Wars, Close Encounters of the Third Kind, and Superman, and Blade Runner. (Edwards 2-9). As 2001 opened the door to motion-control, subsequent films – most notably Star Wars adapted and advanced the technology with the minds at the newly created ILM, by George Lucas.
  • Widescreen Weekend 2008 Brochure (PDF)

    Widescreen Weekend 2008 Brochure (PDF)

    A5 Booklet_08:Layout 1 28/1/08 15:56 Page 41 THIS IS CINERAMA Friday 7 March Dirs. Merian C. Cooper, Michael Todd, Fred Rickey USA 1952 120 mins (U) The first 3-strip film made. This is the original Cinerama feature The Widescreen Weekend continues to welcome all which launched the widescreen those fans of large format and widescreen films – era, and is about as fun a piece of CinemaScope, VistaVision, 70mm, Cinerama and IMAX – Americana as you are ever likely and presents an array of past classics from the vaults of to see. More than a technological curio, it's a document of its era. the National Media Museum. A weekend to wallow in the nostalgic best of cinema. HAMLET (70mm) Sunday 9 March Widescreen Passes £70 / £45 Dir. Kenneth Branagh GB/USA 1996 242 mins (PG) Available from the box office 0870 70 10 200 Kenneth Branagh, Julie Christie, Derek Jacobi, Kate Winslet, Judi Patrons should note that tickets for 2001: A Space Odyssey are priced Dench, Charlton Heston at £10 or £7.50 concessions Anyone who has seen this Hamlet in 70mm knows there is no better-looking version in colour. The greatest of Kenneth Branagh’s many achievements so 61 far, he boldly presents the full text of Hamlet with an amazing cast of actors. STAR! (70mm) Saturday 8 March Dir. Robert Wise USA 1968 174 mins (U) Julie Andrews, Daniel Massey, Richard Crenna, Jenny Agutter Robert Wise followed his box office hits West Side Story and The Sound of Music with Star! Julie 62 63 Andrews returned to the screen as Gertrude Lawrence and the film charts her rise from the music hall to Broadway stardom.
  • Arc Productions: Selected Bibliography 1 the Higher Learning

    Arc Productions: Selected Bibliography 1 the Higher Learning

    Arc Productions: Selected Bibliography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Special Effects Cinematography in Film (Practice) Foster, Jeff. The Green Screen Handbook: Real-world Production Techniques. Indianapolis: Wiley, 2010. Menache, Alberto. Understanding Motion Capture for Computer Animation. Burlington, M.A: Morgan Kaufmann, 2011. Mitchell, A.J. Visual Effects for Film and Television. Oxford: Focal Press, 2012. Wright, Steve. Compositing Visual Effects: Essentials for the Aspiring Artist. Amsterdam: Elsevier/Focal Press, 2013. Special Effects Cinematography in Film (History and Theory) Glintenkamp, Pamela. Industrial Light and Magic: The Art of Innovation. New York: Abrams, 2011. Klein, Norman M. The Vatican to Vegas: A History of Special Effects. New York: New Press, 2004. McClean, Shilo T. Digital Storytelling: The Narrative Power of Visual Effects in Film. Cambridge: The MIT Press, 2007. Miller, Ron. Special Effects: An Introduction to Movie Magic. Minneapolis: Twenty-First Century Books, 2006. Netzley, Patricia D. Encyclopedia of Movie Special Effects. Phoenix: Oryx Press, 2000. Pierson, Michele. Special Effects: Still in Search of Wonder. New York: Columbia University Press, 2002. Pinteau, Pascal. “Interview with Douglas Trumbull: Memories of 2001.” in Special Effects: An Oral History – Interviews with 38 Masters Spanning 100 Years. New York: Harry N. Abrams, 2004.
  • Ontic Communities

