Monday, January 10, 2011
PREVISUALIZATION 2 Day Conference
Confirmed speakers include:
Ron Frankel, Founder of Proof Inc, and co-chair of the joint Committee on Previsualization of the American Society of Cinematographers/Art Directors Guild/Visual Effects Society, and Brian Pohl, co-founder/previsualization supervisor at POV Previs. Both Ron and Brian are co-founders of the Los Angeles-based Previsualization Society, and their companies are two of the global leaders in the previsualization field. Other confirmed speakers include Aaron Weintraub, Visual Effects Supervisor for Mr. X Inc., experts in previsualization and visual effects for both 2D and stereoscopic 3D feature films (Resident Evil: Afterlife, TRON: Legacy, and The Three Musketeers, currently in post-production); Darren Cranford, President and Director for Keyframe Digital, one of Canada’s first companies to concentrate on previsualization for films including X-Men, Driven, and Zombieland; and Jim Laird, Managing Director and CFO, Bedlam Games Inc., a Toronto-based developer of next generation video games (Scratch: The Ultimate DJ).
Production practices and workflow will also be demoed and discussed by a variety of companies including: motion capture industry leader Vicon; Jason Walter, Autodesk Media and Entertainment Consulting, presenting a virtual production test case project. Additional local and international presenters to be confirmed in the next two weeks include a mix of individuals active in previsualization and virtual production from a variety of fields including directing, cinematography, production design, visual effects and producing, as well as from film, television and game sectors.
Speakers list subject to amendments.
Public fee: $350
Member fee: $150 for event co-sponsors and SIRT partner members with a discount code.
Discount code instructions:
Members of partner organizations will receive a discount code in correspondence from their organizations.
On the Registration Start Page click on the drop down list "Select registration type".
Select option "SIRT Partner Discount".
In the field "Partner Identification Number (If Provided)" enter the code your member organization has provided to you.
Select "Continue" button.
SIRT Studio and Pinewood Toronto Studios.
Pinewood Toronto Studios is Canada's largest studio complex with more than a quarter million square feet of production space, including 7 state-of-the-art, purpose-built soundstages ranging from 10,000 to 46,000 square feet. Localized support facilities include office space, mill shops, lock-ups, craft rooms and wardrobe suites.
Day 1: PREVISUALIZATION
A general introduction to the history and current state of previsualization and virtual production within film, television, and gaming will be followed by a focus on previsualization practices. Previsualization has been described as “a collaborative process that generates preliminary versions of shots or sequences, predominantly using 3D animation tools and a virtual environment. It enables filmmakers to visually explore creative ideas, plan technical solutions, and communicate a shared vision for efficient production.” *From ASC-ADG-VES Joint Technology Committee on Previsualization
The process is designed as a immersive and interdisciplinary one, whereby directors, cinematographers, production designers, visual effects artists and others are engaged in working through both technical and creative aspects of production planning, with cost savings as a benefit. But with changes come challenges and opportunities that can only be dealt with effectively through informed application of technology by our industry’s creative, technical, and management professionals. How can you best become a part of the international group of professionals shaping the present and future application of these processes within production?
Panels for the day will focus on:
• The current state of the art and practice of previsualization and its relationship to virtual production. How is previs impacting traditional production practices and what are its implications for creative choices, production efficiency, and potential new business models?
• How these changes affect your role within the production process, whether an artistic, technical or financial professional. How do you best utilize the technology in your work and in your relationships with other professional categories involved in a production? How do you take control of the technology instead of just riding the wave?
• Actual production examples of the use of previsualization within a variety of forms of production;
• the additional importance of previsualization within S3D production – as a general learning tool but also within the production process. What are the options and the processes professionals are adopting to make sure they get it right on their S3D projects?
Day 2: VIRTUAL PRODUCTION
The second day’s panels will focus on emerging trends in virtual production which were given significant impetus by the technological developments and publicity surrounding their use in Avatar. “As a starting point, virtual production is defined as ‘computer graphics on stage’, or the process of shooting a movie with real-time computer graphics, either for all-CG movies (such as Christmas Carol) or visual effects movies with live action (such as Avatar).” * From Virtual Production Committee (a joint effort of the American Society of Cinematographers, the Art Director's Guild, the Visual Effects Society, the Previsualization Society, and the Producers Guild of America).
The panels will consider what this means in terms of the technologies and business models for production of both animated and live action/visual effects projects. They will consider how this development is being both driven by and fosters the integration of film, television, and game content production. Discussions will also centre on how technological developments can impact the roles and interaction of those in front of and behind the camera within the production.
Panels for the day will focus on:
• State of the of the art of virtual production and the convergence of virtual production business models as used in film, television and gaming; How are these changes affecting the dialogue and collaboration among film, television and game practitioners?
• Virtual Production options and production examples in an Animation Pipeline
• Virtual Production options and production examples in a live action/visual effects pipeline
• The impact of virtual production practices on the role of the actor and their relationship with the director and other production keys