Visual Effects

This paper examines the revolutionary role of Artificial Intelligence (AI) in modern film production design with specific reference to ways through which it can be employed for automating scene creation, facilitating previsualization, and simplifying digital scenography operations. A conceptual framework is outlined for automating scene construction and virtual set visualization through AI tools such as Midjourney, DALL•E, and Script Book. The system integrates script-driven scene extraction, generative visual layout, asset deployment in 3D engines, and real-time camera planning. Through qualitative analysis of case studies like Ex Machina, The Irishman, and Blade Runner 2049. The research demonstrates the potential of AI to streamline production workflows and enhance efficiency without compromising on visual realism. The paper also addresses the ethical and legal issues around deepfakes, digital avatars, and data ownership in AI pipelines. This blend of technical innovation and social responsibility provides a glimpse into the smart, immersive, and ethically conscious filmmaking of the future.

xii de akıllı telefonun boyutunun getirdiği özgürlük, geleneksel ekipmanla çekilmesi mümkün olmayan sahnelerin çekilmesine olanak tanımaktadır. Soderbergh, "iPhone'u her yere koyabiliyorum," diyerek bu duruma işaret ederken, Neill Barham da akıllı telefonun gizliliği sayesinde yönetmenlerin "herhangi bir yere girip, herhangi bir şeyi kolayca çekebildiğini ve kimsenin bunu fark etmediğini" vurgulamıştır. • Profesyonel Kabul ve Gelecek Vizyonu: Akıllı telefonla film yapımı, artık sadece amatörlerin alanı değildir. 2 Oscar ödüllü yönetmen Kathryn Bigelow ve görüntü yönetmeni Greig Fraser, akıllı telefonun bir "film yapım aracı" olduğunu belirtmektedir. Fraser, iPhone'un "sinematik mod" ve "ProRes" gibi özelliklerle profesyonel kameraların yanına yerleştiğini savunarak, bu teknolojinin yakın gelecekte yepyeni film türleri yaratacağına inandığını ifade etmiştir. Londra Uluslararası Akıllı Telefon Film Festivali'nin eş direktörü Adam Gee ise bu durumu "bu bir zihniyettir... bir tür punk ruhudur" diyerek tanımlamakta ve akıllı telefonların, cinsiyet, ırk veya sosyal arka plan fark etmeksizin herkese film yapma imkanı sunduğunu belirtmektedir. Akıllı telefon teknolojisi; film yapımını sadece teknik bir eylem olmaktan çıkarıp, daha erişilebilir, kişisel bir ifade biçimine dönüştürmüştür. Bu çalışma, akıllı telefonların sinema sanatını demokratikleştirerek, yeni seslerin ve anlatıların ortaya çıkmasına zemin hazırladığını ve bağımsız sinemanın ekonomik ve yaratıcı gücünü artırdığını göstermektedir. Gelecekte akıllı telefon kameralarının sürekli gelişimi, film yapımcılığında daha fazla çeşitliliğe yol açacak ve sinema sanatının sınırlarını zorlamaya devam edecektir.

American Society for Theatre Research 2025 Conference abstract

This paper examines Hungry (Badongyao), a 2024 Taiwanese virtual reality short film directed by Liu Yu Shu. The film innovatively blends traditional glove puppetry (budaixi) with immersive VR technology.

The chapter begins with a genealogy of whiteness and its relationship to
screen technology, providing a potted or contextual history of the entanglement of racial representation and the ‘eyes’ of cinema. It draws into this history the polysemic concept of passing, using the term to explore the different ways that race has been Othered, ontologically disappeared, and subject to hierarchies of power. This history is then connected to virtual production and the contemporary moment, to evidence that a racialised genealogy remains a constant in the production apparatuses of cinema.

This article blends personal storytelling with structured academic analysis to explore the evolving relationship between Artificial Intelligence (AI) and the field of broadcasting. It examines AI's transformation from a technical assistant performing repetitive tasks to a creative partner that actively shapes live production. Drawing on years of professional experience, the discussion addresses both the operational benefits-such as precision, automation, and predictive response-and the emotional journey of integrating AI into the creative process. By combining human intuition with machine intelligence, AI has enabled richer storytelling, faster decision-making, and greater adaptability in dynamic production environments. The article concludes by reflecting on future possibilities for human-machine collaboration while underscoring the irreplaceable role of human creativity.

