Keynote Announcement for GameON: Finance 2011

Keynote Announcement for GameON: Finance 2011
North America’s Premier Investment Forum for Digital Games welcomes top investors and speakers

January 4, 2011 – Interactive Ontario (IO) is pleased to announce that Rémi Racine, President and Executive Producer of Behaviour (formerly Artificial Mind & Movement) will be a keynote speaker at GameON: Finance 2011. Don Carmody, President of Don Carmody Productions, and Dino Patti, Co-Creator of LIMBO, and co-founder of Playdead Games will also be featured keynote interviews at the conference, taking place on January 20 & 21 at the Design Exchange, Toronto.

For the past 18 years, Racine has positioned Behaviour as a world leader in the video game industry. Under his leadership, the company has ranked simultaneously amongst the Deloitte Technology Fast 50™ and Canada’s 50 Best Managed Companies™ from 2006 to 2008.

Carmody produced feature films Silent Hill and Resident Evil: Afterlife, which recently topped worldwide box office receipts of over $280 million -- making it the most successful production in Canadian feature film history, surpassing previous box office champion PORKY’S, also produced by Don Carmody. In November 2010, Boondock Saints was released on the iPhone, iPad & iTouch.

Patti is co-creator of the critically acclaimed title, LIMBO, which has now received several international awards including two awards at the Independent Games Festival in San Francisco and 3 Milthons for Game of the Year, Best Indie Game and Best Visual Art at the European Games Awards.

GameON: Finance offers advice on transmedia digital game projects, and funding strategies on how to create a game or app that expands screen-based creative. GameON: Finance offers delegates the insider business and market knowledge needed to understand how to budget, build and finance your mobile, online, social, or ipad, game. Through one-on-one meetings, GameON: Finance fosters partnerships and connections needed to get a game financed, developed and distributed.

Keynotes, panel discussions and interviews will cover boot-strapping, venture capital, government programs and alternate funding models.

For a full list of speakers, the schedule and tickets visit: http://www.gameonfinance.com/
By registering with this code CASOGOF11, you will receive a 15% discount off regularly priced tickets!

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.

Registration fee:
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.


Venue:
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

Your New CASO Board Members

Congratulations to the 2010 - 2011 CASO board members!

The CASO Annual General Meeting came to a close with these names now on the CASO Board!

Wes Lui,
President, Government Relations, Finances

Chair

Neishaw Ali, Standards
Darin Bristow, Membership
Marianne Culbert, Communications – Animation
Juan Lopez, Marketing Animation
Lon Molner, Marketing VFX
Alex Olegnowicz, Membership Services
Tom Turnbull, Communication VFX

Michael Carter,
Past President

Shirlyn Antonio,
Business Affairs

From The Desk of Wes Lui, 2010-2011 CASO President

Dear Members,

Being apart of CASO for the past two years I have been fortunate to collaborate with Studio owners, executives, government officials and delegates aboard. As my involvement in our industry and with CASO grew, I better understood the passion each past Board Member and President had for our industry. CASO offers a unified presence to support the marketing and viability of our industry. Through the mentorship and integrity of the Board Members before me, I look forward to continuing the successful programs set in place while developing new initiatives with the 2010-11 Board of Directors. There are many new faces to the board, all of whom are very successful in their own right. I look forward to their contribution and experience as we approach the new Board year.

Our mandates for CASO will be to provide a community based marketing approach while developing specific strategies for VFX and Animation. Through this, we have also dedicated separate roles for communication in both respected fields. This will create a concentrated approach and allow for quicker feedback from our members to our clients and governing bodies.

All levels of government have been gracious supporters to CASO; their relationship is critical to each studios success. As such, the board has divided the varying government sectors to allow for focused communication and attention to each relationship.

Each Board of Director's have been assigned a primary Chair and will sit on a secondary Chair Committee to meet the demands of our roles and objectives. All of these steps are to ensure opportunities for membership participation. Whether members collaborate together on projects or with CASO initiatives to develop a growing vibrant community, participation from our members will be what drives our industry. Get involved with the various committee's, programs and trade missions - We want to hear your voice.

Wes Lui,
President, CASO

All In

For the past two years I've had the pleasure of sitting on the Board of CASO to represent our Industry and be apart of the community at large. The Board consists of all studio owners and executives alike with over 250 artists to smaller twenty person shops. It's never easy making money through artistic creativity nor is it easy balancing the need to express creative output with a strained budget. Listening to studios find new ways to reach higher levels of quality while keeping costs low is an all too familiar regime. Studio owners want the best for their artists and their clients. As the manner in which people digest content through a whole host of platforms, studio owners are constantly changing they way they do business. It is the speed of change that I feel CASO is most important. It's developing a community where owners and executives can share ideas and reach out to more people, clients and their employees. Ontario has the best in software development, world-class education system and seasoned professionals in all aspects in VFX and Animation. With the support of the Ontario Government, Sponsors and our members, I'm excited to act as President of CASO for the upcoming year and create strategic initiatives with the new Board of Directors.

