Natalie Whelan

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Natalie Whelan 07732 002 079 [email protected] nataliewhelan.com /nataliemwhelan Assistant Graphic Designer | London Based - Willing to Travel | Clean Drivers License (Automatic) EDUCATION ART DEPARTMENT EXPERIENCE Bachelor of Creative Industries Oct 2020 Assistant Graphic Designer (Interactive Visual Design) - Present The Power (Amazon TV) Queensland University Of Technology Production Designer: Sonja Klaus 2011 - 2013 Graphics Lead: Julian Nix / Shaun Mitcheson Majored in Interactive Visual Design (Digital Media) with a Sep 2019 Art Dept. Assistant / Graphic Designer (Dailies) minor in Television. Lidl Social Media Videos Production Designer/Producer: Lexi Kiddo TRAINING Jul 2018 - Art Director / Graphic Designer Budgeting & Scheduling Dec 2018 Warner Bros. Scooby-Doo Spooky Coaster TVC for the Art Department Creative Director/Supervisor: Richard Washbourn London Film School June 2020 Jul 2018 Art Dept. Assistant / Graphic Designer (Dailies) Intro to SketchUp Warner Bros. Fright Nights (Leatherface) TVC London Film School Art Director: Johny Va May 2020 After Effects Kickstart May 2018 - Assistant Art Director / Graphic Designer School of Motion June 2018 Village Roadshow Theme Parks - One Pass TVC Apr 2020 Art Director: Johny Va SOFTWARE Aug 2017 Art Dept. Assistant (Dailies) Warner Bros. Fright Nights (The Conjuring 2) TVC • Adobe Photoshop Art Director: Johny Va • Adobe Illustrator • Adobe After Effects GRAPHIC DESIGN EXPERIENCE • Adobe Premiere Pro Freelance Graphic/Motion Designer • Adobe InDesign Mar 2020 - nataliewhelan.com • Adobe Lightroom Present • Procreate (iPad) Specialised in motion graphics and visual storytelling for entertainment brands. • Microsoft 365 Jun 2019 - Graphic Designer dentsu X London SKILLS Mar 2020 Developed digital campaigns for client’s such as • Logo & Brand Identity Lidl, Sony, Bear, Giff Gaff & AMEX. • Graphic Props Graphic Designer • Motion Graphics / Playback Mar 2015 - Village Roadshow Theme Parks Australia • Packaging Design June 2019 Designed for brand IP’s such as Warner Bros, DC • Signage Comics, Nickelodeon, Village Roadshow Studios, • Vehicle Wrap Design Lionsgate, Topgolf, Sea World and Wet’n’Wild. • Costume Graphics Worked across print and digital advertising as well • Photography as theme-park attractions and events. • Photoshop Compositing Mar 2013 - Digital Media & Communications Officer • Hand Lettering Feb 2015 Bespoke Interactive • Illustration Managed the design and development of • Art Direction branding collateral for a handful of start-ups. • Project Management Junior Graphic Designer • Research & Creative Ideation Feb 2012 - Universe Solar • Drivers License (Automatic) Feb 2014 Worked within brand guidelines to create finished artwork for print. .

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The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique.
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Entertainment
ENTERTAINMENT ANNUAL REPORT 2011 PROFILE Village Roadshow was founded by Roc Kirby and first commenced business in 1954 in Melbourne, Australia and has been listed on the Australian Securities Exchange since 1988. Still based in Melbourne, Village Roadshow Limited (‘VRL’) is a leading international entertainment company with core businesses in Theme Parks, Cinema Exhibition, Film Distribution and Film Production and Music. All of these businesses are well recognised retail brands and strong cash flow generators - together they create a diversified portfolio of entertainment assets. Theme Parks Village Roadshow has been involved in theme and Sea World Helicopters; parks since 1989 and is Australia’s largest • Australian Outback Spectacular; and theme park owner and operator. • Paradise Country and Village Roadshow On Queensland’s Gold Coast VRL has: Studios. • Warner Bros. Movie World, the popular VRL is moving forward with plans to build movie themed park; Australia’s newest water theme park, • Sea World, Australia’s premier marine Wet‘n’Wild Sydney, with site development theme park; to begin in the 2012 calendar year. • Wet‘n’Wild Water World, one of the world’s VRL’s overseas theme parks are: largest and most successful water parks; • Wet’n’Wild Hawaii, USA; and • Sea World Resort and Water Park, • Wet’n’Wild Phoenix, Arizona USA. Cinema Exhibition Showing movies has a long tradition with at 8 sites in the United States and 12 screens Village Roadshow, having started in 1954 in the UK. VRL continues to lead the world with the first of its drive–in cinemas. Today with industry trends including stadium Village Cinemas jointly owns and operates seating, digital projection, 3D blockbuster 506 screens across 50 sites in Australia, 73 movies and the growth category of premium screens at 9 sites in Singapore, 59 screens cinemas including Gold Class.
