ARCHIVING VFX
a research project topreserve evidence of film
digital VFX production
Evanthia Samaras
PhD Candidate
University of Technology, Sydney@CyberKittyFace

FILM: BLACK PANTHER (2018) | STUDIO: MARVEL STUDIOS, WALT DISNEYPICTURES | VFX: LUMA PICTURES | IMAGE SOURCE: www.artofvfx.com/

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AGENDA

NTTW3 LIGHTNING TALKEVANTHIA SAMARAS | 25 OCTOBER 2018

ABOUTFILM VFX

Brief introduction to film VFX and the current
state of archiving in the industry.

ABOUT MYRESEARCH

Introduction to UTS ALA and outline of researchthesis, aims, objectives and approach.

Q&AQuestion time.

PART 1FILM
VISUAL
EFFECTS
NTTW3 LIGHTNING TALKEVANTHIA SAMARAS | 25 OCTOBER 2018
FILM: THE AVENGERS (2012) | STUDIO: MARVEL STUDIOS, WALT DISNEY PICTURES | VFX: ILM | IMAGE SOURCE:
http://cinefex.com/blog/greenscreen/ABOUT THE
VFX INDUSTRY
Visual effects (VFX) are one of the many creative toolsets available tofilmmakers to visually represent concepts, themes, environments,characters and performances to audiences via the big (or small) screen.
VFX work spans from pre to post production. It includes such tasks as
pre-visualisation, tracking, modelling, rigging, texturing and surfacing,lighting, matte painting, effects and digital compositing [1].
The industry is made up of over 500 companies situated all over theworld. VFX companies bid on film VFX work to work on “shots” in film
projects. Much of the industry relies on work from Hollywood film
studio projects.

[1] Jean Chung, H. 2011, 'Global visual effects pipelines: an interview with Hannes Ricklefs', Media Fields
Journal, no. 2, pp. 1–9.

FILM: GRAVITY (2013) | STUDIO: WARNER BROS. | VFX: FRAMESTORE | IMAGE SOURCE:
https://brightside.me/VFX ARCHIVING
CURRENT STATE
VFX practitioners presently view archiving as a process of back up andongoing maintenance; as opposed to a series of managed activities designed
to facilitate the long-term digital preservation of their records.

CHALLENGE #1 Complex
VFX records are diverse in size and format
and are created and stored in vast
volumes on varied mediums

CHALLENGE #2 Multiple agents
VFX records are manifested and controlled
by multiple creators and owners situatedin varied global locations.

Film studios, the content “owners” of many VFX records, do not stipulateconsistent requirements for VFX records delivery and archiving.

CHALLENGE #3 Obsolescence
As a result:• there are no established archival and preservation practices within theVFX industry• the records are currently at high risk of becoming unmanageable and lost

VFX records are destined for obsolescence.
They are produced within evolving
production pipeline environments using
tools, software and hardware that constantly
change from project to project.

over time.
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CASE STUDYFILM: FINDING NEMO (2003) | STUDIO: PIXAR ANIMATION STUDIOS, WALTDISNEY PICTURES | IMAGE SOURCE: https://www.wallpaperup.com/

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DOCTORALRESEARCHPROJECTNTTW3 LIGHTNING TALKEVANTHIA SAMARAS | 25 OCTOBER 2018
FILM: DEADPOOL (2016) | STUDIO: MARVEL STUDIOS, 20TH CENTURY FOX| VFX: DIGITAL DOMAIN | IMAGE
SOURCE: http://www.artofvfx.com/deadpool-alex-wang-vfx-supervisor-digital-domain/

UTS ALAUTS Animal Logic Academy (ALA) is a professionally equipped
studio providing experiential learning in animation andvisualisation, located at the University of Technology Sydney.

CONTAT

It was established to respond directly to the challenges of theVFX, animation and visualisation industries.
UTS ALA works very closely with the VFX industry to provide upto-date knowledge and skills to the academy’s cohort.
Currently I am one of three PhD Candidates at the Academy.

UTS ANIMAL LOGIC ACADEMY STUDIO, UNIVERSITY OF TECHNOLOGY SYDNEY 2018 | IMAGE SOURCE:
https://www.facebook.com/utsanimallogicacademy/

N T T W 3 L I G H T N I N G TA L K | 2 5 O C TO B E R 2 0 1 8 | E VA N T H I A S A M A R A SRESEARCHTHESISThe ongoing digital preservation of significant records (including computer generated imagery) produced bythe film VFX industry requires the application of archival methods—appraisal and selection, preservation,arrangement and description.

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AIMS
01

02

Improve records management

Ensure that significant VFX

and archiving practice withinrecords are digitally preserved

the VFX industry

over time as culturally rich film
VFX archival collections.

FILMS & IMAGE SOURCES: THE AVENGERS (2012), https://www.premiumbeat.com/ | HOW TO TRAIN YOURDRAGON 2 (2014) , https://www.iamag.co/ | THE LEGO MOVIE (2014), https://www.premiumbeat.com/ |THOR: RAGNAROK (2017), http://www.artofvfx.com/ | FILE # 82230551, https://stock.adobe.com/

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010203

Identify records that have

Determine which archival andCo-develop an industry

historical and/or cultural

metadata standards andresource that outlines archival

value and which warrantmodels could be applied (orconcepts and recommended

ongoing retention andcreated) to arrange andapproaches to support

preservation as archives.

describe archived VFX industry

archiving practice in the filmrecords.

VFX industry.

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WHY ARCHIVE VFXRECORDS?
Ensures first-hand evidence

Provides valuable knowledge

Offers historical and cultural insights

about the how, why and whoto support current and future

into general filmmaking, visualof various film projects isVFX productions and process.

storytelling, technical production

preserved and accessible

and digital design practices.

over time.

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Q&ANTTW3 LIGHTNING TALKEVANTHIA SAMARAS | 25 OCTOBER 2018
FILM: ALICE IN WONDERLAND (2010) | STUDIO: WALT DISNEY PICTURES | VFX: SONY PICTURES IMAGEWORKS
IMAGE SOURCE: https://brightside.me/CONTACTTHANKYOUEmail: Evanthia.Samaras@student.uts.edu.au
Twitter: @CyberKittyFace

More on UTS ALA: https://animallogicacademy.uts.edu.au/

FILM: LIFE OF PI (2012) | STUDIO: FOX 2000 PICTURES | VFX: RHYTHM & HUES | IMAGE SOURCE:
https://fxrant.blogspot.com

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