This paper examines the latest advancements in mechatronics and their significant impact on the design and realism of animatronics in modern cinema. By combining mechanical engineering, electronics, and computer science, mechatronics has enabled smoother character movements and enhanced the complexity of animatronic behaviors, thereby pushing the boundaries of cinematic realism. The intricate integration of system components has been explored to show how these advancements foster greater complexity and cohesion, which are crucial for achieving unprecedented levels of realism. Through in-depth case studies of iconic movie characters, the practical applications of these advanced mechatronic solutions in creating compelling and lifelike cinematic experiences are discussed. The Findings bridge the gap between the technical aspects of mechatronics and the creative demands of the film industry, contributing to the ongoing evolution of cinematic realism. Additionally, future trends and innovations in mechatronics, outlining their potential for transformative impacts on filmmaking have been discussed. Article Highlights • A review of recent advancements in modern mechatronics and their role in enhancing animatronic lifelike movements for more immersive cinematic experiences. • Case studies of iconic movie characters showcase advanced mechatronic solutions, enabling lifelike cinematic realism. • Bridging mechatronics and creative filmmaking drives the evolution of cinematic realism.

Yakın dönemde motion capture teknolojisinin birçok farklı sektörde uygulama alanında kullanılmaya başlanması kuşkusuz sinema sektörünün de ilgi alanına girmeye başlamıştır. Film yapımında motion capture teknolojisinin başta animasyon türünde sinema filmlerinde kullanılması dışında live action türünde sinema filmlerinde de artan yoğun kullanımına şahit olunmaktadır. Sektörün teknoloji ile bu şekilde iç içe geçmesi, yazılım sektörünün film yapımında belirleyici rol oynadığı günümüz film prodüksiyon koşullarını ortaya çıkarmıştır. Sinema anlatısının farklılaştığı, oyunculukta yepyeni pratiklerin ortaya çıktığı bu dijital dönemde yazılım şirketleri, amatör kullanıcılardan profesyonel çalışanlara birçok farklı düzeyde kullanıcıyı içine alacak şekilde yapılandırılmış teknolojik çözümlerle yoluna devam etmektedir. Çalışmamız yazılım sektörünün filmlerin yapım sürecinde motion capture uygulamalarını daha rahat ve hızlı bir şekilde yapabilmesi için geliştirmiş olduğu çözümlerin estetik ve teknolojik detaylarını ortaya çıkartmaya dönük hazırlanmıştır. Çalışmamız bu belirtilen amaç doğrultusunda motion capture uygulamaları için geliştirilen Adobe, Autodesk, Blender, Daz3D, Houdini, MakeHuman gibi yazılım şirketlerinin üretmiş olduğu çözümleri doküman incelemesi tekniği ile inceleyerek yazılımların birbirinden ayrılan teknolojik yönlerini, kullanıcıya sunmuş olduğu fırsatları ve geleceğe yön veren inovatif kimliğine dair bileşenleri tespit etmiştir.

Copyright © Bu kitabın Türkiye'deki her türlü yayın hakkı Eğitim Yayınevi'ne aittir. Bütün hakları saklıdır. Kitabın tamamı veya bir kısmı 5846 sayılı yasanın hükümlerine göre kitabı yayımlayan firmanın ve yazarlarının önceden izni olmadan elektronik/mekanik yolla, fotokopi yoluyla ya da herhangi bir kayıt sistemi ile çoğaltılamaz, yayımlanamaz.

Artificial Intelligence (AI) is revolutionizing the film industry, changing creative workflows and cutting a new path for production, post-production, and audience engagement. This article is focused on modern AI tools that are already leveraged for various filmmaking steps, from generative visual effects and virtual production to voice synthesis, post-production automation, and script analysis. Here (2024), The Mandalorian and Fall (2022) are examples of real-life case studies that demonstrate how AI is increasingly being used both on blockbuster and indie projects. Although AI increases productivity and expands the possibilities of creativity while adopting it, there are also serious ethical considerations concerning authorship, authenticity, and artistic control. This article concludes with a focus on the ways in which the industry responds to these tensions through new guidelines, including the Academy Awards.
Keywords: Artificial Intelligence, Filmmaking, Visual Effects, Voice Synthesis, Virtual Production, AI Ethics, Post-Production, Script Analysis

