Manchester’s Film and Television Industry: Project Ecologies and Network Hierarchies

Urban Studies ◽  
2010 ◽  
Vol 47 (5) ◽  
pp. 1059-1077 ◽  
Author(s):  
Jennifer Johns
Keyword(s):  
Television Industry ◽  
Film And Television

Virtual Sets

2011 ◽  
pp. 247-267
Author(s):  
Antonia Lucinelma Pessoa Albuquerque ◽  
Jonas Gomes ◽  
Luiz Velho
Keyword(s):  
Computer Graphics ◽  
High Speed ◽  
Technological Advance ◽  
Back Projection ◽  
Special Effects ◽  
Television Industry ◽  
High Speed Networks ◽  
Film And Television ◽  
Remote Operation ◽  
Potential Applications

Techniques of filming using special effects have existed since the 1920s, well before the advent of computers. Two of them are known as Back Projection—when an actor acts in front of a screen that reproduces other footage (very common in train scenes), and Blue Screen—when an actor acts in front of a blue wall for later composition with another scene (Fielding, 1985). However, it was computer graphics and the technological advance of the computers that made possible the great evolution in this area. Virtual Sets or Virtual Studios are denominations given to the integrated use of computer-generated elements with real actors and objects in a studio. Its main advantages are: more flexibility in changing the scene, risky scenes can be made safely, allowing the production of complex special effects and also providing economy in the production of sophisticated designs, along with flexibility in making quick changes. With the advent of high-speed networks, there is the possibility of remote operation. Real-time Virtual Sets is a very recent area for computer graphics with potential applications in the film and television industry. The literature about this topic is scarce although there are few commercial systems available, which will be described later. This work approaches Virtual Sets, describing its conceptualization and showing its correlation with other areas in computer graphics. The Virtual Sets’ pertinent technologies are identified in computer graphics and have their given solutions and unsolved problems argued.

Selective Histories

2016 ◽  
pp. 62-78
Author(s):  
Chirstinn Whyte
Keyword(s):  
First Century ◽  
Mobile Technologies ◽  
Late Nineteenth Century ◽  
Television Industry ◽  
Avant Garde ◽  
Film And Television ◽  
Production Models ◽  
History Of ◽  
Motion Studies ◽  
Magic Lantern

Beginning with the traditions of Chinese shadow-theater and the magic lantern, and progressing through the photographic innovations of late-nineteenth-century motion studies, including the work of Eadweard Muybridge and Etienne-Jules Marey, the moving image established itself and gained nonlinear dance-related freedom in the work of René Clair and Ferdinand Leger. This informed its legacy in the twentieth-century avant-garde film movement and in the works of dance-based filmmakers such as Maya Deren and Shirley Clarke, with particular reference to Deren’s notion of “vertical form” and concept of the term “choreographic” as used within a screen context. Meanwhile, despite the dominance of more narrative-based film and television industry production models, so-called hybrid dance/screen practice arose from twenty-first-century artists such as Katrina McPherson, Alex Reuben, and Lisa May Thomas. The chapter concludes with recent writing on the history of mobile filmmaking by Caridad Botella Lorenzo and the potential future impact of mobile technologies.

Catching up with our Nordic peers: The rising demand for Finnish drama series and its impact on local film and television production companies

2020 ◽  
Vol 10 (2) ◽  
pp. 101-119 ◽  
Author(s):  
Heidi Grundström ◽  
Jose Juan Cañas Bajo ◽  
Ilkka Matila
Keyword(s):  
Local Distribution ◽  
Television Series ◽  
Economic Stability ◽  
Television Industry ◽  
Television Production ◽  
Film And Television ◽  
The Past ◽  
Catching Up ◽  
Feature Films ◽  
Media Reports

Traditionally, the Finnish film and television industry has revolved around producing feature films and television series for local distribution. In the past five years, however, the industry has been transformed by a rising demand for high-end drama series. In addition to the positive developments for the economic stability of production companies, challenges are unfolding as the demand for new content keeps growing. This article introduces three recent and central developments, drawing on interviews with four local producers and an analysis of industry and media reports. First, new players have entered the market and introduced new financing opportunities, both domestic and international. Second, international co-production opportunities have grown through production companies’ new international focus. And finally, the introduction of the Finnish production incentive for the audio-visual industry has enabled more ambitious projects. These developments have led to two main challenges that the industry is currently facing: the imminent lack of experienced crew and the need for revised practices for screenwriting, development and production.

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