    Ontic Communities

    Ontic Communities: Speculative Fiction, Ontology, and the Digital Design Community A Dissertation Submitted to the Faculty of Drexel University by James W. Malazita in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2014 ii © Copyright 2014 James W. Malazita. All Rights Reserved. iii Table of Contents Introduction:........................................................................................................................ 1 Chapter 1: Communities of Practice, Who and What:...................................................... 45 Chapter 2: Ontology and Epistemology:........................................................................... 93 Chapter 3: Speculative Reality:....................................................................................... 144 Conclusion:....................................................................................................................... 190 Works Cited:.....................................................................................................................192 iv List of Tables 1. Analysis of Speakers and Article Content of Wired .............................................................8 2. Analysis of Ontic Talk in Wired...................................................................................... ..109 v List of Figures 1. The Subject-Object Split in Social Scientific Thinking...............................................................27 2. A Screen Shot of Cipher Prime's Auditorium ............................................................................52
  • Downloaded,” and Galen Tryol Has a Son, Nicholas, with His Human Wife, Cally, When the Couple Lives on the Planet New Caprica

    Downloaded,” and Galen Tryol Has a Son, Nicholas, with His Human Wife, Cally, When the Couple Lives on the Planet New Caprica

    DISTRIBUTION AGREEMENT In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in who or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation ____________________________________ July 16, 2014__________ Sarah Toton Date From Mechanical Men to Cybernetic Skin-Jobs: A History of Robots in American Popular Culture By Sarah Toton Doctor of Philosophy Graduate Institute of the Liberal Arts ________________________________________________ Cristine Levenduski, Ph.D. Co-Chair ________________________________________________ Kevin Corrigan, Ph.D. Co-Chair ________________________________________________ Ted Friedman, Ph.D. Outside Co-Chair ________________________________________________ Karla Oeler, Ph.D. Committee Member Accepted: ________________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies _______________________ Date ! From Mechanical Men to Cybernetic Skin-Jobs: A History of Robots in American Popular Culture
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S

    Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S

    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
  • Decade Douglas Trumbull

    Decade Douglas Trumbull

    12 20 Information & Communication Technology March 2 Defining t h e Next Decade Creative Technology Keynote Speaker Designer Douglas Filmmaker Trumbull Inventor Entrepreneur Information Technology PROGRAM Dear Participants, Welcome! To the Information & Communication Technology Summit 2012. Forward thinking and innovative ideas are called for. We want to help create an academic environment that not only addresses the needs of our students now, but considers new ways of collaboration and envisioning that are open to us. We cannot build a better tomorrow alone. Through this ICT Summit, we have the opportunity to come together and meet the challenge to visualize and plan how we can use current developments in technology and plan for technical advances that react and respond to our needs, based on pedagogy and content. Collaboratively we, as a community, can place ourselves to be a forerunner of new ideas and technologies rather than simply following or matching the standards of the day. Thank you for attending the ICT Summit 2012. Regards, Patricia Galvis-Assmus 1 Schedule Coffee & Digital Inferno review: Students, faculty & AM 8:30 researchers share current and future IT related projects 9:00 Welcome - Patricia Galvis Assmus, IT Program Director Overview and Intro. to the Day: by Carol Barr, 9:15 Vice Provost Undergraduate & Continuing Education 9:30 Digital Inferno 9:50 Organize Working Groups 10:00 Working Session - Discussions Groups 10:30 Discussion Results 11:00 Break Open Education Initiative (OEI): 11:10 Presentation and announcement of recipients. 11:15 OEI Library Support Team 11:35 New Initiatives on Campus 12:00 Lunch PM Copyright and Faculty Rights Webinar (Dukes Room): 1:00 The challenges and solutions of applying copyright law in your classrooms, research and scholarly publications.
  • ALIEN Awakened, ALIEN Alive, ALIEN Achieved