Artificial intelligence (AI) technologies have advanced exponentially in recent years, particularly in machine learning, including convolutional neural networks and generative adversarial networks. Their implementation in the creative industries has rapidly evolved from information analysis and data compression to the use of generative AI tools for media production. This exploratory study analyses the emerging role of the AI artist in applying generative AI techniques to the audiovisual post-production processes of the television series La Mesías (The Messiah; Movistar+, 2023) and the music video Pesadillas (Nightmares; Martina Hache, 2024), which were implemented by Alejandra G. López. The characteristics of the visual style resulting from their implementation will be studied. The methodological design combines approaches from media industry studies and organisational sociology, utilising a systematic hemerographic and bibliographic review, an in-depth interview and a technical analysis of the sequences involved. The workflow phases where AI was used are identified and classified according to the categories proposed by Anantrasirichai and Bull (2022): content creation, information analysis, content and workflow improvement, and information extraction. The results show that generative AI has a particularly significant impact on visual effects and 2D/3D compositing, creating a style that enhances realism with dreamlike atmospheres. The analysis also shows that these techniques, implemented with generative AI, require specialised profiles in the field and will be integrated into the audiovisual post-production workflow alongside other classic digital compositing and visual effects procedures.

Sinemada görsel efekt kullanımı, aksiyondan maceraya pek çok film türünün gelişimini ve yükselişini desteklemektedir. Özellikle günümüz sinemasında çarpıcı ve güçlü etkiler yaratmak için görsel efektlerden geniş ölçüde yararlanılmaktadır. Görsel efektler, görsel cezbediciliği var etmelerinin yanında anlam ve anlatımı yoğunlaştırmak, tematik bir etki katmak, metaforik bir anlatımı desteklemek, hikayenin vuruculuğunu görsel açıdan yoğunlaştırmak gibi işlevler kazanarak teknik unsurlar olmanın ötesine geçip hikaye anlatımının ayrılmaz bir parçası haline gelmektedir. Bu açıdan çalışma, Her Şey Her Yerde Aynı Anda (Everything Everywhere All at Once, Dan Kwan-Daniel Scheinert, 2022) filmi örneğinde görsel efektlerin bir filmin görselliği yanında anlatı yapısını nasıl etkilediğini değerlendirme hedefindedir. Çok katmanlı bir görsel efekt paletini hikaye anlatımını güçlendirici bir biçimde kullanması filmi inceleme konusu etmedeki başat unsurdur. McClean'ın (2007, s. 73) görsel efektlerin anlatıyı ve üslubu güçlendiren kullanımına yönelik tespit ettiği Belgesel, Görünmez, Kesintisiz, Abartılı, Fantastik, Sürrealist kategorilerinden yararlanılarak örnek film üzerinden görsel efektlerin hikaye anlatımını güçlendirici etkisi ortaya çıkarılacaktır.

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.

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The research study explores the transformative role of AI technologies in enhancing technical aspects like editing, lighting, visual effects (VFX), computer-generated imagery (CGI), and sound design in filmmaking and cinema production. Through a comprehensive qualitative comparative analysis, the study examines 30 selected films from Hollywood, such as I, Robot (2004) and The Creator (2023), the Asian cinema industry, including After Yang (2021) and Jung-E (2023), and winners of the Artificial Intelligence Film Festival (AIFF) like PLSTC (2023), Expanded Childhood (2023), E^(IPi) + 1=0* (2024), and Dear Mom (2024). This analysis highlights significant transformations in pre-production, production, and post-production processes. The study traces the evolution from early CGI developments, manual editing, and complex simulations to AI-driven techniques and tools. These advancements include real-time rendering, automated content recognition, intelligent cut detection, real-time light adjustment, AI-driven storyboarding, predictive editing, AI-based motion capture, realistic particle simulation, deep-learning for texture synthesis, enhanced 3D modeling, CGI neural rendering, and AI-powered audio environments. Ethical considerations such as balancing creativity between human and AI technologies, intellectual property rights, and data privacy are also discussed. The study suggests developing frameworks and guidelines to ensure the best implementation of AI in cinema production. However, the research is limited by the number of films analyzed, the time frame, lack of quantitative methodologies, and challenges in conducting interviews with stakeholders. The findings aim to contribute to understanding AI's integration in cinema production by analyzing technical aspects, possibilities, limitations, guidelines, and ethical considerations.

