18 research outputs found
Real-Time Set Editing in a Virtual Production Environment with an Innovative Interface
This bachelor thesis wants to describe a prototypical implementation of a 3D user interface for intuitive real-time set editing in virtual production. Furthermore this approach is evaluated qualitatively through a user group, testing the device and fill in a questionnaire. The dimension of virtual elements created with computer graphics technology in all areas of entertainment industry is steadily growing since the past years. Nevertheless can the editing process of virtual elements still require a costly process in terms of time and money. With the appearance of new input devices and improved tracking technologies it is interesting to evaluate if a real-time editing process could improve this situation. Being currently bound to experts on special workstations, this could lead to a more intuitive and real-time workflow, enabling everybody on a film set to influence the digital editing process and work collaboratively on the scene consisting of virtual and real elements.Ziel dieser Bachelorthesis ist die Beschreibung eines prototypischen 3D Editierverfahrens, das intuitives Editieren von virtuellen Elementen in Echtzeit innerhalb einer virtuellen Produktionsumgebung ermöglichen soll. Die Evaluation dieses Ansatzes geschieht qualitativ. Eine Benutzergruppe, bestehend aus Industrievertretern testet das neue Verfahren und fĂŒllt anschlieĂend einen Fragebogen aus. Der Anteil virtueller, mithilfe von 3D Computergrafik erstellter, Elemente wĂ€chst in allen Bereichen der Entertainment Industrie seit Jahren stetig. Trotzdem ist die Bearbeitung von virtuellen Objekten nach wie vor ein komplexer Vorgang, der besonders geschulte Mitarbeiter an speziellen ArbeitsplĂ€tzen benötigt. Dies kostet Zeit und Geld. Mit dem Aufkommen neuer EingabegerĂ€te und verbesserten Tracking Technologien stellt sich die Frage ob es nicht möglich ist diesen Bearbeitungsprozess zu verbessern. Mithilfe des neuen Editierverfahrens soll eine intuitive OberflĂ€che geschaffen werden die es jedermann ermöglicht direkt noch am Filmset Ănderungen an virtuellen Elementen vorzunehmen und gemeinsam an einer Filmszene zu arbeiten ohne dass hierfĂŒr besonderes Expertenwissen nötig wĂ€re
Video activism in the shadow of Wellywood : an exegesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Fine Arts at Massey University, Wellington, New Zealand
This creative practice-based research was conducted in Wellington, Aotearoa New Zealand, the home of ground-breaking movie companies Wingnut Films, Weta Workshop, Weta Digital, and Park Road Post. Following the success of director Peter Jacksonâs The Lord of The Rings and The Hobbit trilogies, with pioneering special effects led By Richard Taylor, Wellington city has colloquially become known as Wellywood, in honour of our film industryâs connections to Hollywood. Parts of Aotearoa have since been renamed by government tourism agencies and businesses to reflect their use as locations in the films set in the fictional world of Middle Earth. Throughout the course of this research, the âWellywoodâ movie industry has faced a range of issues including workersâ rights and workplace harassment and has attracted criticism for its influence on government policy.
In the Shadow of Wellywood is an experimentally animated video work satirizing the dominant studio system and its ability to shape our national identity and consumerist desires.
This tale of celebrity dreams of stardom turning into nightmares draws upon tropes of action, melodrama, musical, film noir, and road movie genres to locate the narrative within the artificial world of the production studio. In using movie-themed action figures as stand-ins for Hollywood actors, and animating them using rudimentary techniques, the work considers the celebrity cycle and the technological advances of the industry. The artificial setting satirically suggests that we no longer have a national cinema, but one of transplanted culture. In combining analogue and digital video technologies the creative process reflected upon obsolescence, and the place of handmade animation techniques within an increasingly digital environment.
In continuing to work with obsolete video technology rather than upgrading to the latest format the research has been conducted with the intention of developing an environmentally sustainable method of studio-based production. This research has identified a gap in the field of video art practice through continuing to use equipment that others no longer want and rejecting the latest movie industry technologies as a mode of critical engagement. This research makes an original contribution to the creative field of video activism through using equipment until it literally wears out and accepting the resulting inconsistencies in production.