    ALIEN Awakened, ALIEN Alive, ALIEN Achieved

    4 If Alfred Hitchcock were to you have the ingredients of a combat it. SCENE: “Close Encounterswas desolation as the factory-ship make a suspense-thriller about unique motion picture. And all Suffice it to say that Alien is a about contact between human Nostromo rockets silently thr­ the future, the result might well that is not even to mention some story and a motion picture that beings and nice aliens. This is ough the trackless cosmic void be more than a little like Alien. of the most remarkable special you could never imagine in your about contact between human The ship's controls are quided by As one of 1979’s most effects yet seen on film. wildest dreams. Or nightmares. beings and aliens that are not a programmed computer; the anxiously awaited films, Alien Alien is elemental in its Presented by Twentieth Cen­ nice. As a matter of fact, they’re entire crew is in hyper-sleep for combines the elements of concept, but staggering in its tury-Fox, the same company that downright disgusting. They’re their long-distance journey. suspense and shock-thrills in a realization. It is a film that can struck gold with Star Wars, Alien semi-humanoid, but quite un­ Then, in the middle of science fiction motif with be described only partially, since is a breakthrough level science- usual. They look more bizarre nowhere, at a place which galactic settings and miraculous to tell all would be telling too fiction film of chilling terror, than you can imagine, than should contain nothing, a (but authentic) technological much.
  • La Magie Des Effets Spéciaux D'effets Spéciaux

    La Magie Des Effets Spéciaux D'effets Spéciaux

    PÉRIODIQUES Cinefex (1980- ). Riverside (Californie) : Cinefex. Collection de la médiathèque en date de 2012 : no 1 à 131 (1980 - 2012). Périodique trimestriel portant sur les effets spéciaux au cinéma. Make-up Artist Magazine (1993 - ). Vancouver (États-Unis) : Key publishing. Repères bibliographiques 85 Collection de la médiathèque en date de 2012 : no 26 à 99 (2000 à 2012). Périodique bimestriel portant sur l’art du maquillage au cinéma . Benitez, Juan Carlos. « Douglas Trumbull, pionnier des effets spéciaux Secrets et illusions : américains ». L'Écran fantastique , no 168, décembre 1997, pp.58-61. Ill. Douglas Trumbull évoque les souvenirs de sa carrière de créateur La magie des effets spéciaux d'effets spéciaux. exposition permanente Bernard, Sophie. « Animation et effets spéciaux ». Qui fait quoi , no 128, novembre-décembre 1994, p.32. Ill. Propos sur l'expertise du Québec en matière de logiciels d'animation et d'effets spéciaux. Bukatman, Scott. « The ultimate trip : special effects and kaleidoscopic perception ». Iris , no 25, printemps 1998. pp.75-97. Bibliogr. ; Ill. Propos sur la perception kaleidoscopique, le mouvement et l’immersion dans les films. Cantaloube, Thomas. « La magie digitale ». Cahiers du cinéma , no 513, mai 1997, pp.81-82, 84. Ill. Visite de deux des principales sociétés spécialisées dans la conception d'effets spéciaux : Industrial Light and Magic de George Lucas et Digital Domain de James Cameron . Caron, André. « Le clonage des acteurs par duplication visuelle ». Séquences , no 177, mars-avril 1995, pp.55-56. Ill. Survol des films utilisant la technique du « morphing » pour modifier ou remplacer un personnage de film. Dixon, Wheeler Winston. « The digital domain : some preliminary notes on image mesh and manipulation in hyperreal cinema/video ».
  • Cg Garage Podcast #284 Douglas Trumbull Director/Visual Effects Supervisor

    Cg Garage Podcast #284 Douglas Trumbull Director/Visual Effects Supervisor

    CG GARAGE PODCAST #284 DOUGLAS TRUMBULL DIRECTOR/VISUAL EFFECTS SUPERVISOR Douglas Trumbull, the genius behind the visual effects of “2001,” “Close Encounters” and “Star Trek,” on his 50-year quest to understand and improve cinema. Over the past 50 years, Douglas Trumbull has pushed the boundaries of filmmaking via stunning effects in​ 2001: A Space Odyssey​, ​Close Encounters of the Third Kind​ and ​Star Trek: The Motion Picture​. Today, his intricate understanding of cameras and projects has resulted in the Magi format, which promises gorgeous high-framerate films without the soap-opera look. Contents Useful links 2001: A Space Odyssey Douglas Trumbull on IMDb Developing Showscan Trumbull Studios: The Magi Process on YouTube Brainstorm Construct and Magi 1 Chris: This has been a long time that I've been wanting to do a podcast with you, I've got to tell you! Doug: Well, this is great. I'm glad we've finally pulled it off. Chris: Yeah, me too. Chris: Obviously, when we first met, we were in the throes of doing that “Construct” project. And we were excited about thinking about doing the Magi system, which we will talk about; how we took one minute of video and rendered the equivalent of 40 minutes of video, to get it done for Magi. Doug: Right. Chris: Which was quite amazing, to do that. Chris: But I'm sure, based on my audience, that my audience is really going to want to learn a little bit more about you and your history. And obviously, you have so many incredible stories; every time I talk to you to tell me some awesome stories.
  • Camera Operator of the Year Award

