Digital Synesthesia Gsöllpointner, Katharina; Schnell, Ruth; Schuler, Romana Karla
2016, 2016-05-10
eBook
Die Publikation versammelt die Ergebnisse des künstlerischen Forschungsprojekts DIGITAL SYNESTHESIA und stellt erstmals ein umfassendes Kompendium zu diesem Begriff vor. "Digitale Synästhesie" ...umfasst ein völlig neues Konzept der digitalen Künste im 21. Jahrhundert, das die multimediale, auf dem binären Code basierende Ästhetik der digitalen Kunst mit der Multimodalität von Synästhesie als Wahrnehmungsform verbindet.
Become Tony White’s personal animation student. Experience many of the teaching techniques of the golden era of Disney and Warner Brothers studios and beyond all from the comfort of your own home or ...studio. Tony White’s Animation Master Class is uniquely designed to cover the core principles of animated movement comprehensively. How to Make Animated Films offers secrets and unique approaches only a Master Animator could share. Includes hands-on tutorials, demonstrations and final sample animations. Whether you want to become a qualified animator of 2D, 3D, Flash or any other form of animation, Tony White’s foundations bring you closer to that goal. The downloadable resources are invaluable, in that readers are not only taught principles and concepts in the book, they are able to see them demonstrated in action in the movies.
The image that appears on the movie screen is the direct and tangible result of the joint efforts of the director and the cinematographer. A Hidden History of Film Style is the first study to focus ...on the collaborations between directors and cinematographers, a partnership that has played a crucial role in American cinema since the early years of the silent era. Christopher Beach argues that an understanding of the complex director-cinematographer collaboration offers an important model that challenges the pervasive conventional concept of director as auteur. Drawing upon oral histories, early industry trade journals, and other primary materials, Beach examines key innovations like deep focus, color, and digital cinematography, and in doing so produces an exceptionally clear history of the craft. Through analysis of several key collaborations in American cinema from the silent era to the late twentieth century—such as those of D. W. Griffith and Billy Bitzer, William Wyler and Gregg Toland, and Alfred Hitchcock and Robert Burks—this pivotal book underlines the importance of cinematographers to both the development of cinematic technique and the expression of visual style in film.
Extended description:
Hja, boste vdihnili, z vrstami pa res še nismo opravili. Sicer pa, kaj neki delijo?
Prav ničesar ne delijo, tudi prodajali ne bodo več. Za danes smo že opravili. No menda se že ...uganili, na kaj merimo, Na kinematografe, seveda.
In takole so čakali in se drenjali v nedeljo tisti, ki so se namenili v nov Ljubljanski kinematograf, v kino na Gospodarskem razstavišču. Sicer pa, čakanje za vstopnice ni pri nas res nič novega. Ljubljana, pravijo, da postaja moderno mesto, ima pa vsega še vedno le osem kinodvoran. Menda nič več, kot pred 25 leti. Da pa bi vsaj za silo rešili to vprašanje, je ljubljansko Kinopodjetje odprlo v nedeljo v veliki dvorani Gospodarskega razstavišča nov kinematograf, ki naj bi opravil pereče stanje.
1800 sedežev je tako pridobila Ljubljana. Morda dvorana res ni najbolj primerna za te stvari, toda sila je sila… 1800 sedežev ima dvorana, vendar še ni bilo za vse prostora in tudi tu smo lahko slišali tisto milo vprašanje »Karto več?« Toda, tako je bilo le prvi dan, ko je prvič stekel »Ešnapurski tiger« skozi nove projektorje novega kinematografa.
Extended description:
Hja, boste vdihnili, z vrstami pa res še nismo opravili. Sicer pa, kaj neki delijo?
Prav ničesar ne delijo, tudi prodajali ne bodo več. Za danes smo že opravili. No menda se že uganili, na kaj merimo, Na kinematografe, seveda.
In takole so čakali in se drenjali v nedeljo tisti, ki so se namenili v nov Ljubljanski kinematograf, v kino na Gospodarskem razstavišču. Sicer pa, čakanje za vstopnice ni pri nas res nič novega. Ljubljana, pravijo, da postaja moderno mesto, ima pa vsega še vedno le osem kinodvoran. Menda nič več, kot pred 25 leti. Da pa bi vsaj za silo rešili to vprašanje, je ljubljansko Kinopodjetje odprlo v nedeljo v veliki dvorani Gospodarskega razstavišča nov kinematograf, ki naj bi opravil pereče stanje.
1800 sedežev je tako pridobila Ljubljana. Morda dvorana res ni najbolj primerna za te stvari, toda sila je sila… 1800 sedežev ima dvorana, vendar še ni bilo za vse prostora in tudi tu smo lahko slišali tisto milo vprašanje »Karto več?« Toda, tako je bilo le prvi dan, ko je prvič stekel »Ešnapurski tiger« skozi nove projektorje novega kinematografa.
