Digital Filming and Special Effects
Abstract
Cubitt discusses the use of basic digital technologies and tools by showing its practical importance for cinematic production (pre-production stage, shooting and editing.) On the one hand, digital cinema is a continuation of the analogue medium but with the use of cheaper means. On the other hand, digital special effects spatialize films, reducing the importance of a linear sequence of the plot.
- The text is a translation of the chapter Digital Filming and Special Effects by Sean Cubbit from edited volume The New Media Book, ed. Dan Harries, BFI, London 2002. © 2002 by British Film Institute.
Keywords:
special effects, digital technologies, digital cinemaReferences
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Authors
Sean Cubittkwartalnik.filmowy@ispan.pl
University of Waikato New Zealand
Wykłada teorię mediów i sztuk audiowizualnych na University of Waikato na Nowej Zelandii, uprzednio pracował na Uniwersytecie Johna Mooresa w Liverpoolu. Wydał m.in.: Timeshift: On Video Culture (1991), Videography: Video Media as Art and Culture (1993), Digital Aesthetics (1998), Simulation and Social Theory (2001). Jest członkiem rad redakcyjnych licznych czasopism, m.in. „Screen”, „Third Text”, „The International Journal of Cultural Studies, Futures, Time and Society” i „Journal of Visual Communication”. Pisze książkę FX: Time and the Cinema of Special Effects. Jest też kuratorem wystaw wideo i medialnych, tworzy wideo, hiperteksty dla witryn WWW.
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Copyright (c) 2001 Sean CubittThe author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
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