We've got much work to do and look forward to the challenge.

Wes Lui

Previs and Inception Newsletter Summary

The Previsualization Breakfast with Panelist Rob Morgenroth (Previsualization Society) Darren Cranford (Keyframe Digital Production), Justin Denton (HALON Entertainment LLC), Jericca Cleland (Twenty One Inc), Bret Clup (Starz Animation) and David Morin ( Joint Technology Committee on Virtual production) was well attended with about 40 people from within the Industry, including College and major Studio representatives. The Previsualization video conference touched based on quite a few topics including the history of Previsualization, a documentary on what Previsualization is today, how the panelist use Previs, Production Challenges, Workflow/ Software/ Hardware/ Experience with Panelists (i.e. Converging Roles, Cohesive Production Environment) with video clips and images to enlighten the attentive audience. The interactive conference allowed the panelist and audience to interact with each other and opened the floor to any Q/A or feedback.

Previsualization is 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.

CASO would like to acknowledge our sponsors OMDC, HP, SIRT and Previsualization Society for their steadfast contributions and support.



CASO is also very proud to report that the Inception Lunch held on October 7th at the Scotia Bank Theatres with Paul Franklin and Rob Hodgson was another huge success with over 80 people attending from Colleges such as Sheridan, Humber, Seneca, various studios and film representatives and Government officials. The discussion with these key visual effects creatives, centered around how key software and techniques were used on the set, some of the methods and insights used to create and execute the stunning visual effects in the movie and how collaboration and thought created not only a dynamic movie but outstanding visual effects.

Again CASO would like to acknowledge our sponsors OMDC, DFAIT and HP for their steadfast contributions and continuous support.

Cure for 3D Viewing Motion Sickness in the Works in Canada

TORONTO -- A cure for nausea or headaches from 3D movie or TV viewing is in coming from Canada.

Starz Animation Toronto has teamed up with Canuck academics to ease or even end motion sickness that movie and TV audiences experience in a virtual world.

The fault, says York University film professor Ali Kazimi, lies in 3D stereoscopic cinematography.

"The reason people feel nauseous or have discomfort, headaches or eye strain is when there's something being done improperly or incorrectly in the Stereoscopic 3D process," Kazimi explained.

The challenge, adds Rob Burton vp of technology at Toronto-based Starz Animation, is controlling stereoscopic camera parameters to generate comfortable 3D images, where possible.

Discovering a more viewer-friendly stereoscopic film language and camera work is especially important as 3D audiences increasingly move from stationary seats in a cinema to watching stereoscopic content in homes, where neck angles and sight-lines vary greatly as viewers move round a 3D TV set.

"Unless you shoot multiple versions for different viewing venues, it's difficult to make a one-size-fits-all model for stereoscopic 3D production," Burton said.

To produce stereoscopic 3D imagery that leaves viewers less queasy, Starz Animation has pacted with Kazimi to make Lovebirds a 3D live action/animated short.

Burton explained Starz Animation already had a stereoscopic 3D unit in Toronto, but tended to put storytelling first before considering how the 3D production process helps tell a story.

With Lovebirds the Starz Animation crew talked extensively with Kazimi, the live action director, at the rough story-boarding stage to consider how stereoscopic 3D camera parameters might impact the story-telling, and what were the format's potential caveats and pitfalls.

"Being able to simulate what you would get with a real stereoscopic camera in a CG environment before stepping onto a live action stage was really invaluable," Burton said.

Love Birds, created and directed by Gary Dunn, portrays a hapless romantic bird and his first experience with dating, is conceived in a CG environment, and set against a live action background.

Stereoscopic 3D imagery helps viewers appreciate the physical size and scale of characters in a movie or TV show through the use of binocular vision.

So the Starz team and Kazimi had to consider how they wanted an audience to perceive their position in relation to a tiny 3D bird.

"Do we want the viewers to feel like their chin is on the ground looking at a bird that's four inches tall, or do we want the viewer to feel they are on-par in terms of scale with the bird?" Burton questioned.

The decision was making the bird larger in scale in all the stereoscopic 3D camera shots to get viewers more into the two-legged animal world, starting with the opening scene.

"We chose stereoscopic camera parameters that convey the appropriate physical size and scale and, as we get into the story over the next few shots, we slowly bring the viewer down to this smaller size by manipulating the stereoscopic parameters," Burton explained.

Kazimi adds that calculating how best to place the animated birds against the live action background when producing Lovebirds offered vital clues to the relationship between stereoscopic 3D live action and animation integration, and scaling and eye vergence.

Easing or eliminating discomfort of viewers experience with 3D content is vital, the Canadian academic insists, before stereoscopic 3D possibly gets a "bad name, and audiences get frustrated with it.

The Lovebirds shoot is part of the Toronto-based 3D Film Innovation Consortium, which has brought a host of private and public sector partners together to research stereoscopic 3D perception and provide best practices for 3D cinematography.

Original Source http://ca.movies.yahoo.com/news/usmovies.thehollywoodreporter.com/cure-3d-viewing-motion-sickness-works-canada