Appendix I: Production Computer Technology in Film 80 s: for special effects. 90 s: Throughout pre-production process Digital picture recording Digital sound recording Digital editing 1220 1222 Animation Technology In 1977, computer processing was still so expensive that when George Lucas made Star Wars, he could afford to use computer graphics for only a single ninetysecond sequence. 1221 1223 1
The sequence- a diagram of the enemy Death Star- took a battery of computers three months to complete. George Lucas built his computergraphics arm, Industrial Light & Magic, into the dominant visualeffects company in the film industry. Others: Lightstorm g Entertainment Pixar Animation Studios Digital Domain 1224 1226 Industrial Light & Magic Star Wars Toy Story Tron Jurassic Park M 1225 1227 2
By 1999, computer technology had advanced to the point whereby the heads of stars could be digitally composited on their stunt doubles. The Polar Express (2004) used computergenerated characters to substitute for stars, (Tom Hanks), in their speaking roles, and at various ages. http://ffmedia.ign.com/filmforce/i mage/article/550/550116/ polar-express- 20040921035820280-000.jpg 1228 1230 In Gladiator, for example, an image of Russell Crowe s face was scanned into a computer and converted to a transferable digital mask. Simone http://www.spcgi.com/spboard/id/movie/screen_shot/simon.jpg 1229 1231 3
Movie: Simone studios entirely creating actors In 1977 the credits for the original Star Wars listed a 143 technicians; in 2003 the CG sequel, Attack of the Clones, listed 572 technicians. http://www.moviebadgirls.com/capimage/ Attack_Of_The_Clones_06.JPG 1232 1234 For Terminator 3, $19.9 million was spent on such CG effects. For Godzilla, CG programs cost $9.5 million. http://us.movies 1.yimg.co m/movies. yahoo.co m/images/ hv/allpost ers/60/180 0022060p.jpg 1233 Digital technology in the production of magazines and newspapers 1235 4
Digital Tech and Publishing Editing Composition Production Delivery Conclusion Specialization, economics of scale, and budgets, give Hollywood an advantage in production technology. As audiences worldwide are inundated with more content, special effects help differentiate Hollywood films. 1236 1238 Digital Tech and Publishing Computer integration of editing, manufacturing, distribution, and internal administration. Color management for color reproduction Display Technology and Production 1237 1239 5
The final step in filmless movies is digital projections in theaters. 1240 By 2003, 171 theaters had been outfitted for digital projection, and the major studios were working on a plan to turn digital delivery of their movies over to a telecommunications company, Qualcomm, which would provide satellite feeds of movies for theaters, just as television networks provide prime-time feeds for affiliated stations. 1242 Currently, all movies- even those entirely made by a computer and recorded on digital tape- have to be converted into thirty-five-millimeter celluloid negative, from which reels of film are printed, sent to film exchanges, trucked to theaters, and projected on the screen with the aid of a powerful lamp. The six studios therefore had a print bill of more than $1 billion in 2003. 1241 1243 6
According to the studios current plan, each multiplex digital projector would need a studiosupplied authorization code for a particular showing, which would give the studios power over what is shown, and precisely when, on movie screens. 1244 If, and when, the studios and the major chain owners come to terms, as it seems they eventually must, the screens at the multiplexes will become another link in the digital chain that extends from the computer cyberspace where the products are created, edited, colored, and converted into different formats to the DVD players, game consoles, satellite receivers, cable boxes, video-on-demand servers, TiVo-type recorders, and other devices that serve the studios largest and most profitable consumers: the home audience. 1246 The studios, although recognizing that they would have to fully subsidize the conversion, are seeking an arrangement that would assure them that the theaters would actually use the digital projectors and that the conversion would not raise antitrust concerns by excluding independently produced non-digital movies. 1245 In addition to further separating actors from the reality of their work, the digitalization process also makes it much more difficult for the director to retain control. 1247 7
Industrial Light & Magic created the computer-generated layers of the sequences before he had finished shooting, looping in the sound, or editing the live portions of the sequences. Digital Exhibition? Competing projection systems Texas Instruments(TI) CineComm(Hughes- JVC/Qualcomm) Real Image Technology ecinemanet. 1248 1250 Can extend viewing experience 6+ sound channels 3D Smell-O-Vision time-released aromas Vibration seats 1249 http://www.sims.berkeley.edu/research/projects/how-much-info- 2003/photo.htm 1251 8
TI s system: Digital Micromirror Device(DMD). Each DMD contains ~ 8mil tiny mirrors (each are the diameter of 1/4 human hair). Mirrors receive color/light on-off. Digital Micromirror Display 1252 (http://www.sharp.co.jp/sc/library/lcd e/s2 6 3e.htm) 1254 Digital Projector Digital Projector (Credit: The New York Times) 1253 (Credit: The New York Times) 1255 9
Hughes-JVC: CineComm 3- processor unit similar to liquidcrystal display. Light travels through and is projected Economic Barriers Digital projection system-$100,000 per projector, $200k/screen 35,000 screens in the USA, total would be ~ 7 billion. $10/hr projectionist replaced by $50/hr. video technicians 1256 1258 CineComm Digital Cinema: end-toend digital delivery of movies to theatres. Powerful Pluto servers store data on a RAID array, a series of 20 hard-disk drives. Theaters do not have to buy digital projectors. CineComm charges on a pay-per-view basis. 1257 CineComm owns equipment, will charge theaters fees based on showings of each movie. Such package makes the studios nervous. A gatekeeper between the distributors and exhibitors. CineComm, claims unbreakable encryption against piracy 1259 10
Digital Distribution Will digital cinema replace film reels? Will movies be distributed from studios to theaters, worldwide,via satellite links? For hits, can distribute immediately to several screens in a multiplex. For box-office bombs, no wasted cost in making many prints, ($2000 each) But fear of easier piracy 1260 1262 Productivity in Film Telecom firms have introduced a high speed extranet accessible to entire supply chain for project Next Step: Independent producers direct distribution to home? Theory: film makers or producers could bypass studios and distributors and transmit films directly to theaters or homes Realistic? Jackson, Donny. Hollywood Lights. Telephony: 240(25), 48. 2001. 1261 1263 11
Next: Direct distribution to home screens Video-on-Demand(VOD)/ or near VOD eliminate theaters, video stores, pay-tv channels Could be operated by Hollywood distributors The Disney Server The Warner Connection 1264 Create additional appendix from new Generation Media Chapter. Include a range of new media technology elements. 1266 Pros: Convenience; impulse; reach Con: Picture quality; diluted experience 1265 12