short film – GEIST

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SHORT FILM

GEIST is the german word for ‘spirit’, one of the keyword used by the german philosopher G. W. Hegel from who we got our inspiration for the film, and the film starts with a paragraph of his book “the phenomenology of spirit”. We made our goal to give form to this piece of pure thought, through images. The main theme which that we had in mind to pursue, was birth of a person, a spirit, that occurs when the person starts to be conscience of its own existence.

During the pre-production, we focused on creating images that could have give us the visual form of various mental phases that a person should go through, face, and pass to evolve into and out of him/herself: and thus was born the metaphor of the old self that gets lost in experiences, and the new self that should be achieved and be passed, to be lived.

The differentiations that we made use of to show this double spirit entity were in some choices that we had to make, like in use of make up, custom design, use of black and white with some touches of red in some parts in color grading.

A very important aspect for us, beyond the images, was to make a soundtrack and audio editing precisely made for the images, which was done after the final edit of the film. Also in this case the music and the sound effects follow some objectives in correlation with the film; the heart beats in the prologue of the film, that come the paragraph of Hegel, and then the tub gives us metaphrically the last heart beats of a chlid in the womb that is  to be born.


HOW TO

In this video we show how to make the special effects used in the short film GEIST. Particularly we’ll talk about how to make the effect of the initial title of the film which consists of explosion smokes and a clip of displacement of letters that come toward the screen emitting from the title; how to make the phantom effect; how to make the (famous) clone effect and finally how to make the freeze effect. We’ve mainly used AE to make these effects, but for the title and freeze effect it’s needed to use Primiere and Photoshop.


TIME MACHINE

  • RENATO ANGELONE
  • FEDERICA FERRO
  • SHOYA MOOSAVI

TUTORIAL| Holographic Video And Pyramid

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Nowadays, the computer-generated holographic optical elements can perform the functions of mirrors, lenses or combinations of both. Holograms as the world know them, measures microscopic displacements on the surface of an object and also small changes in index of refraction of transparent objects.

Lately, these visual creations have been used by different companies who want to sell their products and bring innovation to their business models. But after read a little of Physics and Mathematics, we as designers decided to translate all those numbers and equations in a useful and powerful tool.

We thought about how difficult is learning new things when there is no other motivation than finish a course or getting graduate from school or college. Looking for some articles and literature we got interested in the way children are learning at school. In that moment, we discovered that sometimes the term “fun” is not link as a priority in the educational process and that actually the conservative thought of evaluating education according to the strict discipline and homework amount.

Considering that children learn the most from playing and experimentation, we want to present an all brand new approach for the holograms and the holographic pyramid that let kids absorbs the knowledge at school in a funnier way. We want to help by giving a natural motivation to learn by “touching, seeing, hearing, moving and doing” as Lev Vygotsky said.

Taking into account the new field where holograms can make someone’s life better we want to present this holographic video as a good start to create a library in which people (parents, teacher, even the kids) could download different files –no matter when or where- with 3d models or with holographic videos that let people use the pyramid.

Since we read and tried to understand the Basic Geometrical Optics we integrated the main components: light source, pyramid structure and computer-generated image. As soon as we implied those concepts, we were prepared to represent the Water Cycle in real time in order to generate a more interactive way of learning at schools.

Our holographic video consists in three (3) main parts:

  1. CREATING A TIME LAPSE. Firstly we produced a 3D animation (if you want to build it watch the attached file 3d Modeling). With the frames files it would be possible to create the video of the specific matter you want to learn (in this case was the water cycle animation).

2. MAKING THE HOLOGRAPHIC VIDEO. Bearing in mind the format and device resolution we were going to use (tablet), we adjusted the measures of each of the frames that composed the time lapse. Then, we started organizing the four different perspectives in an editing software. The result is here:

3. BUILDING THE PYRAMID. After the video dimensions were decided, we made a template that helped us to construct the pyramid. Everybody can make it at home and use it in future occasions.

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Finally, we turn the lights off and this was what we got:

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The potential creation of these didactic animations are an effort to league the scientific discoveries and the academic surroundings, always trying to comprehend that kids learn better when they want to learn, that is why “fun” has to be a fact, a real life approach in learning contexts encouraging kids and teachers to activate their imagination by doing experiments in an easy and comprehensive mode.

