Digital Post-Production

This study investigates reported declines in computer
generated imagery (CGI) quality in films from the 2020s
compared to the 2010s. Using a mixed-method approach,
we analyzed industry interviews, media reports, and visual
examples. We identified recurring issues such as
compressed schedules and shifting creative requirements
that leave VFX artists with inadequate time. Budgetary and
managerial factors also emerged: studios underbid VFX
work and impose last-minute changes, straining artists and
leading to lower polish. Our illustrative comparisons
(Figures 3–4) highlight how recent CGI can appear less
realistic or detailed than earlier practical effects. These
findings suggest that industry practices – not technology
largely explain the perceived decline. Addressing
scheduling, funding, and workflow coordination may be key
to improving CGI quality in the future.

This study investigates reported declines in computergenerated imagery (CGI) quality in films from the 2020s compared to the 2010s. Using a mixed-method approach, we analyzed industry interviews, media reports, and visual examples. We identified recurring issues such as compressed schedules and shifting creative requirements that leave VFX artists with inadequate time. Budgetary and managerial factors also emerged: studios underbid VFX work and impose last-minute changes, straining artists and leading to lower polish. Our illustrative comparisons (Figures ) highlight how recent CGI can appear less realistic or detailed than earlier practical effects. These findings suggest that industry practices -not technologylargely explain the perceived decline. Addressing scheduling, funding, and workflow coordination may be key to improving CGI quality in the future. faroutmagazine .co.uk.

This study investigates reported declines in computergenerated imagery (CGI) quality in films from the 2020s compared to the 2010s. Using a mixed-method approach, we analyzed industry interviews, media reports, and visual examples. We identified recurring issues such as compressed schedules and shifting creative requirements that leave VFX artists with inadequate time. Budgetary and managerial factors also emerged: studios underbid VFX work and impose last-minute changes, straining artists and leading to lower polish. Our illustrative comparisons (Figures ) highlight how recent CGI can appear less realistic or detailed than earlier practical effects. These findings suggest that industry practices -not technologylargely explain the perceived decline. Addressing scheduling, funding, and workflow coordination may be key to improving CGI quality in the future. faroutmagazine .co.uk.

This study investigates reported declines in computergenerated imagery (CGI) quality in films from the 2020s compared to the 2010s. Using a mixed-method approach, we analyzed industry interviews, media reports, and visual examples. We identified recurring issues such as compressed schedules and shifting creative requirements that leave VFX artists with inadequate time. Budgetary and managerial factors also emerged: studios underbid VFX work and impose last-minute changes, straining artists and leading to lower polish. Our illustrative comparisons (Figures ) highlight how recent CGI can appear less realistic or detailed than earlier practical effects. These findings suggest that industry practices -not technologylargely explain the perceived decline. Addressing scheduling, funding, and workflow coordination may be key to improving CGI quality in the future. faroutmagazine .co.uk.

The essay deals with the theme of the more-than-human by combining two complementary perspectives: on the one hand, the shift of design interest from mankind to the planet, through the emergence of post-anthropocentric thinking, in transition towards a more- than-human perception; on the other hand, the post-digital aesthetics that derives from it, understood as a consequence of a renewed awareness of the human being towards the ecosystem in which it is immersed.
These two reflections intertwine and situate the more-than-human theme in a new hypersensitive horizon of contemporary design, in line with post-human philosophies and in convergence with the digital turn that leads us to the multiple non-human agencies. Indeed, the contemporary techno-biological condition reflects, on the one hand, the sensitive inclusion of the non-human and, on the other hand, reveals itself in all its indecipherability as something that escapes our grasp.
The hypersensitive more-than-human gaze turns to a horizon that is not only global, but planetary, and looks at the co-evolutionary relationships human-nature-technology in a perspective of pluriverse awareness.
With the aim of stimulating the debate and outlining the renewed aesthetic directions of a post-anthropocentric design culture, the contribution makes visible the hybrid and dialogic system between human and non-human entities, in the re-evaluation of this mixture. In digital artefacts, the executive technology dictates the image, in an aesthetic fruition without depth, readable already from the surface. The beauty of the digital is immediately consumable, in an artistic act that we could define as apparition: digital beauty is antithetical to natural beauty.
Within this new condition, in which the most relevant phenomenon is the process of "naturalisation" of technology, a critical thinking capable of investing our factuality towards the transformation processes of the world appears necessary. This is an aesthetic of doing that derives from a thought 'other' than contemporary techno-determinism; an aesthetic that is reflected in a concept of beauty that is the opposite of the smoothness of the digital.
Far from the repetition of the same, post-anthropocentric beauty presupposes vulnerability, and exposes its wounds, as a 'moment of truth of seeing'.

