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29 NOVEMBER 2013

Prime Cuts: London's Annual Motion Arts Festival

"Prime Cuts is unique graduate motion arts organisation which is focused on supporting students of moving image in the UK through; events, festivals, work placement opportunities, national screenings, press articles and free advice.

The 2013 festival was our first venture with New Designers, Europe's leading graduate design show. The festival was a great success, and we are all very happy to have found a new home with New Designers."

[This originally appeared here: http://www.primecuts.org.uk/ however this URL now points to somewhere quite unrelated]

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CONTRIBUTOR

Simon Perkins
15 AUGUST 2013

Busby Berkeley: choreographing the epic visual spectacle

"Berkeley's choreography is important less for its movement of the dancers than for its movement of the camera. To overcome the limitations of sound stages, he ripped out walls and drilled through ceilings and dug trenches for his film crews. When a desired effect could not be accomplished with traditional film equipment, he had his budget expanded to include costs for developing custom rigs. His innovations explored ideas that the stationary camera could not. He wanted to take the audience through waterfalls and windows. He wanted lines of dancers to fall away to reveal scenery that in turn would fall away to expose an even larger setting. His dreams were big, but his determination to see them actualized was even bigger.

Even his worst attempts resulted in eminently watchable movies of exhilarating movement, but his best efforts produced startling effects that bordered on surrealistic dream states. In the quintessential Berkeley films Footlight Parade (1933) and 42nd Street (1933), cameras mounted on tracks are sent soaring past a multitude of dancing legs, flailing arms and orchestra instruments. In all, he directed more than twenty musicals, including an underwater sequence with aquatic star Esther Williams."

(Scott Smith, 6 February 2013, Keyframe)

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TAGS

42nd Street (1933) • aesthetic spectacleBusby Berkeleycamera angle • camera movement • camera rig • choreographic imaginationchoreographies for camerachoreographydance • dance productions • dancers • dancing legs • design formalismentertainment spectacle • Esther Williams • figures in space • flailing arms • Footlight Parade (1933) • geometryglamourgroupingkaleidoscopelegs • Lloyd Bacon • mirrored effectmovementmusical (genre)perspective viewscenerysound stage • stationary camera • surrealist stylesymmetry • underwater sequence • visual designvisual effectsvisual spectaclevisual spectacular • waterfa

CONTRIBUTOR

Simon Perkins
30 JULY 2013

Is Photoshop Remixing the World?

"Photoshop has completely revolutionized our visual culture. Artists now use Photoshop to create complex imagery that would have been impossible 20 years ago. It has also profoundly changed the art of photo retouching, turning a labor intensive process into an artful and often controversial digital workflow. But possibly the most current and expressive influence can be seen in meme culture online. With the ability to alter any image in the media landscape, everyday people now have the means to critically comment on culture and spread their ideas virally, leveling the playing field between traditional media creators and consumers. Photoshop has changed the way we communicate, the way we express ourselves, and the way we view the world and each other."

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TAGS

altering images • amateur cultural productionbaroquebeauty industry • Chris Buck • complex imagery • compositingcreative practice • critically comment • digital workflow • Don Caldwell • everyday people • expressive influence • Jeff Huang • labour intensive • Laurent Le Moing • Matt Jones • Matthias Vriens • media consumermedia landscapememe culturememesOff Book • online discourse • PBS • pepper spraying cop • photo manipulationphoto retouchingPhotoshop • photoshop disasters • photoshopped • photoshopping • producers and consumersquestioning traditionsremix culture • Robert Maxwell • thumbs and ammo • traditional media creator • Txema Yeste • visual communicationvisual culturevisual effectsworkflowworkflow tool

CONTRIBUTOR

Simon Perkins
11 MARCH 2013

VFX breakdowns for BBC One TV series Ripper Street

"With a final dollop of blood splatter sploshing across the plasma TV, Series One of BBC's visceral police drama Ripper Street came to a crashing finish on Sunday night!

Screen Scene VFX completed all the visual effects work on Ripper Street's first season, and are proud to share this fantastic breakdown/making of video showing you how they weaved their inimitable brand of wizardry to make Dublin look like Victorian London."

(Screen Scene Post Production Facilities, 26 February 2013)

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TAGS

18892013 • Adam Rothenberg • BBC One • BBC series • BBC TV • blood splatter • breakdown • chaotic streets • compositingcostume dramaDublin • Ed Bruce • EdBruceVFX • H Division • Jerome Flynn • Joe Gilgun • London East End • making of • Mathew Macfadyen • police • police drama • post production • Richard Warlow • Ripper Street • scene designscenery • Screen Scene Post Production Facilities • Screen Scene VFX • SFXtelevisionTV seriesVFX • Victorian London • visceralvisual effectsvisual spectacle • Whitechape

CONTRIBUTOR

Simon Perkins
12 JANUARY 2013

Visualising The Future Forms of Life

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TAGS

20123D3D animation3ds Max • 5D Mark II • After Effectsanimal locomotion • Audrius Vaitiekunas • autonomous creature • David Lance • Dovydas Augaitis • Eugenijus Konstantinovas • Jonny Cox • Justas Cekauskas • kinetic sculpture • Laurent Shen • legslocomotion • Matchmover • MD2 • mechanisms • Mocha • primitive logicrobot • Steve Teare • Strandbeestssynthetic-life • The Future Forms of Life • Theo Jansen • Tomas Dobrovolskis • V-Rayvisual effects • Vytautas Jundulas • walking machinewalking sculpturesZBrush

CONTRIBUTOR

Simon Perkins
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