The aim of the present study was to identify the factors that may affect the perception and acceptance of wind energy projects in the Western Macedonia region of Greece. The objectives of the study were to gauge the level of support, measure perceived economic and environmental effects, understand the effects of visual and noise impacts and establish the relationship between trust in government and developers. In the present study, a quantitative research approach was used, and more specifically, a cross-sectional survey with a structured questionnaire was applied on a sample of 384 residents of the Western Macedonia region of Greece. The study adopted equal probability sampling technique by employing stratified random sampling to include all the population groups. Descriptive and multiple regression analyses were employed in the examination of the association between public acceptance and various factors. This study also discovered that perceived economic advantages like employment opportunity and local economic growth enhance the acceptance of wind energy projects among the public. On the other hand, perceived environmental impacts, such as visual intrusiveness and noise sensitivity, lower acceptance substantially. Trust in government and developers was also revealed as an important variable; the level of trust was positively related to the level of support for wind energy projects. The results concern the multifaceted nature of common opinion, which is shaped by economic, environmental, and social indicators. Thus, the successful implementation of the wind energy projects in Western Macedonia has to involve not only economic stimuli but environmental considerations and public participation as well. There is a need to engage the stakeholders and the public more often and keep them informed in order to gain their trust. Thus, incorporating these factors, the stakeholders can strengthen the support of the public and help the region to switch to renewable resources. To enhance acceptance by the public, it is suggested that key players should aim at creating stakeholders' values in terms of economic returns, minimizing negative effects on the environment, minimizing visual and noise intrusion, and attracting public confidence through proper consultation and engagement.

I've been a horror fan since childhood. My older sister was always an unconditional fan of the genre, and as a barely supervised child of the eighties, I used to accompany her during the afternoon movie sessions on Brazilian TV channels. I consumed many films from the U.S. because I grew up in the countryside of Rio Grande do Sul, and the selection of movies on television at the time-and in video rental stores during the '80s and '90s-was almost exclusively American. It wasn't until the 2000s that I had access to other kinds of horror films when European, Australian, Asian, and Latin productions started to enter the mainstream market due to Hollywood horror cinema experiencing a kind of narrative exhaustion. I also watched a few films at festivals. But I feel that I only gained more effective access to Latin horror films thanks to streaming services like Netflix and Amazon Prime.

In films, Visual Effects (VFX) are meticulously crafted by skilled artists who painstakingly create and manipulate computer-generated imagery (CGI) to enhance a film's storytelling and visual aesthetics. However, with the rise of artificial intelligence (AI), the landscape of VFX is transforming. Consequently, the widespread implementation of AI has sparked concerns within the film industry about the potential replacement of human contributions, akin to trends observed in other sectors previously dominated by humans. This raises concerns about the value of human artistry, provoking anxiety regarding machine substitution. This study elucidates this issue by strategically analyzing two highly successful augmented reality films using a two-prong research approach-Discourse Analysis and Realism Analysis-and from theoretical lenses, demonstrating that, despite the ascendance of AI, human artistry continues to hold a significant role in creative expression.

La última década del cine español, a pesar de la cercanía de la misma, es un terreno en el que ya es posible introducirse desde un punto de vista cuantitativo, de modo que a través de ciertos números se puedan revelar sinergias entre la producción de filmes, ficción y documental, y la exhibición. Esta investigación ha generado una base de datos con todos los estrenos desde 2011 a 2022 con el objetivo de radiografiar e interpretar las cifras más significativas. Así, el resultado derivado del cruce de datos ha arrojado una visión dinámica del paisaje cinematográfico nacional, cubriendo un hueco aún inexplotado, en tanto que abundan los estudios generales, los que bucean en las sinergias entre los diferentes cines o aquellos que abordan año a año de forma individualizada el panorama cinematográfico español reciente, pero no hay tantos transversales que tiendan puentes entre la producción y la exhibición unificando las cifras de producción con su estreno posterior. Las conclusiones deducidas apuntan a que esta década es un periodo de inercias procedentes de la más rica etapa entremilenios, una etapa de estancamiento.

