tailieunhanh - IGITALCINEMA TAKE2HILTZIKBY MICHAEL A.PHOTOGRAPHS BYBRYCE DUFFYCOMPUTERIZEDPOSTPRODUCTIONTRANSFORMING THEIS SILENTLYFILMMAKERSMOVIESAND GIVINGA WHOLE

Contrary to the common method of analyzing the relationship between painting and cinema, the book disclaims obvious uses of painting in cinema such as in procedures of quotations, thematic coincidences, or formal references3 . In this regard, Bonfand’s approach takes into account one of the main intuitions of Jacques Aumont’s groundbreaking book, L’oeil interminable: the rejection of any literal pictorial citation. Straight citation is a pitfall for cinema: ‘Painting sometimes becomes in the film and even in cinema in general a regressive and often unfounded mean. It is not this pictorial presence on the surface that interests me;. | andgiving FILMMAKERS awhole NEWSETOF challenges. Image engineering Digital artists turned lush fields dry for O Brother Where Art Thou created a pristine print of To Kill a Mockingbird and synthesized much of the desert island in Cast Away. Hollywood being a star-making machine above all else it was not surprising that the buzz on 2000 s release of Cast Away was all about the weight Tom Hanks gained and then dropped to give life to his character s years of privation. The real magic behind the film wasn t revealed until much later that the island peak over which the hero clambered was a mud pile overlooking a California parking lot and that much of the tropical environment seen on screen from breakers to mountaintop had been fashioned inside a computer. Reliving the production George Joblove breaks into a delighted grin. Any shot that had ocean or sky in it says the senior vice president for technology at Sony Pictures Imageworks which created the visuals was pretty much a special effect. The film s software-generated scenes not only featured action and compositions that would have been impractical and expensive to shoot on location but also contained elements such as windstorms and enormous waves that are virtually impossible to create in the real world. That a tropical island could be manufactured so seamlessly out of pixels and algorithms testifies to the ascendancy of digital technology in Hollywood where it has all but superseded the optical and photochemical manipulations that were state of the art as recently as 10 years ago. It s no secret that 3-D digital processing is responsible for some of the grandest effects of modern blockbusters beginning with the dinosaurs of Jurassic Park and leading up to the careening space runabouts of Star Wars Episode II Attack of the Clones. But what s more remarkable is how thoroughly digital technology has taken over film editing color adjustment and other components of the so-called postproduction process including the .