A DIGITAL FILM PRODUCTION WITH LIVE ONLINE TECHNOLOGIES – HOW TO DIDACTICALLY SUPPORT FILMMAKING FROM A DISTANCE

2021 ◽  
Author(s):  
Ingo Schuenemann ◽  
Johannes Kirch ◽  
Stefan Siehl
Keyword(s):  
Film Production ◽  
Online Technologies ◽  
Digital Film

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

Digital Film Production Preservation and Access

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Production ◽  
Data Complexity ◽  
Archival Studies ◽  
Digital Film ◽  
Access Project ◽  
The Moment ◽  
The Way

This chapter examines digital film production preservation and access in the moment of the ‘Digital Dilemma’and the attendant challenges to the archiving of digital film which are summarised as reliability, vulnerability, volume and data complexity. Different archival paradigms are considered including film, born digital and hybrid, and the associated archival aesthetics, drawing from various branches of enquiry within archival studies. This includes considerations of Sally Potter’s own online, interactive archive SP-ARK – whereby all film/analogue was digitised – and the archival structure developed by the Deep Film Access Project (DFAP) – designed to accommodate both film, data and hybrid assets. The chapter contends that archival structures support and replicate auteurism leading to omissions and occlusions of both personnel and practices. Evidence is provided to demonstrate that the way in which an archive is conceived, shaped and organised captures the various ‘aesthetics of production’ and ‘Production Aesthetics’ of a moment in time, as well as its concomitant ‘production legacy aesthetics’, ‘archival legacy aesthetics’ and embedded paradoxes of representation.

Digital Film Production Time

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
New Technologies ◽  
Film Structure ◽  
Production Model ◽  
Film Production ◽  
Production Time ◽  
Study Materials ◽  
Production Practice ◽  
Digital Film ◽  
Digital Processes

This chapter explores the notion of digital film production ‘time’ By examining the various different temporalities of film production. Drawing primarily upon the case-study materials of Ginger & Rosa, the chapter maps the 2012 moment of transition from working with film to working with data, and the hybrid practices and protocols that manifested as a result. It examines how the introduction of new technologies and digital processes challenged the orthodoxies of long-established film industry production practice including how workflow patterns were effected with the advent of the digital in film production. The chapter includes the proposition of a ‘Creative Core’ Structure of Production model with which to understand the determinants and impacts of on-set workflow, illuminating the emergence a specific aesthetic of production which is referred to as ‘workflow-warp’ and ‘workflow-weft.’ The former refers to the temporal bending of the traditional film structure and pace out of shape, and the latter – the process of weaving together a complex blend of the film and the digital into an inextricable tapestry.

scholarly journals MENERAWANG MASA LALU DI ERA DIGITAL: FILM SEJARAH VIS A VIS HISTORIOGRAFI

2019 ◽  
Vol 3 (1) ◽  
pp. 33
Author(s):  
Luqman Abdul Hakim
Keyword(s):  
Film Studies ◽  
Film Production ◽  
Historical Sources ◽  
Reform Era ◽  
The Past ◽  
Historical Film ◽  
Historical Films ◽  
Research Problems ◽  
The Times ◽  
Digital Film

In recent years historical film production or historical films — Historical Film, Historical Movie, Historical Cinema—have become increasingly massive in Indonesia. In its development, historical films in Indonesia are a massive medium to present a past that deserves to be remembered as a collective memory of society. Since the reform era, dozens of historical film titles have been produced and colouring the Indonesian film industry. As a result, many historical films have become references and reference sources for the community to find information about the past. It becomes reasonable to see the development of multimedia-based information technology (audiovisual) which has encouraged the emergence of post-literacy phenomena. In historical studies, historical films can be studied as a thematic study as well as in a methodological realm. As a thematic study, historical films are mental products (mentifact) and social products (sociofact) of society in a certain space of time. Whereas in the methodological realm, historical films can be explored through debates about historical sources or as narratives and representations of the past presented through film media. The study of historical films as a study of history is still a rare and less desirable subject for historians in Indonesia. This paper utilizes literature studies to answer some of the research problems posed. Literature studies of sources related to historical film studies are the focus of the researchers. In addition, a deeper understanding of the development of historical films in Indonesia is also a concern to uncover the souls of the times that surround historical film production. This study concludes that the existence of historical films in the present is a challenge for historians to face the era of openness and variety of media that presents information about the past.

