Workshop, lectures and panel discussions

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Special Effects in history: from Meliés to the present day - Boris Masník

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Special Effects in history: from Meliés to the present day - Boris Masník

Special Effects in history: from Meliés to the present day - Boris Masník

(or the Great Digital Revolution) 

Boris Masník, special effects artist and supervisor, has worked on almost a hundred Czech and foreign film and audiovisual projects. His lecture accompanied by lots of examples and demonstrations will focus on the history of special effects as seen from the position of a special effects artist.
Special effects are, quite surprisingly, old as films themselves. Throughout history, special effects have changed immensely, and this applies for technology, graphic design and also dramaturgy. The most significant change came with the digitalization of post-production. The change was so quick, substantial and considerable that it could be called a “revolution”. But even in the “post-revolution” period, special effects remain a creative activity that in spite of all those “bits, bytes and terabytes” still depends on human creativity.

Fr 04/05/2012
16.00-17.30

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Animated title sequences - Maria Procházková

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Animated title sequences - Maria Procházková

Animated title sequences - Maria Procházková

The title sequence is a significant part of a film. It has been used since the beginning of cinema but the form has changed. In the beginning there was no real function for the title sequence. It resembled a theatre programme, introduced the name of the show, the author, the characters and the cast and its function was purely informative.
It was not much to look at, the letters were big and plain and the title sequences in silent films were in fact only opening credits on a black background, sort of a “dog tag”. But much has changed since then. The title sequences improved both technically and in expressional function and are now attracting the deserved attention. The authors often use animation and thus enable the title sequences to concentrate formal and image notions and ideas. The title sequences are among the most expressive and artistic parts of films. The dog tag became a ribbon. In the workshop we will look at significant examples of title sequences, some of which have become almost a cult. Everyone knows the swinging Pink Panther or the smooth agent code name 007.  

Fr 04/05/2012
14.00-15.30

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The past and the present of film posters - Historie a současnost filmového plakátu – Pavel Rajčan

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The past and the present of film posters - Pavel Rajčan

The past and the present of film posters - Pavel Rajčan

Pavel Rajčan, the curator of the collection of film posters Terryho ponožky (Terry’s socks), will take us through the past and the present of Czechoslovak poster production within the world. His lecture will consist of the beginnings of poster making, first film posters, the best authorial posters as well as commercial production in post-war Western Europe and the USA. It will include presentations of over 600 unique and original pieces, some of which cost a staggering sum of money. The lecture will also cover the propaganda, the “Golden Sixties”, the Polish poster school, as well as the current situation of poster production in the Czech Republic.

Su 06/05/2012
18.00-19.00

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Making of Kuky - J. Svěrák & J. Dvorský

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Making of Kuky - J. Svěrák & J. Dvorský

Making of Kuky - J. Svěrák & J. Dvorský

The last film of director Jan Svěrák, Kooky (Kuky se vrací, 2010) tells the story of a six-year-old boy Ondra who has to throw away his favourite toy – the pink teddy bear Kooky – because he suffers from asthma. When Ondra’s mom tosses Kooky into garbage, Ondra’s imagination starts to work and he sees the adventures of his little pink friend in an unknown world. The film received many awards, for example three Czech Lions and the Special Jury Prize at the Karlovy Vary International Film Festival.

Director Jan Svěrák and graphic artist Jakub Dvorský will describe the unique filming technique and show many interesting demonstrations. The original intention to make a film in few days only with help of several friends has transformed into a two-year-project with dozens of special effects – even more special effects than Jan Svěrák used in his most challenging film Tmavomodrý svět (Dark Blue World, 2001).

Mo 07/05/2012
15.00-16.30

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Making of Alois Nebel - Tomáš Luňák

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Making of Alois Nebel - Tomáš Luňák

Making of Alois Nebel - Tomáš Luňák

Director Tomáš Luňák will take us behind the scenes of this unique animated film that won three Czech Lion awards this year and was nominated by the Czech Republic to compete for the Academy Award. The lecture will introduce the rotoscoping technology that was used in making this film. The original shots of live actors were re-drawn, animated and put together by various animation programmes. The lecture will present a unique opportunity to compare the
graphic designs of the scenes with the actual scenes from the film and see the animators’ work.

Fr 04/05/2012
18.00-19.30

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Discussion about Czech animated Film Production: Problems and hopes of Czech animation

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Discussion about Czech animated Film Production: Problems and hopes of Czech animation

Since the 1940s, Czech animation has been well renowned in the film world. Despite (or maybe due) to the fact that it embraced a number of different films and authors, its significance was clear: creation of films with original ideas, innovative approach to style and technology, and high level of craftsmanship.
However, the end of the communist regime also meant the end of state-financed cinema and, consequently, the decline of animated production. The number of films decreased, and as animated films struggled to adapt to the market environment, their genre and style diversity decreased as well – so much so that during the past twenty years animated production was dominated by one genre only: Večerníček – the Czech TV bedtime stories. Nevertheless, the situation is changing. Animated feature films appear in cinemas ever more often, made by established as well as up-and-coming authors. Does it mean that Czech animation is reviving and will get its prestige back? Or are those films only individual attempts that are bound to end in financial loss or creative conformity dictated by the world‘s commercial interests? Producers, authors, critics, representatives of film schools and Czech Television will debate about the hopes and problems of current Czech animation and try to find out what the key is to a successful revival of a tradition which saw many great Czech authors rise amongst the best of the world.

Mo 07/05/2012
11.00-13.00

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Weekend Workshop “Constructing the Story” with Priit Pärn

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Weekend Workshop “Constructing the Story” with Priit Pärn

Weekend Workshop “Constructing the Story” with Priit Pärn

To be a creative person we need 2 things, 2 different ways of thinking in the head of this person – entirely free fantasy and very calm, totally analytical way of thinking. What is fantasy? What is creativity? It is possible to develop them? How to turn some very small idea into finished story? How to get rid from first step solutions, how to avoid stereotypes? To know the rules of classical dramaturgy is nice, but it doesn’t help too much in making script for animation, especially if the animation lasts for a few minutes. My method how to learn to make a story is rather different from classical, character – based methods.

Workshop is for registered participants only!



Sa 05/05/2012
10.00-17.00

Su 06/05/2012
10.00-17.00

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A report on Studio Bratři v triku - Jiří Plass

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A report on Studio Bratři v triku

A report on Studio Bratři v triku

At the end of 1942, the fourth year of the German occupation of our republic, the Austrian Richard Diellenz established a studio of animated film in Prague. It was created within the existing AFI T company (Atelier filmového triku – the studio of film effects) and its address was at the American Paramount studios in Štěpánská street. The studio made around two thousand titles before 2002, won hundreds
of awards and captivated millions of spectators and dozens of film experts. After 2002, however, the production began to languish and the studio closed down in 2010. Jiří Plass, a former animator with the Studio Bratři v triku, will talk about the history of the famous studio after the screening of two short documentaries that depict the life and almost seventy years (1942–2011) of work of the studio.

Su 06/05/2012
20.00-21.00

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