Warszawa – miasto, które nie istnieje

The subject of the article is attempts in cinema and comics to reconstruct the image of pre-war Warsaw. The use of archival photographs of the capital, old postcards, and computer reconstructions using 3D technology increase the realism of the presentation, and provide the effect of intuition, intimacy, and directness. A Warsaw non-existent today comes to life again on the screen and in the pages of the comic book.Warsaw - a city that does not existThe subject of the article is attempts in cinema and comics to reconstruct the image of pre-warWarsaw. The use of archival photographs of the capital, old postcards, and computer reconstructions using 3D technology increase the realism of the presentation, and provide the effect of intuition, intimacy, and directness. AWarsawnon-existent today comes to life again on the screen and in the pages of the comic book

Review of Méliès to 3D: the Cinema Machine exhibition at the Cinémathèque de Paris (October 5th-January 29th, 2017)

L’exposition explore les grandes étapes de l’histoire du cinéma, à travers le prisme des machines et la technologie qui l’a rendu possible. On verra comment la technique engendre des formes inédites, et réciproquement, comment la recherche esthétique – le désir de voir de nouvelles images – donne naissance à de nouveaux appareils ou procédés. http://www.cinematheque.fr/cycle/de-Méliès-a-la-3d-la-machine-cinema-356.html.The exhibition delves into the history and evolution of cinema, shown through the lens of the machines and technology that made the filmmaking process possible. It reveals how technological progress brought about new forms, and conversely, how esthetic pursuit—the desire to see new images—gave birth to new devices and techniques. http://www.cinematheque.fr/cycle/de-Méliès-a-la-3d-la-machine-cinema-356.html

Video Quality Assessment: From 2D to 3D - Challenges and Future Trends

International audienceThree-dimensional (3D) video is gaining a strong momentum both in the cinema and broadcasting industries as it is seen as a technology that will extensively enhance the user's visual experience. One of the major concerns for the wide adoption of such technology is the ability to provide sufficient visual quality, especially if 3D video is to be transmitted over a limited bandwidth for home viewing (i.e. 3DTV). Means to measure perceptual video quality in an accurate and practical way is therefore of highest importance for content providers, service providers, and display manufacturers. This paper discusses recent advances in video quality assessment and the challenges foreseen for 3D video. Both subjective and objective aspects are examined. An outline of ongoing efforts in standards-related bodies is also provided

Mograph Cinema 4d untuk Menunjang Efek Visual Video Klip

This research is to talk about the advantages of MoGraph as one reliability feature in 3D modeling application, 4D Cinema as the implemented example in Cinta Laura video clip. The advantage in MoGraph is the ability to create multiple object moving effect accordingly and (or) randomly easily and efficiently, also supported by the render quality of Cinema 4D that clean and relatively fast. The advantage made MoGraph Cinema 4D is suitable to use to enrich the visual effect a motion graphic work. The quality is hoped to support MoGraph USAge as more creative. Regarding today's visual variation is effected by the digital technology development, therefore the implementation of MoGraph Conema 4D is hoped to be optimally supporting creativity in making video clip in motion graphic art content

3D UK? 3D History and the Absent British Pioneers

The recent television ‘rediscovery’ of a small cohort of 1950s British 3D films (and the producers who made them) has offered a new route into considering how the historical stories told about 3D film have focused almost exclusively on the American experience, eliding other national contexts. This article challenges both the partiality of existing academic histories of 3D, and the specific popular media narratives that have been constructed around the British 3D pioneers. Offering a rebuttal of those narratives and an expansion of them based around primary archival research, the article considers how the British 3D company Stereo Techniques created a different business and production model based around non-fiction short 3D films that stand in contrast to the accepted view of 3D as an American feature film novelty. Through an exploration of the depiction (and absence) of these 3D pioneers from existing media histories, the article argues for a revision to both 3D studies and British cinema history

Optical network technologies for future digital cinema

Digital technology has transformed the information flow and support infrastructure for numerous application domains, such as cellular communications. Cinematography, traditionally, a film based medium, has embraced digital technology leading to innovative transformations in its work flow. Digital cinema supports transmission of high resolution content enabled by the latest advancements in optical communications and video compression. In this paper we provide a survey of the optical network technologies for supporting this bandwidth intensive traffic class. We also highlight the significance and benefits of the state of the art in optical technologies that support the digital cinema work flow

A Technician's Dream? The Critical Reception of 3-D Films in Britain

Recent debates about the role of 3-D within cinema (and other media) have contained the traces of a largely anti-stereoscopic agenda that can be traced back to critical responses to 3-D in the 1950s. This article considers how British film reviews from the 1950s and 1980s established potent terms of discussion around the 3-D technology, its potential aesthetic development, and the role of stereoscopy within cinema. Exploring the parameters that the original reviewers set in place concerning the 3-D aesthetic, notably claims around realism, novelty, and gimmickry, the article argues that the language and terms of 1950s British film reviewers have worked to set an agenda that resonates through both the 1980s 3-D revival and modern day digital 3-D

A ponte do cinema 3D estereoscópico dos anos 50 até a atualidade

Mestrado em Comunicação MultimédiaO interesse pela tecnologia 3D começou nos anos 50. Contudo, nos últimos anos surgiu um quase revivalismo consubstanciado numa série de novas produções cinematográficas em 3D. Ao interesse crescente de realizadores e produtores por esta tecnologia, juntou-se um público de cinema curioso e que tem vindo a demonstrar grande aceitação. A presente investigação procura debruçar-se sobre o passado e o reaparecimento da “velha – nova” tecnologia 3D. Pretende-se objectivamente perceber o que os filmes 3D no cinema transmitem ao espectador, interrogando-o mesmo se o cinema é para “ver ou viver”. Para que esta análise fosse possível foi necessário ter contacto directo com o público escolhido aleatoriamente, através do preenchimento de 760 inquéritos em cinema tradicionais e 34 inquéritos, num Festival de Cinema Imersivo a decorrer num Planetário. A estes dados acrescentou-se a experiência do “investigador / espectador”, numa sala de exibição cinematográfica em calota esférica estereoscópica. Os dados apresentados são portanto a análise das respostas dos espectadores e a experimentação, na primeira pessoa, do investigador.The interest in 3D technology began in the '50s. However, in recent years came an almost revival embodied in a series of new 3D film productions. The growing interest of filmmakers and producers in this technology, he joined a curious film audience and has shown great acceptance. This research seeks to look into the past and the resurgence of "old - new" 3D technology. It is intended to objectively understand what 3D movies in cinema transmit to the viewer, asking the same whether the film is to "see or live." For this analysis it was necessary to be able to have direct contact with the public chosen at random, by completing 760 surveys in traditional film, and 34 surveys in Immersive Film Festival taking place in the Planetarium. To these data was added the experience of the "researcher / viewer", a film screening room in stereoscopic spherical cap. The data presented are therefore the analysis of responses from viewers and experimentation, the first person, the investigator