Special effects are a defining feature of modern filmmaking, transforming imaginative ideas into visually stunning and believable cinematic experiences. At the core of these effects lies the science of physics, which provides the tools and principles necessary to simulate motion, light, sound, and complex natural phenomena. Physics enables filmmakers to depict events and environments that would otherwise be impossible to capture, such as intergalactic travel, massive explosions, or fluid-like motions of water and fire. One of the most prominent applications of physics in filmmaking is the use of Newton's laws of motion to create realistic movement. Whether animating characters in films like The Incredible or choreographing car chases in the Fast & Furious franchise, these laws ensure that objects behave naturally under forces like gravity, friction, and inertia. Similarly, the manipulation of light through techniques like ray tracing allows filmmakers to mimic the way light interacts with surfaces, creating realistic shadows, reflections, and highlights. The integration of electromagnetism is another fascinating aspect of special effects, particularly in superhero films like Iron Man and X-Men. Visual effects teams use principles such as Maxwell's equations to simulate energy beams, shields, and other phenomena, enhancing the believability of superpowers. Similarly, large-scale destruction scenes in disaster movies like San Andreas depend on structural mechanics and fluid dynamics to model the behavior of buildings and landscapes under extreme forces. Advances in computational physics have further expanded the possibilities for special effects, enabling filmmakers to simulate increasingly complex systems with unparalleled precision. From the movement of interstellar objects to the fine details of an erupting volcano, these technologies allow for breathtaking visuals that captivate audiences worldwide. The application of physics in filmmaking is essential for creating realistic and immersive special effects. By blending scientific principles with artistic creativity, filmmakers can push the boundaries of visual storytelling, bringing extraordinary ideas to life on screen. As technology and scientific understanding continue to evolve, the role of physics in special effects will undoubtedly grow, driving innovation and enriching the cinematic experience.

It is assumed proudly by the Indians that Indian animation has additionally reached a considerable position inside the world state of affairs and is capable of making its manner to the world enterprise. But even after all things, truly saying that Indian animation still is in the meager position. Indian animation had been initiated in the nineteen century. If it is in reference to producing the quality of animation, India still is in a poor position. Indian animation in particular-2D and 3D, concerning animated film or series, has to face many challenges of struggling differently for the world scenario in terms of other countries. This study is going to look at all the causes, issues and circumstances under which Indian animation (2D, 3D) is still in dilemma about its position, in this respect the study will provide valuable data and scientific justification on the same.

Purpose – This study aims to accommodate the mechanical characteristics that comply with the spectra of
active sportswear by taking the innovative features of double-layered fabric (double cloth) and polyester yarn.
The research focused on blending two types of polyester: RenovaVR
and polyester microfiber with different
weave structures in both face and back layers for fabricated fabrics. Force resistance was investigated
through several properties, the mass per unit area and thickness properties were also considered.
Design/methodology/approach – The research was divided into two phases. The first phase included
three samples with the same double cloth structure and different weft materials to detect the most preferable
performance. The second phase included three samples with the same materials and different double cloth
structures. Several mechanical properties were tested in accordance with standard test methods, and the
results were collected, tabulated and statistically analyzed using a chart line, an ANOVA test with a p-value ¼
0.05, a calculated least significant difference (value) and a radar chart area.
Findings – The results assigned that blending RenovaVR
/polyester microfiber develops mechanical properties
than using them individually, considering the increase in polyester microfiber ratio. The double cloth with different
plain structures has a significantly different effect on the examined properties, except for elongation and thickness.
Originality/value – According to the radar chart area, the double cloth with a plain rib structure achieved
better performance, and in the same vein, the results showed that the plain with a warp rib structure enhanced
fabric behavior more than the weft rib.

Intermedial Interference in Electroacoustic Audiovisual Composition: An
Investigation into Combining, Integrating, and Fusing Sound and the Moving Image.
A Portfolio of Audiovisual Compositions.

This doctoral research is a practice-based investigation into Intermedial Interference in electroacoustic audiovisual composition, which aims to explore combining, integrating, and fusing sound and the moving image to shape the final artefact. The research is grounded within the broader artistic practice category of intermedial arts, where creativity is not restricted to the use of sound to accompany the moving image but actively explores the interaction, combination, mutual influence, and interconnection between many different media in a time-based medial form of expression. The exegesis discusses a Portfolio of six audiovisual compositions that illustrate the development of intermedial compositional strategies based on the application of the intermedial interference concept. The compositions’ sound properties are those of electroacoustic music with a musique concrète approach, while the visual imagery is abstracted from reality. The research aims to explore the boundaries, intersections, and the interference between non-narrative moving images and electroacoustic music in an intermedial creative context. An autoethnographic approach is employed to present, contextualise, and critically discuss the creative process and findings of this practice-based research. Ultimately, this research seeks to provide new insights into intermedial audiovisual composition practice and create novel and valuable opportunities for composers active in the audiovisual domain to explore intermedial thinking.