Epilogue

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Studies ◽  
Film Industry ◽  
Analytical Framework ◽  
Technological Innovations ◽  
Book Production ◽  
Film Production ◽  
Text Production ◽  
Look Back ◽  
Key Concepts ◽  
Digital Film

This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal origin of the book’s focus of study, the film industry and film production has continued to be impacted by digital interventions in innumerable ways. Since 2012, new creative and logistical responses to technological innovations have proliferated, resulting in new types of film production and new exhibition practices. This chapter summarises the key concepts of the book - Production Aesthetic; collaborative auteurism; transitional auteurship; and workflow-warp and weft. The chapter looks forwards to the future of digital film studies–approaches and methods through a summary of the analytical framework developed within the book: through the unification and cross-analyses of the tripartite of text, production aesthetics and representational text(s) and their subsequent mobilization and dissemination.

Digital Film Production Representations

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Modes Of Representation ◽  
Production Practice ◽  
Different Types ◽  
Digital Film ◽  
Invisible Labour

This chapter explores the various modes, tools and types of film industry representation, whereby film is the conduit through which we see film production, and is subject to its own representational modes, aesthetics and practices. A genealogy of different types of mediated films and their making are presented. The chapter details how Ginger & Rosa communicated and embedded its Production Aesthetic in a number of different ways. The chapter presents the inherent paradox which is innate to these modes of representation where the film production attempts to make itself visible whilst simultaneously rendering itself invisible. This leads to a conflicting aesthetic of ‘pseudo-visibility’ and ‘hyper-invisibility’ – the simultaneous openness and foreclosure of film production practice obscuring people, histories and practices. Drawing on themes of invisible labour, invisible economies, politics of invisibility and aesthetics of erasure, the chapter then turns to considerations where aesthetics of production are made manifest in modes of resistance – where the tools, iconography and aesthetics of production are subverted for moments of protest by film industry practitioners.

Digital Film Production Space

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Hardware Design ◽  
Film Production ◽  
Digital Medium ◽  
Production Space ◽  
Design Software ◽  
Digital Film ◽  
Production Apparatus

This chapter disentangles the deeply ingrained celluloid practices of digital film production. Through the examination of embodied practices, onset processes and protocols, including considerations of filmmaking iconography in hardware design, software and interface aesthetics. The origins of the often perplexing film and celluloid skeuomorphs are also traced. The chapter considers the reasons for the persistence of these practices which conversely seek to simultaneously erase the analogue whilst at the same time mask the use of the digital medium. In its close textual examination of Digital Film Production Space, the chapter includes detailed considerations of the attendant ‘production apparatus’ of Ginger & Rosa (which is the same apparatus used by the film industry in a diversity of national contexts) and the manifestation of the film in digital and virtual representations – proposing a ‘Production Aesthetic’ which visually characterizes the making of the film. The chapter includes a consideration of ‘celluloid pedagogies’, and how the various practitioners on Ginger & Rosa learned their crafts, and how they describe them through material practices and tactile experience.

Digital Film Production People

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Critical Examination ◽  
Working Relationships ◽  
Film Production ◽  
Organisational Structure ◽  
Assistant Director ◽  
Overlapping Spheres ◽  
Digital Film ◽  
The One ◽  
Industry Professionals

This chapter presents a critical examination of the wider context of the film industry using Ginger & Rosa as a lens through which to examine the three main professional working frameworks that film industry professionals operate within - the network, the department and the project itself, the film. Drawing on interviews with established film professionals, the chapter examines these three distinctive, yet overlapping spheres, their intersections, their challenges and their moments of contradiction. The chapter extrapolates the organisational structure as specific to the Ginger & Rosa ‘project’ and examines in detail the structures and working relationships of three different departments–Camera/Electrical, Assistant Director (AD), Production and Post-production. These discussions draw out the complex interplay between, on the one side, a highly craft-based, traditional classical narrative film production, and, on the other, a production shaped by new digital technologies and interstitial work specific to the film-to-data moment. Through the mapping of a Personnel Structure and Working Relations model, the chapter examines how Sally Potter manages to nurture innovation and experimentalism within these seemingly inflexible structures through ‘collaborative’ and ‘transitional’ auteurism.’

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