Concepts et réalités du cinéma 360°

2021 ◽  
Author(s):  
Manuel Siabato
Keyword(s):  
Production And Distribution ◽  
Post Production ◽  
Total Point ◽  
Technological Constraints ◽  
Formal Innovation

Although creating and displaying 360° environment animated images can be dated to the origins of cinema, audiovisual industry in the broadest sense of the term, has never been as interested by it as today. With or without headphones, the main problem with such media is no longer reception, distribution or production, but perhaps an adapted content. Creators have new constraints imposed by 360º such as, frame pseudo-liberation, managing to focus spectator attention on the central narrative or filming and hiding a crew when filming with a total point of view.In this paper we will explore some of these challenges. Firstly, we will try to understand narrative mechanisms and technological constraints of 360° medium analysing a few selected productions. Secondly, we will present some personal work where issues related to writing, aesthetics, production, post-production and distribution will be explained.To conclude, is important to explain why 360° audiovisual does not offer a real formal innovation but rather invites us to rediscover cinema and its concepts.

scholarly journals Pelatihan Post-Produksi (Audio-Visual Editing) Film Indie di Armidale English College Soreang, Bandung

2019 ◽  
Vol 4 (1) ◽  
pp. 19-28
Author(s):  
Rangga Saptya Mohamad Permana ◽  
Lilis Puspitasari ◽  
Sri Seti Indriani
Keyword(s):  
Mass Communication ◽  
Production Management ◽  
Freedom Of Expression ◽  
Test Methods ◽  
Interactive Methods ◽  
Entertainment Education ◽  
Film Content ◽  
Production And Distribution ◽  
Post Test ◽  
Post Production

INDIE FILM EDITING TRAINING AT ARMIDALE ENGLISH COLLEGE OF SOREANG, BANDUNG REGENCY. A film can be seen as a medium of mass communication because in a film there are elements of entertainment, education, and information. In fact, a film can be an advocacy media that encourages a social change. In the film production management, there are major label and indie label concepts, where the indie label focuses on film content and filmmakers' freedom of expression. The stages that must be passed by a filmmaker in producing a film starts from the stages of development, pre-production, production, post-production, and distribution. The post-production stage is the most important stage that determines whether a film is classified as a quality film or not because it involves the final touch of a film. Therefore, the author decided to make a community service program in the form of post-production indie film training (audio-visual editing) at Armidale English College, Soreang District, Bandung Regency. The purpose of this training is to provide practical understanding and skills in the field of audio-visual editing to the trainees. The various implementation methods used in this training included media communication methods (audio-visual), lecture methods, interactive methods, pre-test and post-test methods, and simulation methods. The results achieved after the training was carried out were that the trainees experienced increased understanding and skills in the context of indie film post-production, especially in the process of audio-visual films editing. Keywords: Audio-Visual, Editing, Indie Film, Post-Production, Training.

Manajemen Ekonomi Outopilot: Kegagalan Negara Mencari Identitas?

Liquidity ◽  
2018 ◽  
Vol 1 (2) ◽  
pp. 142-152
Author(s):  
Mukhaer Pakkanna
Keyword(s):  
Economic Development ◽  
National Economy ◽  
The State ◽  
Political Democracy ◽  
Economic Democracy ◽  
Quality Of Democracy ◽  
Economic Disparities ◽  
National Economic ◽  
Production And Distribution

Political democracy should be equivalent to the economic development of the quality of democracy, economic democracy if not upright, even the owner of the ruling power and money, which is parallel to force global corporatocracy. Consequently, the economic oligarchy preservation reinforces control of production and distribution from upstream to downstream and power monopoly of the market. The implication, increasingly sharp economic disparities, exclusive owner of the money and power become fertile, and the end could jeopardize the harmony of the national economy. The loss of national economic identity that makes people feel lost the “pilot of the state”. What happens then is the autopilot state. Viewing unclear direction of the economy, the national economy should clarify the true figure.

Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED

2019 ◽  
Vol 16 (3) ◽  
pp. 305-326
Author(s):  
Christopher Meir
Keyword(s):  
Video On Demand ◽  
Global Strategy ◽  
Industrial Change ◽  
Export Markets ◽  
Literary Adaptation ◽  
The North ◽  
Industrial Landscape ◽  
Production And Distribution ◽  
Critical Scrutiny ◽  
The Uk

Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.

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