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What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs.
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SQ Annual Review 2017-18
17 > Celeste ANNUAL REVIEW 18 CONTACT Head Office Address: Gold Coast Office Address: Suite 1/30 Florence Street c/o Village Roadshow Studios Newstead Qld 4006 Building 9A, Entertainment Road Australia Oxenford QLD 4210 T. +61 7 3248 0500 Australia E. [email protected] Postal Address: PO Box 15094 City East Brisbane Qld 4002 Australia Screen Queensland's purpose is to grow the screen industry to be a significant contributor to the economic and cultural wellbeing of Queensland. > Harrow Screen Queensland ACN 056 169 316 ABN 20 056 169 316 Published by Screen Queensland 2018 Also published on screenqld.com.au -------------------------------------------------------------------------------------------------------------------------------------------------------- All figures noted in this Annual Report, including Queensland Production Expenditure (QPE) and jobs, are for the productions given funding in the 2017-18 Financial Year which may or may not have gone into principal photography. > Cover image - Tidelands In the 2017–18 Financial Year, Screen Queensland funded 28 film and television screen productions and games, which generated an estimated $168 million in direct Queensland Production Expenditure (QPE) and more than 1,960 employment opportunities for Queenslanders. > CONTENTS Message from The Premier of Queensland 5 Screen Queensland Chair 7 Look What We Achieved Together 8 2017-18 Highlights 10 Production in Queensland 14 New Initiatives in Screen 18 Screen Support Programs 26 Production Attraction Funding Program 30 Dora the
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Financial Year 2019 Results for Personal Use Only Use Personal For
VILLAGE ROADSHOW LIMITED Financial year 2019 results For personal use only VRL FY19 results 29 August 2019 VRL FY19 briefing details 29 AUGUST 2019 2:00 PM AEST Access a webcast of the briefing by following this link: https://services.choruscall.com.au/webcast/vrl-190829.html Alternatively, to pre-register for the teleconference and avoid a queue when calling, please follow the link below. You will be given a unique pin number to enter when you call which will bypass the operator and give you immediate access to the event. http://villageroadshow.com.au/investors/corporate-diary/teleconferences#/ If unable to register, call 1800 455 963 (Australia Toll Free) at the time of the conference and advise that you wish to join the Village Roadshow FY19 Results Teleconference. For personal use only VRL FY19 results 2 “VRL is well positioned in the ‘experience economy’, where people are buying ‘experiences’ rather than ‘things’.” “We are very pleased with the improved operating performance delivered so far, our stronger balance sheet, and the return to paying dividends. VRL is well placed for For personal use only sustainable growth in earnings and cash flow.” VRL recovery continues, driven by the delivery of outstanding customer experiences • VRL group EBITDA1 $124.9m, up 37% on prior year (FY18: $90.9m) • Substantial improvement in operating cash flow up from $21.4m in FY18 to $82.4m in FY19 • Theme Parks’ FY19 EBITDA ($76.5m), up 100% on FY18 ($38.3m) following continued success of ticketing strategy, coupled with good weather • Cost reduction program implemented in FY19, will deliver annualised savings in excess of $10 million across the VRL group • Strong balance sheet with leverage2 reduced to 1.76x (FY18 3.73x) • Sale of Edge to Blackhawk Network (Australia) agreed • Commitment to enhancing shareholder returns - fully-franked final FY19 dividend of 5 cents per share declared For personal use only Notes: 1EBITDA is Earnings Before Interest, Tax, Depreciation and Amortisation, excluding Material Items and Discontinued Operations.
