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Donald Knuth Lectures - YouTube
View Computer Musings, lectures given by Donald E. Knuth, Professor Emeritus of the Art of Computer Programming at Stanford University. The Stanford Center f...
donald.knuth  video  lectures  computer.science  film  history  classic 
2 hours ago by po
Who ya gonna call? Ivan Reitman sends son Jason to direct Ghostbusters 3 | Film | The Guardian
Up in the Air film-maker to take charge of ‘secret’ sequel to father’s original comedies, unconnected to Paul Feig’s contentious 2016 female reboot
film 
3 hours ago by tonys
Styrofoam
In this lovely short film by Noah Sheldon, we meet Wo Guo Jie, a migrant worker from rural China who makes a living in Shanghai collecting styrofoam boxes and reselling them at a wholesale fish market. Even though styrofoam is a relatively light material, she packs so much of it onto her bike that the front wheel bounces off the ground as she motors slowly down the street, unable to see anything but what’s right in front of her.
kottke  china  film 
4 hours ago by pgorrindo
In a Nutshell
In a Nutshell is a mesmerizing stop motion animation directed by Fabio Friedli that attempts to sum up the entire world in just five minutes, “from a seed to war, from meat to love, from indifference to apocalypse”.
kottke  stopmotion  film 
4 hours ago by pgorrindo
Machine as Scenographer | Interactive Architecture Lab
The conventional cinematic mode of immersion derives from the darkened enclosure of the movie theatre. Immersive cinematic experience relies mainly on the realistic qualities of filmic illusion and their existence due to technological equipment. The interplay, between the visuals and the technology that projects the visuals, engages the spectator on an emotional level. Similarly, the level of immersion in a theatrical play is also on an emotional level. A theatrical play is the live narration of a story with the act unfolding in a real space with characters, props, and sets. Large-format cinemas produce an immersive experience in which the audience experiences participation with the film or the act through a series of technologically driven simulations being produced on the screens. This projection lacks a physical contact between the audience and the visuals on the screen that leads to a lack of immersion on a physical level. The physical and operational separation of the audience from these big screens remains a disengaging constraint in cinema and theatre [2]. The advancements in technology have improved the visualizations and the projection technique, but the framework of experiencing it still has the proscenium that separates the spectator and the spectacle.
The darkened enclosure of a cinema theatre has to evolve to incorporate a newer method of experiencing cinematic content, a new relation between the spectator and the spectacle, a new level of physical and imaginative assimilation of the viewer within the image space.
The paper looks at extending these darkened enclosures in an immersive realm with the construction of navigable and immersive cinematic environments that are quite distinct from the types of representation we are used to in the conventional cinema or theatre challenging the fundamental aspects of film direction, the role of a scenographer in theatre or the progression of the narrative. The design project investigates into creating a virtual extension of the image space that the viewer has to explore to discover its narrative subjects; the navigable cinematic space allows the interactive viewer to assume the role of the actor and the viewer whereby experiencing immersion on a psychological and physiological level.
vr  cinema  ai  neuralnetwork  film  3d  photogrametery 
9 hours ago by mildlydiverting
Neural Kubrick | Interactive Architecture Lab
Stanley Kubrick in 1968 speculated on the arrival of human-level Artificial Intelligence in “2001 A Space Odyssey”. Some 16 years past his prediction, our project “Neural Kubrick” examines the state of the art in Machine Learning, using the latest in “Deep Neural Network” techniques to reinterpret and redirect Kubrick’s own films. Three machine learning algorithms take respective roles in our AI film crew; Art Director, Film Editor and Director of Photography.

The outlook of the project is an artist-machine collaboration. The limitations of the machine are achieved by the artist and the limitations of the artist are achieved by the algorithm. In the context of the project, what the machine interprets is limited to either numbers, classification of features or generation of abstract images. This output is curated by us into a coherent narrative, translated back into human perception.

The project is based on Stanley Kubrick’s movies as input for three machine learning models, namely The Shining, A Clockwork Orange and 2001 A Space Odyssey. The generated videos display a machinic interpretation of the three movies, through a collaborative effort between the artist and the algorithm.
ai  rnn  neuralnetwork  film  art  architecture  vr 
9 hours ago by mildlydiverting
Netflix categories codes - Find all categories codes
You probably know that Netflix is using a really strange system to categorize it films and tv shows. Here, you will find all secret codes for Netflix !
Browse  Entertainment  categorie  categories  codes  film  movies  netflix  secret  streaming  tv  via:popular 
yesterday by atran
Stan & Ollie laugh it up as takings outstrip Mary Poppins at UK box office | Film | The Guardian
Steve Coogan, John C Reilly and happy audiences propel biopic to top of the rankings as The Favourite also comes up smiling after two weekends in cinemas
film 
yesterday by tonys

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