Grenzfälle, das hier vorliegende Buch, verfolgt das Anliegen, die ungemein vielschichtige und wegweisende gemeinsame Arbeit der Schriftstellerin, Drehbuchautorin und Dramaturgin Merle Kröger und des Künstlers und Filmemachers Philip Scheffner aufzufächern, ihren großzügigen Einladungen und Herausforderungen zu folgen, uns in den Räumen ihrer Grenzfälle aufzuhalten, darin und damit zu denken und zu agieren – um zu verlernen. ...

Der Begri f des ›digitalen Bildes‹ bezeichnet im Alltagsgebrauch zunächst Bilder, die mit ›digitalen Technologien‹ erstellt oder aufgezeichnet worden sind. Ihre Bildlichkeit wird aus ihrer phänomenologischen Anmutung als Bilder abgeleitet, das Digitale bezieht sich auf die den genannten Technologien zugrundeliegende Codierung von Information in binärer Form. Man kann an dieser Definition kritisieren, dass es für die Identifikation eines gegebenen Phänomens als Bild irrelevant ist, wie es gespeichert ist. Nelson Goodmans Vorschlag etwa, Bilder als analoge Symbolschemata zu bestimmen, die kein diskretes und disjunktes Repertoire kennen-im Unterschied zu Texten, bei denen es ein Alphabet gibt-, bezieht sich auf die Ebene der Symbolkonstitution. 1 Dafür ist es gleichgültig, ob die Bilder analog oder digital gespeichert sind. 2 So gesehen sind ›digitale Bilder‹ nicht digital. Auf der anderen Seite gibt es Positionen, die ihr Augenmerk dezidiert auf die Ebene der Speicherung legen und daraus schlussfolgern, digitale Bilder seien keine Bilder, da sie auf einem abstrakten Code basieren, der auch anders dargestellt werden könnte. Aus dieser Perspektive sind ›digitale Bilder‹ keine Bilder. 3 Beide, hier vereinfacht dargestellte Positionen scheinen sich darin einig zu sein, dass die Digitalität von der Ebene der Erscheinung zu trennen ist-erst darauf folgt die in zwei Richtungen beantwortbare Frage, wie sich die bildliche Ober läche und die digitale ›Unter läche‹-mit Frieder Nake-zueinander verhalten. Aber stimmt das? Eigentümlich quer dazu verhält sich die manchmal eher implizit bleibende Beobachtung, dass die Digitalität von Bildern auch bezüglich ihres Au baus aus diskreten Bildpunkten oder Bildelementen-›Pixeln‹-beschrieben werden kann. 4 Das ist nicht dasselbe, wie auf ihrer digitalen Speicherung oder Generierung zu insistieren; ein digitales Bild kann auch eine nicht-gepixelte Vektorgraphik sein. 5 Es gilt generell eher als Störung, wenn die Pixelung wahrnehmbar ist oder sich in Artefakten, etwa aus Kompressionsverfahren, zeigt. 6 Friedrich Kittler schreibt in seinem nachmals vieldiskutierten Text »Computergrafik. Eine halbtechnische Einführung« aber: »Im Gegensatz zum halbanalogen Fernsehen sind daher nicht nur die Zeilen, sondern auch die Spalten eines

Neste artigo, debatemos o padrão de sampleamento empregado no disco Fear of a Black Planet, lançado em 1990, pelo grupo norte-americano de rap Public Enemy. Como hipótese, assumimos a ideia de que o uso de samples funda uma outra discursividade, paralela e articulada aos discursos e aos conteúdos expressos nas letras das composições. A utilização de determinados samples, de certo modo, cria um curioso "território de ressignificação", que tentaremos descrever e problematizar. Para tanto, num primeiro momento, nos dedicamos à definição mesma da técnica do sampling bem como ao reconhecimento de sua importância no interior da cultura do rap e do hip hop. Em seguida, recorremos a aportes teóricos muito pontuais, que nos são dados, entre outros, por Walter Benjamin (a noção de "cultura do choque", por exemplo), Vilém Flusser e pelo crítico literário espanhol Eloy Fernández Porta (no caso, a idéia de "name dropping"). Concluímos pela ocorrência de uma arqueologia muito particular de textualidades e discursos afirmativos.