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Unifying Global Preproduction, Production and Postproduction •
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Village Roadshow Limited
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Thorragnarok59d97e5bd2b22.Pdf
©2017 Marvel. All Rights Reserved. CAST Thor . .CHRIS HEMSWORTH Loki . TOM HIDDLESTON Hela . CATE BLANCHETT Heimdall . .IDRIS ELBA Grandmaster . JEFF GOLDBLUM MARVEL STUDIOS Valkyrie . TESSA THOMPSON presents Skurge . .KARL URBAN Bruce Banner/Hulk . MARK RUFFALO Odin . .ANTHONY HOPKINS Doctor Strange . BENEDICT CUMBERBATCH Korg . TAIKA WAITITI Topaz . RACHEL HOUSE Surtur . CLANCY BROWN Hogun . TADANOBU ASANO Volstagg . RAY STEVENSON Fandral . ZACHARY LEVI Asgardian Date #1 . GEORGIA BLIZZARD Asgardian Date #2 . AMALI GOLDEN Actor Sif . CHARLOTTE NICDAO Odin’s Assistant . ASHLEY RICARDO College Girl #1 . .SHALOM BRUNE-FRANKLIN Directed by . TAIKA WAITITI College Girl #2 . TAYLOR HEMSWORTH Written by . ERIC PEARSON Lead Scrapper . COHEN HOLLOWAY and CRAIG KYLE Golden Lady #1 . ALIA SEROR O’NEIL & CHRISTOPHER L. YOST Golden Lady #2 . .SOPHIA LARYEA Produced by . KEVIN FEIGE, p.g.a. Cousin Carlo . STEVEN OLIVER Executive Producer . LOUIS D’ESPOSITO Beerbot 5000 . HAMISH PARKINSON Executive Producer . VICTORIA ALONSO Warden . JASPER BAGG Executive Producer . BRAD WINDERBAUM Asgardian Daughter . SKY CASTANHO Executive Producers . THOMAS M. HAMMEL Asgardian Mother . SHARI SEBBENS STAN LEE Asgardian Uncle . RICHARD GREEN Co-Producer . DAVID J. GRANT Asgardian Son . SOL CASTANHO Director of Photography . .JAVIER AGUIRRESAROBE, ASC Valkyrie Sister #1 . JET TRANTER Production Designers . .DAN HENNAH Valkyrie Sister #2 . SAMANTHA HOPPER RA VINCENT Asgardian Woman . .ELOISE WINESTOCK Edited by . .JOEL NEGRON, ACE Asgardian Man . ROB MAYES ZENE BAKER, ACE Costume Designer . MAYES C. RUBEO Second Unit Director & Stunt Coordinator . BEN COOKE Visual Eff ects Supervisor . JAKE MORRISON Stunt Coordinator . .KYLE GARDINER Music by . MARK MOTHERSBAUGH Fight Coordinator . JON VALERA Music Supervisor . DAVE JORDAN Head Stunt Rigger . ANDY OWEN Casting by . SARAH HALLEY FINN, CSA Stunt Department Manager .
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Marvel Studios Presenta Un Film Di Taika Waititi Chris Hemsworth Tom
Marvel Studios Presenta un film di Taika Waititi Chris Hemsworth Tom Hiddlest on Cate Blanchett Idris Elba Jeff Goldblum Tessa Thompson Karl Urban Mark Ruffalo Anthony Hopkins Regia di Taika Waititi Sceneggiatura di Eric Pearson, Craig Kyle & Christopher Yost Prodotto da Kevin Feige Produttori esecutivi Louis D’Esposito, Victoria Alonso, Brad Winderbaum, Thomas M. Hammel e Stan Lee Scenografie di Dan Hennah e Ra Vincent Direttore della fotografia Javier Aguirresarobe, A.S.C. Montaggio di Joel Negron Costumi di Mayes C. Rubeo Supervisore degli effetti visivi Jake Morrison Musiche di Mark Mothersbaugh Social Network https://fb.com/ThorIlFilm https://twitter.com/MarvelNewsIT https://instagram.com/DisneyFilmItalia Hashtag #ThorRagnarok Data d’uscita: 25 ottobre 2017 Distribuzione: The Walt Disney Company Italia Durata: 130 minuti Materiali Stampa: www.image.net ! !1 Marvel Studios presenta Thor: Ragnarok, la nuova esaltante avventura del Dio del Tuono nell’Universo Cinematografico Marvel, ricca di azione, umorismo, dramma e spettacolo. Nel film, Thor è imprigionato dall’altra parte dell’universo senza il suo potente martello e deve lottare contro il tempo per tornare ad Asgard e fermare il Ragnarok — la distruzione del suo mondo e la fine della civiltà asgardiana— per mano di una nuova e onnipotente minaccia, la spietata Hela. Ma prima dovrà sopravvivere a un letale scontro fra gladiatori che lo metterà contro il suo vecchio alleato e compagno nel team degli Avengers: l’Incredibile Hulk! Chris Hemsworth (Rush, Heart of the Sea – Le Origini
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Village Roadshow Limited
village roaDshow limiteD Village Roadshow first commenced business in 1954 in Melbourne, Australia and profile has been listed on the Australian Securities Exchange since 1988. Still based in Melbourne, Village Roadshow Limited (‘VRL’) is a leading international entertainment and media company with core businesses in Theme Parks and Attractions, Film Production and Music, Cinema Exhibition, Film Distribution and Radio. All of these businesses are well recognised retail brands and strong cash flow generators - together they create a diversified portfolio of entertainment and media assets. Village Roadshow has been • Australian Outback VRL has plans to build Australia’s theme involved in theme parks since Spectacular; and newest water theme park, Wet ‘n’ parks AND 1989 and is Australia’s largest • Paradise Country and Village Wild Sydney, expected to open in theme park