Ljubljana - not enough cinema theatres, not enough tickets and too long queues; big crowd in front of the box office, a film projector and the beginning of a movie.
Original language summary:
Ljubljana - premalo kinodvoran, premalo vstopnic in predolge vrste; gneča pred blagajno, kinoprojektor in začetek predstave.
The Digitization of Cinematic Visual Effects: Hollywood’s Coming of Age, by Rama Venkatasawmy, analyzes how the Hollywood cinema industry’s visual effects applications have not only motivated the ...expansion of filmmaking praxis, they have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitization of their associated technologies, VFX have been responsible for multiplying the strategies of representation and storytelling, as well as extending the range of stories that can potentially be told onscreen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. On the basis of displaying groundbreaking VFX—immaculately realized through the application of cutting-edge technologies and craftsmanship—and of projecting such a significant degree of visual innovation and originality, certain Hollywood movies have established techno-visual trends and industrial standards for subsequent filmmaking practice. Hollywood cinema’s entry into the digital realm is intertwined with the intensification of conglomeratic practices within the movie business, the domain of techno-scientific R&D in filmmaking, and the unification of corporate media, information technology, and entertainment. Hence, the standardization of, and convergence toward, the digital medium is emblematic of Hollywood cinema’s techno-industrial evolution in the late twentieth century. Accordingly, this volume identifies various synergies and partnerships—between VFX providers, movie studios, graphic designers, and more—that have emerged from a progressive growth of awareness in Hollywood of the digital medium’s potential.
Since digital surround sound technology first appeared in cinemas 20
years ago, it has spread from theaters to homes and from movies to television,
music, and video games. Yet even as 5.1 has become ...the standard for audiovisual
media, its impact has gone unexamined. Drawing on works from the past two decades,
as well as dozens of interviews with sound designers, mixers, and editors, Mark
Kerins uncovers how 5.1 surround has affected not just sound design, but
cinematography and editing as well. Beyond Dolby (Stereo) includes detailed analyses
of Fight Club, The Matrix, Hairspray, Disturbia, The Rock, Saving Private Ryan, and
Joy Ride, among other films, to illustrate the value of a truly audiovisual approach
to cinema studies.
UNDERSTANDING DIGITAL CINEMA: A PROFESSIONAL HANDBOOK is a comprehensive resource on all aspects of finishing, distributing and displaying film digitally. For technical professionals as well as ...non-technical decision-makers, the book is a detailed exploration of every component of the process, from mastering to theater management. * An overview of digital cinema system requirements* Post production work flow* Color in digital cinema* The digital cinema mastering process* Fundamentals of compression * Security* Basics of audio * Digital distribution* Digital projection technology* Theater systems* The international perspective: Views from Europe, Asia and Latin America* A realistic assessment of the future of digital cinemaWith contributions by:Richard Crudo, President, American Society of CinematographersLeon Silverman, Executive Vice President, Laser Pacific Media CorporationCharles Poynton, Color ScientistChris Carey, Senior Vice President, Studio New Technology, The Walt Disney StudiosBob Lambert, Corporate Senior Vice President New Technology & New Media,The Walt Disney CompanyBill Kinder, Pixar Animation StudiosGlenn Kennel, DLP CinemaPeter Symes, Manager, Advanced Technology, Thomson Broadcast & Media SolutionsRobert Schumann, President, Cinea, Inc., A Subsidiary of Dolby LabsDavid Gray, Vice President, Production Services, Dolby Laboratories, Inc.Darcy Antonellis, Executive Vice President, Distribution and Technology OperationsWarner Bros. Technical Operations Inc. and Senior Vice President, Worldwide Anti-Piracy Operations Warner Bros. Enterta
Koliko je iz puljskih dnevnih i tjednih novina poznato, u Puli su od 21. studenoga 1896. do Prvoga svjetskog rata gostovala ukupno 32 putujuća kinematografa. Kinematograf Edison na Portarati otvoren ...je 25. travnja 1906. Njegova relativno kratka postojanost ide u prilog putujućega kinematografa, a gotovo sve ostalo u prilog stalnoga kinematografa. Prvi službeno proglašen stalni puljski kinematograf, ujedno i drugo stalno kino u današnjoj Hrvatskoj, Električno kino Internazionale (Bioscopio elettrico Internazionale) svečano je otvoreno i počelo s redovitim prikazivanjem filmova 3. lipnja 1906. Oba kinematografa, i Edison i Internazionale, ili su polustalna ili, prema umjerenijim i labavijim kriterijima, stalna kina. Internazionale, budući da nije bio putujući (otvorio ga je stanovnik Pule), postao je stalni kinematograf, unatoč samo 44 dana uzastopna prikazivanja filmova u baraci (daščari), a putujući Edison u boljim uvjetima, koji je u Puli zastao 37 dana u kinodvorani, to nije. Prema postojećim vrelima prvo stalno kino u Hrvatskoj je Salone Edison u Rijeci (13. travnja 1906.), drugo je stalno kino Internazionale u Puli (3. lipnja 1906.), treće je kino Excelsior u Puli (početak srpnja 1906.), četvrto je kino Edison u Puli (6. listopada 1906.) i peto je Pathé bioskop u Zagrebu (studeni 1906.).