This is a brief introduction to the film Metropolis (Lang, 1927), presented at a screening of the film for the CSUN Cinema and Television Arts Cinematheque series "Are You A Replicant? VFX, Sci-fi, and the Meaning of Life" in spring 2023. The 'vulgar idealism' of its expressionist forebearers is well represented in the catastrophe of Metropolis. As famed German cultural critic Siegfried Kracauer would write, in its self-confused and reductionist depiction of class warfare, ultimately infantilizing the proletariat and espousing the dismantling of the worker’s rebellious instincts, Metropolis naively contributes to a growing desire for "authoritative socialism" in German culture, a salvation from Weimar democratic parliamentarianism (Kreimeier, 173). As historical object, Metropolis proves that cinema itself is a form of science fiction; its technology is uniquely equipped to divine in its eternal present the future soon to come. The film harnesses the vanguard visual effects that would forever become synonymous with its genre to foretell a future less and less determined by human input, by critical interpretation that may resist the rationalized computerization of our shared social project.

Chapter 2: Computer Graphics: Undetectable from Reality This chapter chronicles how current day computer graphics (CG) became indistinguishable from photographic reality and goes beyond it into hyper-reality. This story connects the rise of the personal computer, groundbreaking innovations, and the ascendance of mega corporate players while interweaving the emergence of the game engine, virtual reality, and real-time reality simulation.

«Новая-Европа» посмотрела девять документальных фильмов Russia Today о пропагандистах на фронте. Рассказываем, как менялся их образ в прокремлевских СМИ
В этих картинах важно не только то, что есть, но и то, чего в них нет. А нет здесь десятков крупных каналов, которые ведутся теми, кто имеет непосредственное отношение к фронту. И если в фильме про «военкоров “Комсомолки”» упомянуты Владлен Татарский и Админ (автор популярного канала RSOTM), то уже в 2023 году в фильмах Поплавского происходит концентрация только на «своих», официальных «военкорах».

Изменилась и риторика в отношении коллег. В «Военкорах-2» Ольга Курлаева заявляет, что разница между журналистами и «военкорами» состоит в том, что вторые «за базар не отвечают». По ее мнению, они излишне используют шок-контент. Андрей Филатов утверждает, что пропаганда — это «просто» распространение знаний и он «просто» показывает окопную правду. А иное дело — создавать вымышленную реальность, как некие «военкоры», которые дают сначала выстрел оружия, а затем сразу же демонстрируют неизменную победу. В обоих фильмах про Филатова в уста российских военных вставлены слова, что кроме него они других «военкоров» и не видели на фронте.

Эти фильмы можно прочитать и как оправдания. «Военкоров» обвиняют в том, что они сидят в тылу? Тогда покажем, как они ходят под пулями. Они якобы мешают солдатам? Продемонстрируем боевое братство.

Не носят международно признанные «синие жилеты»? Так в этом виноват противник, устроивший персональную охоту за ними.

В борьбе за возвеличивание своих кинодокументалисты RT не только отвергли стандарты классической журналистики и заявили, что «военкору» дóлжно непосредственно участвовать в боях: они превратили традиционных свидетелей чужих подвигов и страданий в самостоятельных фронтовых героев, ничуть не уступающих простым солдатам. Скорее — даже превосходящих их, раз уж бойцам приходится выступать в качестве свидетелей героического прошлого отдельных репортеров (вот о чем должен был быть новый роман Виктора Пелевина).

Даже по меркам Z-сообщества такой цинизм — уж точно «не для всех».

Nesne tanımlama yöntemlerini iki sınıfta incelemek mümkündür: Bu yöntemlerin ilkinde nesnenin iç kısmını dış ortamdan ayıran sınır (nesnenin yüzeyi) tanımlanır. Bu yöntemin belirgin örnekleri arasında poligonsal nesneler ve parametrik yüzeyler bulunur. İkinci yöntemde ise nesnenin uzayda kapladığı hacim göz önünde bulundurulur ve genellikle bu yöntem nesnenin sınır bilgisinin uygulama için yetersiz kaldığı durumlarda kullanılır.