owner and operator. Roadshow Studios. the summer of 2013/14. ATTRACTIONS On Queensland’s Gold Coast VRL In Sydney VRL’s attractions VRL’s overseas theme parks and has: include: attractions include: • Warner Bros. Movie World, the • the iconic Sydney Aquarium; • Kelly Tarlton’s Antarctic popular movie themed park; • Sydney Wildlife World; Encounter and Underwater World in Auckland, New • Sea World, Australia’s premier • Sydney Tower, Sky Walk and Oz Zealand; marine theme park; Trek; • Wet ’n’ Wild Hawaii, USA; and • Wet ‘n’ Wild Water World, one of • Shark Dive Extreme at Manly the world’s largest and most Oceanworld; and • Wet ’n’ Wild Phoenix, Arizona successful water parks; USA. • the tourist fauna park Hamilton • Sea World Resort and Water Island Wildlife Park in Park; Queensland. Village Roadshow has been having won 8 Academy Awards the Ocean’s trilogy, Charlie and film involved in the movie business and 3 Golden Globe Awards for the Chocolate Factory, Happy production since the 1960’s.
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Annual Report 2020 Village Roadshow Limited
*L000001* 29 September 2020 Dear Shareholder, Deferral of 2020 Annual General Meeting On 28 August 2020, Village Roadshow Limited (ASX: VRL) released an Appendix 4E which included advice that it would be holding its Annual General Meeting (AGM) on 30 October 2020. The Board has determined that the AGM will be deferred to late January 2021. Further details regarding the AGM will be provided to shareholders in December 2020. The deferral of the AGM will enable the Company to know the outcome of shareholder meetings to be convened and held in November 2020 to consider two alternative Schemes of Arrangement with interests associated with BGH Capital Pty Ltd, as announced on 7 August 2020. VRL considers that deferring the date for holding its AGM will be in the interests of shareholders as it will save money and avoid the inconvenience of convening and holding an AGM in circumstances where that AGM may not be necessary if shareholders approve either of the schemes proposed. Yours sincerely Village Roadshow Limited For personal use only VILLAGE ROADSHOW LIMITED 2020 Annual Report For personal use only Village Roadshow was THEME PARKS CINEMA EXHIBITION Village Roadshow has been involved in Cinema Exhibition is where Village founded by Roc Kirby in theme parks since 1989, is Australia’s Roadshow started, with its first drive-in leading theme park owner, and is one of cinema opening in 1954. Today Village Melbourne, Australia in the pre-eminent theme park operators in Roadshow jointly owns and operates a 1954 and has been listed the world. In Australia, this includes combined 577 screens at 57 sites across Warner Bros.
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Transforming the Tourist City Into a Knowledge and Healthy City: Reinventing Australia's Gold Coast
© Institute of Knowledge Asset Management - ISBN 978-88-96687-08-6 Proceedings of IFKAD-KCWS 2012, Matera (IT) 13-15 June 2012 www.knowledgeasset.org/IFKAD Transforming the Tourist City into a Knowledge and Healthy City: Reinventing Australia’s Gold Coast Daniel O’Hare* Institute of Sustainable Development and Architecture Bond University Gold Coast, Queensland 4229 Australia Bhishna Bajracharya Institute of Sustainable Development and Architecture Bond University Isara Khanjanasthiti Institute of Sustainable Development and Architecture Bond University * Corresponding author Structured Abstract Purpose – With rapid growth of Australia’s Gold Coast into a tourist consumption city (Mullins 2008) of half a million people, Gold Coast City Council (GCCC) seeks to diversify the city’s economy, lifestyle and culture. This paper investigates this transformation by reviewing policies, projects and programs arising from GCCC visions of a healthy city benefiting from knowledge based urban development (KBUD) (Yigitcanlar et al., 2008). Secondly, the paper aims to identify opportunities and challenges in developing the emerging cosmopolitan city as a knowledge and healthy city. The paper focuses not only on larger knowledge and health nodes along major highways but also investigates the potential for developing a network of smaller nodes with active transport, thus providing a more holistic and integrated perspective for long term sustainability of the city and region. Design/methodology/approach – The research is based on documentary research of secondary materials such as government policy documents and plans relating to economic development, major infrastructure projects, urban design and community planning. The documentary research is supplemented by spatial analysis including field visits to the major and minor knowledge/health nodes in their urban/suburban contexts.
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