American Cinematographer - March 2008 - (Page 69)

three issues: the continued erosion of distinct phases of production, the need for new positions and personnel throughout all stages of production, and the common misperception that visual effects are a quick, cheap and easy process. Both Okun and Roth emphasize the particular importance of that last issue, noting that as production schedules continue to be shortened, post workflows take an especially hard hit. “Everyone wants everything in less time,” says Roth. “We want to make sure that everyone moves forward from this point in the way that makes the most sense for the industry as a whole and the visual-effects world in particular.” Adding to that, Okun notes, “We need to be able to point to some facts and say, ‘This is what squeezing this down costs you or saves you.’” Accordingly, the VES hopes to find an audience for its papers among key decisionmakers at the studio level as well as in guilds and other societies. Similar to the vetting process that initially inspired the white-paper program, the specific focus of this first paper stemmed from discussions among ad hoc think tanks sponsored by the VES. “A couple of times a year,” explains Roth, “we pose a number of questions to some leading individuals throughout the industry. It’s an informal way of having a dialogue.” From those discussions, a number of writers at the staff level of the VES compiled the white paper, which then went back out for review by the board and other society members. The result, says Okun, “both conceptually and scientifically, will be a product of the Visual Effects Society; there’s no one writer that stands out. “We’ve taken the first step with this white paper,” he continues. “We’re presenting the state of things and revealing areas that need further discussion.” In turn, those discussions will point the way toward topics for future white papers, though Roth notes there is no set timeframe for the program. “We aren’t holding ourselves to a schedule where two weeks after we finish the first [white-paper], we’re on to the next, but we’ll take a look at each potential topic as we get there. “At the end of the day, the world is changing technologically, and these changes are offering up enormous creative opportunities,” Roth continues. “Within the society, we have a ton of extraordinary information that should be mined and shared, and that’s exactly what we’re going to do.” For more information, visit www.visualeffectssociety.com. I http://www.visualeffectssociety.com http://www.kinoflo.com http://www.kinoflo.com

Table of Contents Feed for the Digital Edition of American Cinematographer - March 2008

American Cinematographer - March 2008 Contents Editor’s Note Short Takes: Bill Viola’s Ocean Without a Shore Production Slate: 4 Months, 3 Weeks and 2 Days Production Slate: Chantal: A Night at the Pyramids Magical Mystery Tour Some Kind of Monster Tantalizing Television Making Sitcoms “Sexy” Post Focus: Mega Playground Helps Set Look for Sibling Post Focus: Visual Effects Society Launches White Paper New Products & Services International Marketplace Classified Ads Ad Index In Memoriam: John McPherson, ASC ASC Membership Roster Clubhouse News ASC Close-Up: Wayne Kennan

American Cinematographer - March 2008

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