AI systems and technologies play a vital and effective role Film Production Design. It has become one of the Film Production Design because of its diversity and its ability to develop and acquire qualities that make it fit with each specialty and play the role required of it according to its user, who is a member of the team based on the design and production of the film beginning with the writing of the text, The storyline, the selection of eligible actors for roles, the stages of constructing Sets for Shooting actions or digital environments as extensions of the Live Shoot environment, and the
creation of digital characters and Visual Effects . The role of AI systems and tools has developed the Production Design for films such as Lord of the Rings, The Irishman, and numerous more well-known films whose teams have recruited AI in their Film making and production. It was thus worthwhile to investigate that phenomenon, which became an active member of the team as the film's concept and production progressed.
So we concluded that AI tools have opened new horizons for cinematographers in developing their visions to create worlds with endless imagination that produce a cinematographic image with unique characteristics.

In recent years, AI and machine learning have revolutionized the field of animation, transforming the way characters move, interact, and emote on screen. This research delves into how these technologies reshape traditional animation processes, from character design to rendering, by automating tasks, enhancing realism, and unlocking new creative possibilities. By examining case studies and industry practices, this paper explores the profound impact of AI on storytelling, production pipelines, and the future of animated entertainment. Ultimately, it highlights the synergistic relationship between human creativity and machine intelligence, paving the way for a new era of animated storytelling. Also, it does not miss the drawbacks of AI in animation which may have proportional impacts on the jobs and businesses of Animators

The article examines the possibilities of the close-up as an independent artistic technique, using the example of Season 2 (1995-
1996) of the Friends TV series. The visual norm of the series is medium shots, which is due to the shooting technology; whereas
close-ups, as shown in the article, sharply contrast with the norm and are used in a situation of genre shift (as markers of the western,
drama, romantic comedy, horror, soap opera, etc.). Each close-up in the second season of the Friends TV series is one of the tools
for introducing features of an alien genre, which is mockingly played out and destroyed, generating a comic effect. In addition, in
some cases close-ups are also related to the narrative situation of a “film within a film”: They are used in soap operas, music videos,
and commercials watched by the characters of the series. Thus, the article proposes a way to analyze the size of shots as a tool for
determining genre boundaries.

On the surface, fear and humor seem like polar opposite states of mind, yet throughout our lives they continually interact. In this paper, we synthesize neurobiological, psychological, and evolutionary research on fear and humor, arguing that the two are deeply connected. The evolutionary origins of humor reside in play, a medium through which animals benignly explore situations and practice strategies, such as fight or flight, which would normally be accompanied by fear. Cognitively, humor retains the structure of play. Adopting a view of humor as requiring two appraisals, a violation appraisal and a benign appraisal, we describe how fearinducing stimuli can be rendered benignly humorous through contextual cues, psychological distance, reframing, and cognitive reappraisal. The antagonistic relationship between humor and fear in terms of their neurochemistry and physiological effects in turn makes humor ideal for managing fear in many circumstances. We review five real-world examples of humor and fear intersecting, presenting new data in support of our account along the way. Finally, we discuss the possible therapeutic relevance of the deep connection between humor and fear.

The article analyzes the documentary video films in the project Meeting You of the South Korean MBC television network about
virtual meetings with the deceased from the standpoint of the discursive and narrative approaches. The audiovisual documentation of
a virtual meeting with a deceased person, prepared and conducted by the TV company in accordance with a technological scenario,
becomes a product of mass culture and, in turn, has impact on the perception of death in the broad multicultural (global) audience.
Analysis of the features of this audiovisual project makes it possible to assess the trends in the development of new cultural practices
of communication with the deceased and ways of their representation in the mass media. The author concludes that video films about
virtual meetings with deceased relatives, being essentially a staged audiovisual product, are nevertheless perceived as documentary.
They document the experience of such staged meetings and record the emotions of real participants as certainly realistic. The films
in the Meeting You project establish new general patterns of representation of visual images of the deceased, their virtual nature, and
their interaction with living contactees. The content of such films is perceived by both the participants and the audience as genuine
events, as actions devoid of a mystical touch. The emotional response of the audience of the films in the Meeting You project proves
that this new experience of virtual mediatized treatment of the memory of the dead is generally accepted.

Este estudio analiza el cambio significativo en las técnicas cinematográficas hacia la utilización desproporcionada de los efectos visuales (VFX) sobre los efectos prácticos en la producción cinematográfica moderna. A lo largo de la historia del cine, las innovaciones técnicas han facilitado la creación de mundos imaginarios y escenas espectaculares. Sin embargo, en las últimas décadas, el avance de las tecnologías de efectos visuales ha llevado a una transformación notable en la forma en que se crean y presentan estos efectos visuales. Este cambio ha causado una dependencia progresiva de la postproducción digital, dejando los efectos prácticos al pasado.