In sum up, this project looks forward to let the children manage their own process in a responsible way in which the teachers are well trained and aware of the necessity of using interactive tools that cooperate in a more active way to the knowledge process enrichment.

 

Bibliography

  • Tung H. Jeong. Basic principles and applications of holography”. Fundametals of photonics module. Lake Forest College. pp. 381-417
  • Child action. Play: It’s the way young children learn. 2007. pp. 17-20

 

Created By

  • Maria Camila Botía Bocanegra
  • Juliana Oñate Berrocal

 

 

 

Interview with George Stankevich

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George Stankevich

Animator, Visual Effects artist, Teacher in Technológico de Monterrey in Querétaro, México, of courses in 3D animation, digital post production and creativity and mentor students.

From 2002 to 2006 has been 3D Technical Lead, training staff to produce 3D animation and virtual reality.

In 2006 he moved in China, where will stay for 10 years, teaching advanced 3D Animation Visual Effects and Multimedia classes in the Guangdong Polytechnic Normal University.

From 2007 to 2009 has worked in Legend Toonland as a 3D Technical Director, handling technical issues related to large scale 3D animation production trough scripting and technical training. In the same years worked in the motion picture credits “The Forbidden Kingdom”.

From 2010 to 2013 has been the Technical Manager at ECCG animation. Just finished production and promotion of “Save the 356th Day” a 3D Stereoscopic Animated Feature Film.

George, thanks to his career in United States, China and Mexico offers an interesting and actual point of view of the visual effects world market.

 

Hello George, could you present your self? could you tell me how do you start your career in visual effects and animation? and why have done this choice?

My name is George and my background in animation started when I was around 20. I decided to get into animation because I couldn’t get into the film. Another reason is because I like to sit in my room and I don’t like to go outside, I’m a geek, I admite it.

And that’s what one of my friends said about animators and…he may be right.

How do you start your career? could you tell me which have been the most significant steps of it?

I got my start in the industry, in New York, doing works for advertising and for television, after that I went to in Guangdong and then I worked for HongKong company. From there I moved to a company right near in Macao, which is the old portoguese colon. There I was working for the special effects of  the Crouching Tiger and Dragon and here the relationship with Ang Lee which helps getting some works for the Forbidden Kingdom, as well as some Taiwanese movies. And there was mainly special effects, for those movies as well as for Chinese television.

You have lived 10 years in China, how can you describe Chinese market? compared with the United States one.

Chinese market is very interesting, because it is the second largest in the world, after North America and I think that North America means: United States and Canada. But was interesting about it, it’s over 50% controlled by Chinese companies. And that’s largely because of the policies of the government to try to maintain Chinese media and I suppose you can call it Chinese media sovereignty and culture sovereignty, I don’t know.

What do you think is happening in special effects market?

I think that what maybe is happening now is that special effects become easier and easier to do, the ability to ask for a lot of money for them..decreases.. I like to compare to sugar, people say “Special effects are everywhere!” and I say “Yes, sugar is everywhere too! but how profitable is the sugar industry?”

Michele Cattani

 

 

 

 

Documentary – live & finctive

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Live & Fictitious

The curiosity to enlarge the misleading narrative structure of the cinema has always been one of the driving force of this communicative language, since its origins.
There are many examples of integration between live action and imaginary world inside cinema history, a long way that lead us from cartoons to digital animation.
The first experiment of integration was realized by James Stuart Blackton in 1900 with a short film entitled
The Enchanted Drawing. In this film, the director “interacts” with a portrait, from whom he receives objects, this effect comes moving the object between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence.Some years later, Max Fleischer, with his short series of films entitled Out of the Inkwell, used for the first time the rotoscoping technique, which was made up by himselfes and gives the opportunity to animate the main characters drawing frame by frame in the film played on a window panel, used as a guide. But the revolutionary tecnology was introduced by the Disney’s in films like Mary Poppins, Bedknobs and Broomsticks e Pete’s dragon: the “Screen Vapor Process” Continue reading

Interview with Enrico De Palo – VFX Artist

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Enrico De Palo is a visual effect artist, a digital compositor who works in the filmmaking industry and creates visual effects for the cinema. During his career he has worked for about ten years as a compositor, an on set supervisor and sometimes as a vfx supervisor in Italy, where he worked for movies like “Il Mercante di Pietre” and “Lontano dalla Luce”.

