1. The Digital Mediascape
Week Three
Production: Pirates, Images and Music

2. • Key concepts
• Image making
• Historical context
• Application to Pirates
• Film music and
technology
• Historical context
• Application to Pirates

6. A post-medium condition

8. Capture

9. Capture Post-production

10. Capture Post-production
Mastering

11. Capture Post-production
Mastering Projection

12. Lev Manovich

13. 1. Live action is displaced

14. 1. Live action is displaced
2. Loss of indexical relationship

15. 1. Live action is displaced
2. Loss of indexical relationship
3. A new painterly realism

16. 1. Live action is displaced
2. Loss of indexical relationship
3. A new painterly realism
4. Editing and SFX collapse

17. digital film = live action material
+ painting + image processing +
compositing + 2-D computer
animation + 3-D computer
animation

18. Culture Culture
+ Digital cinema +
Creation Reception

19. Does new
technology lead
to new films?

20. The image

21. The academy ratio

25. Widescreens

67. Jan Brueghel
‘The Arrival of
the Animals
into Noah’s
Ark’ (1613)

68. Film music

69. ‘Silent’ films and early music

70. Erich Wolfgang Korngold Max Steiner
(1897 - 1957) (1888 - 1971)

71. The Adventures of Robin Hood (Michael Curtiz 1938)

73. The Sea Hawk (Michael Curtiz 1940)

75. Bernard Herrmann
(1911 - 1975)

76. Vertigo (Alfred Hitchcock 1958)

78. The Devil and Daniel Webster (William Dieterle 1941)

80. The Day the Earth Stood Still (Robert Wise 1951)

82. Bonnie and Clyde 2001: A Space Odyssey
(Arthur Penn 1967) (Stanley Kubrick 1968)

83. Bonnie and Clyde 2001: A Space Odyssey
(Arthur Penn 1967) (Stanley Kubrick 1968)

84. John Williams
(Irvin Kershner
1980)

85. John Williams
(Irvin Kershner
1980)

88. Hans Zimmer

89. Klaus Badelt

90. Klaus Badelt

91. Gladiator (Zimmer) and Pirates (Badelt)

92. Gladiator (Zimmer) and Pirates (Badelt)

93. James
Horner

106. James
Horner

107. ADDITIONAL MUSIC
Klaus Badelt Lorne Balfe
Tom Gire Nick Glennie-Smith
Henry Jackman Trevor Morris John Sponsler
Geoff Zanelli Bruce Fowler

122. Does new
technology lead
to new films?