Este estudio investiga las razones detrás de este cambio y examina las diferencias y beneficios entre los efectos prácticos y los efectos visuales. Se emplea una metodología de revisión de artículos estudios y análisis crítico para evaluar el impacto de esta evolución en el desarrollo de la cinematografía y el aspecto visual de las películas modernas. Se concluye que si bien los efectos visuales ofrecen un amplio espectro de posibilidades creativas, el equilibrio entre ambos enfoques sigue siendo crucial para mantener la autenticidad y la emotividad en la cinematografía.

Makale, Bauman’in (2005) “Akiskan modernite” yaklasimindan hareketle sinemada dijitallesmenin yarattigi ortamda gelisen yeni sinema teorisini tartismayi amaclamaktadir. Algisal gerceklik ve elastik gerceklik yaklasimlari, soz konusu teorinin iki onemli aksini olusturur. Bauman gunumuz modern toplumlarinin degisken karakteri nedeniyle “akiskan” oldugunu ileri surer. Gunumuz toplumlarinin daima hareket halinde olmalarina karsilik kesinlik ve sinirlardan yoksun olduklarini, bunun yerini esneklik ve belirsizligin aldigini isaret eder. Belton’in (2002) “yanlis bir devrim” olarak tanimladigi dijital sinema, artik 1 ve 0’lardan ibarettir. Buradaki kilit kavram CGI’dir (computer graphics imaging). Manovich’in (1995) sinemanin dijitallesmesine bagli olarak fotografik gercekligin otesinde bilgisayar programlarina bagli sayisal olarak transforme edilebilir bir gerceklige ulastigimiza dikkat ceker: Bu elastik gercekliktir.  Gorsel efektler uzerinden dijital sinemanin kuramsal tartismasinda ikin...

NIGHT HEAD was a science fiction drama that aired on Japan’s Fuji TV between 1992 and 1993. The series arrived during a wave of interest in the paranormal, a trend that was embraced by commercial television in both dramatic programs and variety/infotainment talk shows. This boom of interest in the paranormal happened within the thriving economic and cultural environment of Japan’s Bubble Era, a period that saw a rapid expansion of television in addition to the prosperity of markets in real estate and industry. NIGHT HEAD portrays a darker vision of 90s Japan, using visual effects and moody, intense images and sounds to conjure a desperate sensibility. This article will offer an analysis of the “attractive” paranormal turn in Japan during the 1990s, using NIGHT HEAD as a case for considering the intersection of youth, visual effects, and the desire for an alternative way of understanding the world beyond rationality.

This paper aims to highlight the way in which a craft such as the matte painter has been affected by the profound changes that the film industry has experienced in the last decades, from the studios system, that incorporated this worker to its permanent workforce, to the current facilities model dominated by the outsourcing and atomization ideas. A necessary analysis of a resource little analyzed but that nevertheless constitutes a discreet and privileged witness of the history of cinema and its industry.

King Kong: Peter Jackson's Production Diaries (2005), a self-contained DVD package released at the same time as King Kong (2005), is an example of paratext and of what John Caldwell calls 'industrial reflexivity'. While cast as a direct act of communication with fans and as a means of revealing the behind-the-scene workings of Jackson and his crew, the Production Diaries work also as industrial discourse which seeks to portray creative labour as a space of enjoyment, of affective investment and of individual fulfilment within a group of highly talented and motivated individuals. The diaries are both the production and the record of the creative labour and its transformation into a commodified media object through the process of affective labour. The Production Diaries provide an image of production for both external and internal purposes.

King Kong: Peter Jackson's Production Diaries (2005), a self-contained DVD package released at the same time as King Kong (2005), is an example of paratext and of what John Caldwell calls 'industrial reflexivity'. While cast as a direct act of communication with fans and as a means of revealing the behind-the-scene workings of Jackson and his crew, the Production Diaries work also as industrial discourse which seeks to portray creative labour as a space of enjoyment, of affective investment and of individual fulfilment within a group of highly talented and motivated individuals. The diaries are both the production and the record of the creative labour and its transformation into a commodified media object through the process of affective labour. The Production Diaries provide an image of production for both external and internal purposes.