The creative processes used in the development of the final work explored a methodology of experimentation, collaboration, and iterative testing designed to critique mainstream movie production and distribution systems, and to explore alternatives. Through adapting the situationist principles of dĂ©tournement, psycho-geography and the dĂ©rive, this research demonstrates the continued relevance of Guy Debordâs key text Society of the Spectacle (1967) for re-contextualizing the movie industry as an instance of the spectacle, an artificial capitalist system designed to manipulate the consumer, and for identifying ways to resist and critique it. A series of expanded cinema collaborations with musicians during the developmental stages of the research allowed for testing the concept of a studio backlot and exploring the notion of special effects. The animation studio built for this research drew upon traditions of repurposing established by pre-digital experimental film and expanded cinema artists. The portable micro cinema designed for screening In the Shadow of Wellywood locates the work outside of mainstream networks and within an alternative system of distribution underscoring the projectâs positioning as a form of video activism
Software Takes Command
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media
Otis College Report on the Creative Economy (2023)
The Otis College Report on the Creative Economy, commissioned annually by Otis College of Art and Design since 2007 focuses on the ways in which California's creative industries form an essential part of its overall economy. The report highlights five creative industries and eight regional snapshots with a spotlight on Los Angeles. The Otis College Report is an invaluable tool to assess the tremendous impact and influence of the creative sector on the state and regional economy
Software Takes Command
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media
Cultural Capital: Challenges to New York Stateâs Competitive Advantages in the Arts and Entertainment Industry
This is a report on the findings of the Cornell University ILR planning process conducted with support of a grant from the Alfred P. Sloan Foundation to investigate trends in the arts and entertainment industry in New York State and assess industry stakeholdersâ needs and demand for industry studies and applied research. Building on a track record of research and technical assistance to arts and entertainment organizations, Cornell ILR moved toward a long-term goal of establishing an arts and entertainment research center by forging alliances with faculty from other schools and departments in the university and by establishing an advisory committee of key players in the industry. The outcome of this planning process is a research agenda designed to serve the priority needs and interests of the arts and entertainment industry in New York State
Code Red: Mobile, a live/synthetic test bed for firefighter training
The State of Victoria, Australia is prone to disastrous bushfires. The Country Fire Authority of Victoria is the principal bushfire response organisation. Local brigades of mainly volunteers learn how to fight fires through classroom learning and field exercises. The CODE RED: MOBILE test bed features Live/Synthetic elements, where âLiveâ firefighters participate in an exercise where a virtual or âsyntheticâ bushfire is delivered to them in the field on an iPad3 in the 7scenes game framework (7scenes.com). A model of the Hanging Rock Reserve, with a bushfire undergoing a wind change, was made in the Sandbox2 game editor (crytek.com). This was a model of the real world location of the exercise. Firefighters were divided into two groups: one group received the information about the bushfireâs progress as dynamic-static movies, and the other group saw static screenshots from the same movies. Both were annotated with further information. This media supported with maps and textual information, was delivered at the real world location of three stages of the bushfire undergoing a wind change at the Hanging Rock Reserve. This experiment showed that either form of media was suitable for training firefighters in a mobile learning and decision making exercise using a mobile device. The participants carried GPS and their movements were tracked. Spatio-temporal analysis was used to detect problems with the design of the exercise, and to find participants with aberrant behaviour or difficulties with the exercise. Fractal analysis of the tracks uncovered five Domains of Spatial Scale. Three of the domains at different spatial scales revealed where participants were walking through open areas in relatively straight paths, in another domain they had to find ways through gateways and over bridges, and at another they were meeting the boundaries of the exercise and turning sharply back, or recrossing their tracks. This data is valuable for the analysis and design Live/Synthetic exercises: at various spatial scales particular exercises can be made more difficult or easier to complete depending on the fitness or expertise of the participants. The research proposes that emergency organisations would benefit from Live/Synthetic exercises using mobile devices, for joint or individual training of firefighters and Incident Management Teams
The Art of Movies
Movie is considered to be an important art form; films entertain, educate, enlighten and inspire audiences.
Film is a term that encompasses motion pictures as individual projects, as well as â in metonymy â the field in general. The origin of the name comes from the fact that photographic film (also called filmstock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist â motion pictures (or just pictures or âpictureâ), the silver screen, photoplays, the cinema, picture shows, flicks â and commonly movies
Master of Arts
thesisThe aim of this thesis is to examine the way that the videogame industry has evolved as a complex sociotechnological system and how the discourse surrounding the industry, as well as videogames as a medium of expression, has shaped that development. This shift in the nature of videogame creation from individual authors and small studios to the monolithic entity known as "the Industry" was accompanied by the creation of an ideology that defines the identity of a community and places constraints on videogames as a medium. This is the ideology of the "hardcore" gamer. In order to understand this ideology, its impact and its significance, I will focus on the discourse surrounding the videogame industry and particularly on the limits of this discourse. One such area of discourse where antagonisms arise is in the growing community of independent game developers. The independent games movement can be looked at as a direct result of what Laclau and Mouffe refer to as articulation - the process by which relationships are established in such a way as to alter the identities of the elements themselves. As the videogame industry became increasingly articulated, the identities of games, gamers and game makers became more and more narrowly defined. This increased areas of antagonism within the discourse, allowing for resistance and the possibility of disarticulation. Though the independent games movement has grown substantially in recent years, the degree to which this movement resists the ideology of the videogame industry is unclear, as is the role of the technology in this process. This paper will examine these relationships through the discourse of both the mainstream videogame industry as well as that of the independent games community