82nd Academy Awards, Telecast
The Academy of Motion Picture Arts and Sciences today announced that 10 scientific and technical achievements represented by 33 individual award recipients will be honored at its annual Scientific and Technical Awards Presentation on Saturday, February 13, at the Beverly Wilshire in Beverly Hills. In addition, the Society of Motion Picture and Television Engineers (Smpte) will receive a special award recognizing a century of fundamental contributions to the advancement of motion picture standards and technology.
“This year’s honorees represent a wide range of new tech, including a modular inflatable airwall system for composited visual effects, a ubiquitous 3D digital paint system and a 3D printing technique for animation,” said Richard Edlund, Academy Award-winning visual effects artist and chair of the Scientific and Technical Awards Committee. “With their outstanding, innovative work, these technologists, engineers and inventors have further expanded filmmakers’ creative opportunities on the big screen.”
Unlike other Academy...
The Academy of Motion Picture Arts and Sciences today announced that 10 scientific and technical achievements represented by 33 individual award recipients will be honored at its annual Scientific and Technical Awards Presentation on Saturday, February 13, at the Beverly Wilshire in Beverly Hills. In addition, the Society of Motion Picture and Television Engineers (Smpte) will receive a special award recognizing a century of fundamental contributions to the advancement of motion picture standards and technology.
“This year’s honorees represent a wide range of new tech, including a modular inflatable airwall system for composited visual effects, a ubiquitous 3D digital paint system and a 3D printing technique for animation,” said Richard Edlund, Academy Award-winning visual effects artist and chair of the Scientific and Technical Awards Committee. “With their outstanding, innovative work, these technologists, engineers and inventors have further expanded filmmakers’ creative opportunities on the big screen.”
Unlike other Academy...
- 1/9/2016
- by Michelle McCue
- WeAreMovieGeeks.com
Former Whybin\Tbwa and The Conscience Organisation planner Joel Pearson has landed a global role as innovation director with media agency Phd working on client Unilever.
Person has already moved to London and started in the new role this week.
It sees him working again with Phd’s global strategy director Mark Holden, who led the relaunch of Total Advertising as Phd in Australia. Pearson worked as an account manager at Phd Australia during 2010. Prior to that he worked at digital agency Amnesia.
Pearson’s appointment is one of a number announced by Phd for its Unilever global comms planning unit.
Former Naked Communications Nz managing partner Robert Ray is also reported to be joining the team.
The post Joel Pearson moves to global Phd role appeared first on mUmBRELLA.
Person has already moved to London and started in the new role this week.
It sees him working again with Phd’s global strategy director Mark Holden, who led the relaunch of Total Advertising as Phd in Australia. Pearson worked as an account manager at Phd Australia during 2010. Prior to that he worked at digital agency Amnesia.
Pearson’s appointment is one of a number announced by Phd for its Unilever global comms planning unit.
Former Naked Communications Nz managing partner Robert Ray is also reported to be joining the team.
The post Joel Pearson moves to global Phd role appeared first on mUmBRELLA.
- 1/24/2013
- by mumbrella
- Encore Magazine
Second #3901, 65:01
1. Jeffrey: “I’m seeing something that was always hidden.”
2. J. G. Ballard, from Concrete Island, 1974:
When he reached the embankment and searched for the message he had scrawled on the white flank of the caisson, he found that all the letters had been obliterated.
3. André Breton, from “Manifesto of Surrealism,” 1924:
Under the pretense of civilization an progress, we have managed to banish from the mind everything that may rightly or wrongly be termed superstition, or fancy . . . It was, apparently, by pure chance that a part of our mental world which we pretended not to be concerned with any longer . . . has been brought back to light. For this we must give thanks to the discoveries of Sigmund Freud. On the basis of these discoveries a current of opinion is finally forming by means of which the human explorer will be able to carry his investigations much further,...
1. Jeffrey: “I’m seeing something that was always hidden.”
2. J. G. Ballard, from Concrete Island, 1974:
When he reached the embankment and searched for the message he had scrawled on the white flank of the caisson, he found that all the letters had been obliterated.
3. André Breton, from “Manifesto of Surrealism,” 1924:
Under the pretense of civilization an progress, we have managed to banish from the mind everything that may rightly or wrongly be termed superstition, or fancy . . . It was, apparently, by pure chance that a part of our mental world which we pretended not to be concerned with any longer . . . has been brought back to light. For this we must give thanks to the discoveries of Sigmund Freud. On the basis of these discoveries a current of opinion is finally forming by means of which the human explorer will be able to carry his investigations much further,...
- 2/27/2012
- by Nicholas Rombes
- Filmmaker Magazine - Blog
To watch four hours of the so-called documentary on the eight years of the Clinton presidency gave me the sensation of a report about a glass of water that is 75 percent full and 25 percent empty. The PBS presentation, I am guessing, spent 75 percent of the four hours reporting on 25 percent of the story, i.e., the issue of "scandal" in the Clinton presidency, omitting the substance and policy achievements of the Clinton presidency, i.e., issues that affected the lives of most Americans and that they care about most.
But the problem with the presentation wasn't just my view of disproportional emphasis on the "scandals" versus the substance. It was about accuracy. The writers and producers simply got it wrong. They failed to report the fact that every single "scandal" that so preoccupied the media, the punditry and partisan Republicans over the eight years -- save for the final one,...
But the problem with the presentation wasn't just my view of disproportional emphasis on the "scandals" versus the substance. It was about accuracy. The writers and producers simply got it wrong. They failed to report the fact that every single "scandal" that so preoccupied the media, the punditry and partisan Republicans over the eight years -- save for the final one,...
- 2/23/2012
- by Lanny Davis
- Aol TV.
Paranormal Activity 2 is not an avant-garde film, but only because no one has argued that it is.
1. The Importance of Framing
The difference between commercial culture (pop culture) and the avant-garde is a matter of rhetorical framing. Jean-Luc Godard, for instance, created the conditions for the New Wave not only through his films, but through his words about his films, and about cinema in general. Confrontational, witty, manifesto-like, Godard framed the way people saw his films. Godard was an auteur of language, not just cinema. “A movie should have a beginning, a middle, and an end,” he famously said, “but not necessarily in that order.” Or “The cinema is truth 24-frames per second.” Like Lars von Trier (“it’s always been a lie that it’s difficult to make films”) he brought his ideas to a boil in public so that watching his movies became inseparable from recalling what...
1. The Importance of Framing
The difference between commercial culture (pop culture) and the avant-garde is a matter of rhetorical framing. Jean-Luc Godard, for instance, created the conditions for the New Wave not only through his films, but through his words about his films, and about cinema in general. Confrontational, witty, manifesto-like, Godard framed the way people saw his films. Godard was an auteur of language, not just cinema. “A movie should have a beginning, a middle, and an end,” he famously said, “but not necessarily in that order.” Or “The cinema is truth 24-frames per second.” Like Lars von Trier (“it’s always been a lie that it’s difficult to make films”) he brought his ideas to a boil in public so that watching his movies became inseparable from recalling what...
- 5/10/2011
- by Nicholas Rombes
- Filmmaker Magazine - Blog
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