    Camera Operator of the Year Award

    BEST CINEMATOGRAPHY | CLAUDIO MIRANDA LAUDIO MIRANDA LAUDIO C | CINEMATOGRAPHY BEST “And everybody asked me would I try again...? I never did. As a matter of fact, I have never done anything with my life after that....” “A visual triumph that advances the art of screen storytelling leaps and bounds ahead of everything that has come before.....” – Pete Hammond, Hollywood.com US $7.00 AWARDS ISSUE 2009 Display Until April 2009 2009 Special Awards Issue THE OPERATING CAMERAMAN: TRANSITIONS 1 © 2009 Paramount Pictures. All Rights Reserved. PARAMOUNTGUILDS.COM WWW.SOC.ORG CAMERACAMERA OPERATOROPERATOR VOLUME 18, NUMBER 1 SPECIAL AWARDS ISSUE 2009 Filming Law & Order: Criminal Intent out east on the north shore of Long Island. Courtesy of Al Cerullo. Features: SOC Lifetime Achievement Awards Celebration Meet the people who are being honored this Cover: year for Lifetime Achievement as a Camera Operator, Camera Technician, Mobile Platform Camera Operator, and Still Photographer, for the President’s Award, for Outstanding Achievement in Technology, for Distinguished 6 Service, and for the 2nd annual Camera Operator of the Year Award. Filming a Heist Cover photo of by Dan Kneece SOC 53 Sean Penn from An Operator’s personal diary description of Milk. © 2008 Focus shooting the feature film Maiden Heist for Features. DP Ueli Steiger ASC. Departments: 2 President’s Letter 61 Transitions by Dan Kneece SOC 63 Last Take; Ad Index 4 News & Notes SOC donation to Childrens Hospital Vision 64 Roster of the SOC Center; Holiday Screening. as of 1/9/09 Camera Operator Letter from the President Special Awards Issue 2009 elcome to the 2009 Past recipients have felt that Editor .
  • Screen Genealogies Screen Genealogies Mediamatters

    Screen Genealogies Screen Genealogies Mediamatters

    media Screen Genealogies matters From Optical Device to Environmental Medium edited by craig buckley, Amsterdam University rüdiger campe, Press francesco casetti Screen Genealogies MediaMatters MediaMatters is an international book series published by Amsterdam University Press on current debates about media technology and its extended practices (cultural, social, political, spatial, aesthetic, artistic). The series focuses on critical analysis and theory, exploring the entanglements of materiality and performativity in ‘old’ and ‘new’ media and seeks contributions that engage with today’s (digital) media culture. For more information about the series see: www.aup.nl Screen Genealogies From Optical Device to Environmental Medium Edited by Craig Buckley, Rüdiger Campe, and Francesco Casetti Amsterdam University Press The publication of this book is made possible by award from the Andrew W. Mellon Foundation, and from Yale University’s Frederick W. Hilles Fund. Cover illustration: Thomas Wilfred, Opus 161 (1966). Digital still image of an analog time- based Lumia work. Photo: Rebecca Vera-Martinez. Carol and Eugene Epstein Collection. Cover design: Suzan Beijer Lay-out: Crius Group, Hulshout isbn 978 94 6372 900 0 e-isbn 978 90 4854 395 3 doi 10.5117/9789463729000 nur 670 Creative Commons License CC BY NC ND (http://creativecommons.org/licenses/by-nc-nd/3.0) All authors / Amsterdam University Press B.V., Amsterdam 2019 Some rights reserved. Without limiting the rights under copyright reserved above, any part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise). Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book.