Then he had the fortune to divide his time between Berlin and London, in order to achieve some visual effects for many important American blockbusters as “Fast and Furious”, “Kingsman” and “Hercules”.

Moreover, for two years now, Enrico De Paolo has worked as a teacher in the Turin offices of the digital art school Event Horizon, where professionals in the field of digital art and 3D artists are willing to share their knowledge.

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Interview with Alessio Bertotti – VFX Artist

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Showreel of Alessio Bertotti’s best VFX, Compositing, 3D and Motion Graphic works, until Winter 2015:

Alessio Bertotti, VFX Artist and supervisor, has worked in Italy and abroad in different fields: movies, commercials, TV series, music videos and motion graphics.
Since he was young he’s been interested in this industry and in video and photo editing. He’s graduated in Graphic and Virtual Design at the Polytechnic of Turin, and then he has attended two master’s program: one in Computer Graphics in Turin and the other in Professional Compositing at the Escape Studios in London.

Alessio Bertotti

Despite his age, he’s already taken part to the realization of remarkable projects, such as “Captain America: Civil War” (2016), “Avengers: Age of Ultron” (2015), “The Expendables 3” (2014), “Everest” (2014), the featured RAI film “One thousand and one nights” (2012), the Tv series “Constantine” (2014-2015) and the commercials for “Vision Express” (2014), “Direct Line” (2013), “Mercedes-Benz Assist” (2013).

Having the possibility to interview Alessio Bertotti, we’ve decided to ask him some questions about his experience in this industry, the differences between working for a movie, a tv series or a commercial, and some details of some of the most interesting and remarkable projects he’s worked for.

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Interview with Enrico De Palo

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Enrico de Palo, born in 1966, is an italian VFX artist, specialized in compositing. He has worked for big international productions such as Furious 6, and After Earth, as a compositor. He also has experience as VFX supervisor for smaller productions.

Visual effects are Enrico’s passion, and this passion was so big that he decided to become a VFX teacher at Event Horizon School of Digital Arts.
In this interview we are going to see how hard it was for him to reach the top of his career, how his passion helped him and the way he tries to infuse this passion into his students.

You are a renowned compositor. How hard has it been to reach this level? What are the main steps of your growth?

The main goal of a VFX supervisor is to work on an international production. You reach that goal when you work for an american blockbuster, but this forces you to move abroad because if you stay in Italy, you will only work for italian productions.
If you want to work for important productions, you have to move to the USA, but this is almost impossible because American market isn’t open to foreigners, unless you have connections.
Fortunately, american productions are also developed overseas, they delegate their work to english-speaking countries like Canada, United Kingdom, Australia and New Zealand.
I tried to move either to Canada or London to join the american visual effects market and become a professional compositor. After you do this, then you can move freely both in the american environment and in the european one.
I started with the movie “After Earth” in Berlin with Pixomondo and then I moved immediately to London with Double Negative.
You need to be lucky and have a great willpower. With a little skills and two or three years of experience in Italy, you can find a job as a decent compositor and then it gets easy. But I had no intention of spending my life in London so I moved back to Italy. Sometimes I move abroad to work for two or three months and I consider this as sort of holiday.

How does it feel to work for very important productions?

It feels satisfactory. It feels fulfilling when you speak with someone and you can say “I made THIS movie” and people know about it.
It feels a lot different to say that you made movies like “Il mercante di pietre”, “il 7 e l’8” or “Baaria” rather than “Furious 6”, “Kingsman” or “Hercules”.
This means that you’re filling your own ego. It is a personality matter because I don’t work for money but for passion and I must give the best of me on something that will live for a long time.

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How do you define your job compared to others? Is it a kind of hobby?

It depends on the point of view, to me it is an hobby. It’s a matter of personality, I look it and say it’s a cool thing, some others say that they would never do my job. Each shot has a result, you create something that doesn’t exist and this is the great part of the work, you make a shot and it becomes something that’s partially yours, it’s something that you created!

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