In 2002, I estimate that studios spent $10.1 billion producing original theatrical movies. These movies were shown in theaters in 2003 and will be sold on DVD and broadcast on television for decades to come. Because of their long working life, the international guidelines for national accounts, System of National Accounts 1993, recommends that countries classify production of movies and other entertainment, literary and artistic originals as an investment activity and then depreciate those movies over time. However, BEA does not capitalize this category of intangible assets at the present time. As a first step in considering the treatment of this category of intangibles as a fixed asset, I collected data on movie production and calculate what GDP statistics would be if theatrical movies were classifed as a capital asset. To preview, my empirical results are: 1)Theatrical movies have a useful lifespan of at least 80 years; 2)The motion picture production industry has been growing rap...

O presente artigo, num primeiro movimento, explora reflexões, conceituações e categorizações realizadas por autores como Moradi (2004), Menkman (2011) e Stearns (2012) acerca da Glitch Art – gênero de arte digital que explora o erro tecnológico. Em seguida, de maneira mais específica, a partir da compreensão de duas categorias da Glitch Art propostas por Moradi (2004) – Pure Glitch e Glitch Alike – propõe-se uma terceira categoria, que denominamos Glitch de Superfície, que aparece à luz do desenvolvimento das tecnologias e dos softwares e aplicativos de edição de mídias digitais, como imagens, vídeos e textos. A concepção de “superfície” está atrelada à noção de que tais aplicativos, ao simularem o erro digital contido dentro da máquina, transportam-no para a sua camada mais extrema: a superfície da imagem. Por fim, busca-se refletir sobre as reverberações desta categoria artístico-estética proposta, em seu caráter social, político, cultural e econômico.

O presente artigo, num primeiro movimento, explora reflexões, conceituações e categorizações realizadas por autores como Moradi (2004), Menkman (2011) e Stearns (2012) acerca da Glitch Art – gênero de arte digital que explora o erro tecnológico. Em seguida, de maneira mais específica, a partir da compreensão de duas categorias da Glitch Art propostas por Moradi (2004) – Pure Glitch e Glitch Alike – propõe-se uma terceira categoria, que denominamos Glitch de Superfície, que aparece
à luz do desenvolvimento das tecnologias e dos softwares e aplicativos de edição de mídias digitais, como imagens, vídeos e textos. A concepção de “superfície” está atrelada à noção de que tais aplicativos, ao simularem o erro digital contido dentro da máquina, transportam-no para a sua camada mais extrema: a superfície da imagem. Por fim, busca-se refletir sobre as reverberações desta categoria artístico-estética proposta, em seu caráter social, político, cultural e econômico.

Contexto digital e pós-digital Sabemos que o impacto da tecnologia digital na arte foi enorme. Vemos isto nas formas de expressões artísticas que surgiram deste contato entre arte e tecnologia, como a Arte Digital, (New) Media Art, Net Art, Web Art, instalações interativas, entre outras. Desde o início deste século, surgiram diversos discursos sobre uma era e arte pós-digital, presentes em artigos, livros, eventos científicos e exposições de arte. Kim Cascone, compositor de música eletrônica, professor e escritor, em seu importante artigo chamado A Estética da Falha: Tendências do Pós-Digital na Música Computacional Contemporânea, publicado em 2000 na Computer Music Journal/MIT, discutiu o uso de erros de softwares, falhas da tecnologia, ruídos, entre outros, descrevendo o que ele chamou de fase e estética pós-digital da música eletrônica. Cleber Gazana-Designer, professor (at FAAP, USJT, Belas Artes, FAPCOM), visual and sound artist and researcher member of the group c/A/t-[s]cience/Art/technology-CNPQ-UNESP. His research focuses on art and technology, Glitch Art and design.

„Watch DUNKIRK the way Christopher Nolan intended“: Was nach einer Empfehlung für Kino-Liebhaber*innen klingt, die Nolans Film exakt in der vom Regisseur präferierten Art und Weise sehen wollen, ist in Wirklichkeit der Name eines Memes. Unter der Caption wurden Bilder verbreitet, auf denen eine Vorführung oder Wiedergabe von DUNKIRK unter Bedingungen zu sehen war, die vom traditionellen Dispositiv des Kinos meilenweit entfernt scheinen.