Putujući su kinematografi na svojim gostovanjima i proputovanjima pored uredovnih, uobičajenih filmskih repertoara nudili i specijalizirane erotske (ili pionirske pornografske) kratke filmove po svim gradovima Europe, pa tako i u Puli koja je zbog mornaričkoga i vojnoga statusa, militantne urbanosti i poprilično slobodne seksualnosti, bila specifična pojava. Uspoređujući ranu pojavu bestidnih filmića u europskoj kinematografiji, Pula je naspram sličnih austro-ugarskih gradova prednjačila u projiciranju „pikantnih filmova“, što se pripisuje toleranciji gradskih i mornaričkih nadležnih vlasti i institucija. Takva praksa „crnih večeri“ (serate nere, Herrenabende) nastavljena je i kasnije, u prvim stalnim puljskim kinematografima. Obilna ponuda tolerantnih filmova, erotskih i pornografskih sadržaja, bila je redovito na repertoaru kina Edison, trećega stalnoga puljskog kinematografa otvorenoga 6. listopada 1906., koji možemo slobodno prozvati i prvim erotskim (ili porno-erotskim) kinom u Puli (i Hrvatskoj). Od prvoga otvorenoga (polu)stalnog kina Edison (25. travnja 1906.) do početka Prvoga svjetskoga rata (28. srpnja 1914.) u Puli je otvoreno, u samom središtu grada, deset stalnih kinematografa (posljednji je u tom razdoblju kino Eden, 12. siječnja 1913.) različitih kategorija, od građansko-časničkih elitnih do proletersko-vojničkih s erotsko-pornografskih programima, od kojih je pak neposredno pred Veliki rat ostalo pet djelatnih (Edison, Leopoldo, Minerva, Ideal i Eden): jedna i druga brojka (otvorenih i djelatnih kina) pokazuju i dokazuju europski trend započete ubrzane kinofikacije europskih gradova. Možemo zaključiti da je u godinama pred Veliki rat Pula bila kinematografski (kinodvoranama) i filmskim repertoarom iznimno dobro pokriven grad koji je promptno pratio gotovo sve europske (i svjetske) filmske domete preko ažurne, kvalitetne i brze distribucije filmova.
Skioptikonbild from the Department of Photography at the Royal Technical University. Use of Professor Helmer Bäckström as a lecture material. Bäckström was Sweden’s first professor of photography at ...the Royal Technical University in Stockholm 1948-1958.
The Living Wheel.
For more info see: Brook stream, Helmer. Photographic Handbook. Second revised edition. Nature and Culture. Stockholm. 1948. The President 1253.
Skioptikonbild från Institutionen för fotografi vid Kungliga Tekniska Högskolan. Använd av professor Helmer Bäckström som föreläsningsmaterial. Bäckström var Sveriges första professor i fotografi vid Kungliga Tekniska Högskolan i Stockholm 1948-1958.
Det levande hjulet.
För mer info se: Bäckström, Helmer. Fotografisk Handbok. Andra omarbetade upplagan. Natur och Kultur. Stockholm. 1948. s. 1253.
Skioptikonbild från Institutionen för fotografi vid Kungliga Tekniska Högskolan. Använd av professor Helmer Bäckström som föreläsningsmaterial. Bäckström var Sveriges första professor i fotografi vid ...Kungliga Tekniska Högskolan i Stockholm 1948-1958.
E. Reynauds praxinoskop för projektion.
För mer info se: Bäckström, Helmer. Fotografisk Handbok. Andra omarbetade upplagan. Natur och Kultur. Stockholm. 1948. s. 1254.
Skioptikonbild from the Department of Photography at the Royal Technical University. Use of Professor Helmer Bäckström as a lecture material. Bäckström was Sweden’s first professor of photography at the Royal Technical University in Stockholm 1948-1958.
E. Reynaud’s praxinoscope for projection.
For more info see: Brook stream, Helmer. Photographic Handbook. Second revised edition. Nature and Culture. Stockholm. 1948. The President 1254.
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