Dieses Buch zoomt in informationsreiche und pixeldichte Welten in HD. Digitalbildliche Hochauflösung ist hier ein Potenzial, das es ermöglicht, mit und an Bildern Wirklichkeit zu erforschen und zu befragen. Dokumentarfilme, Videokunstarbeiten, Galaxiefotografien, Blockbuster, Pressebilder und Netflix-Serien bestellen diese visuelle Kultur in HD und zeigen auf, dass Bilder und Wirklichkeit nicht in fixierten Rahmen sitzen, sondern im Prozess werden. HD heißt Image Processing. Lässt man sich darauf ein, entfaltet sich das Angebot, mit HD zu denken und sich vom Denken der Bildprozesse mitreißen zu lassen.

The interaction of art with the digitization of the media generates a comprehensive spectrum of digital
art. Within this spectrum, will lectured on glitch art, a digital art form that works with the intentional
introduction of errors in his works of art. Specifically, digital media was studied to make a creative
production, using, subverting or listing solutions for artistic creation through computing. We
developed a computer program using the visual programming language Pure Data, which transforms
the process of creating glitch art into something practical for the artist, showing results that can be
explored visually and with less delay. This new method offers less risk of destruction of the files and
reduces the computational knowledge load necessary to cause a failure with artistic intention.
Additionally, we investigate the possibilities that this glitch facilitator creates for new interactions
within the two fields of knowledge focused on this project: art and computing.
Keywords: Pure Data, Glitch Art, Computacional Art

The proliferation of smart devices, digital media, and network technologies has led to everyday people experiencing everyday things increasingly on and through the screen. In fact, much of the world has become so saturated by digital mediations that many individuals have adopted digitally inflected sensibilities. This gestures not simply toward posthumanism, but more fundamentally toward an altogether post-digital condition-one in which the boundaries between the "real" and the "digital" have become blurred and technology has fundamentally reconfigured how we make sense of the world. Post-Digital Rhetoric and the New Aesthetic takes stock of these reconfigurations and their implications for rhetorical studies by taking up the New Aesthetic-a movement introduced by artist/digital futurist James Bridle that was meant to capture something of a digital way of seeing by identifying aesthetic values that could not exist without computational and digital technologies. Bringing together work in rhetoric, art, and digital media studies, Hodgson treats the New Aesthetic as a rhetorical ecology rather than simply an aesthetic movement, allowing him to provide operative guides for the knowing, doing, and making of rhetoric in a post-digital culture.

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ISBN-9780814213940 (print) URI https://doi.org/10.26818/9780814213940 http://hdl.handle.net/1811/87060 RIGHTS

All portraits play host to a number of antithetical tensions, such as “private” and “public,” “real” and “ideal,” without which they would be reduced to a type of unassuming identification of subjects. Whereas in pre-modern times the artist was subject to the demands of the commissioner, after modernism the representational desires of the sitter began to clash with the creative intentions of the artist. Prior to the introduction of digital formats, this clash of subjectivities manifests itself in photography during the production of the work, the shooting of a portrait. Digital photography and post-production editing have expanded the methods for idealizing external appearance, a desire stimulated by the recent technological acceleration of production and circulation of more “manipulated” portraits than ever. In what ways, therefore, does the introduction of digital post-production editing and composite images affect this double clash in portraiture, between the real and ideal, and the desires of the sitter against the intentions of the artist? Moreover, how does the evolution of self-portraiture in the “selfie” affect the epistemological character of the genre? As such, is conceptual and aesthetic subservience a matter of technological possibility or creative determination?

This work brings questions related to glitch music, genre linked with the aesthetic of failure
that arose in the 1990's. It is divided in two parts. In the first part, the research starts with
definitions about glitch and glitch music, trying to outline a general context that the genre has
developed. We also bring conceptual questions about "failure" trying to point out the use of
error as an aesthetic in music. In the second part, we show three perspectives of different
approaches of glitch in three different composers: Yasunao Tone, Oval and Alva Noto. Lastly,
this work intends to open new discussions concerning what glitch music genre is, and what it
includes.

This article historicizes the categorization of post-production work, specifically that of visual effects, as technical processes and “post” production in large-scale cinema production. It analyzes 1980s deregulations and the successive vertical integration strategies performed by studios to increase their control over distribution. The economic model of the contemporary blockbuster built upon concentrated studio control to redistribute the production of spectacle away from high-cost “creative” labor and into an expansive infrastructure of visual effects production that was more easily controllable and exploitable for central profit. An examination of visual effects classifications in the recent criticism on blockbusters by Kristen Whissel and Sean Cubitt will suggest that while visual effects function as primary components of textual design, we need to reconfigure how we describe this central component of filmmaking to shift the interests of its underlying infrastructure away from systemic profit and back to the human worker.