The Digital Technology of Visual Effects and its Impact on Egyptian Film | ||
| International Design Journal | ||
| Article 5, Volume 12, Issue 5 - Serial Number 48, September and October 2022, Pages 51-56 PDF (1.25 M) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/idj.2022.260302 | ||
| Author | ||
| Manar Wagih Mohamed Said Sabre | ||
| Assistant Lecturer, Photography, Cinema & TV Department, Higher Institute of Applied Arts, Fifth Settlement, Cairo, | ||
| Abstract | ||
| The pioneers of hoaxes appeared in the cinematic field, as they laid down the basic principles of world cinema, which then became the main backbone of a completely independent branch in the manufacture of films based on visual effects and cinematic tricks and the employment of photography, montage and directing. A pioneer of this art also appeared in Egypt, the artist Niazi Mustafa Which laid the foundations of influences. Hence the beginning of the Egyptian cinema’s knowledge of special effects, as it is an alternative to creating an atmosphere that we cannot actually record. Thus, special effects have contributed to cinematography over the years and added an expression of great value in the film industry, and over time it was possible to review the capabilities of visual effects through slow presentation. The rapid, fading, gradual, blending, and early masking techniques that paved the way for the use of the Matting Technique. Simple effects with a camera differ from complex effects with a computer. With the advent of advanced technology, it has greatly contributed to improving the visual effects within the film. Some companies have developed tools and programs used to achieve credibility. They have also helped filmmakers to embody their visions and write them on the screen without technological restrictions. Both the camera and the computer have been combined in order to make the required movements. With the same camera angles and path, which saves a huge amount of time in visualization and animation, the backgrounds designed with live animation have been merged. | ||
| Keywords | ||
| Cinematic Tracks; Stop Motion; Live Action; Cache Et Contre Cachés | ||
| References | ||
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1- Ahmed El-Hadary: The History of Cinema in Egypt, Cairo Cinema Club, 1989. 2- Jean Al-Kassan: Cinema in the Arab World, The National Council for Culture, Arts and Literature, Kuwait, 1982. 3- Raouf Tawfik: 50 years since the birth of Egyptian cinema, Doha Magazine 1977. 4- Said Shimi: Tricks and Special Effects for the Egyptian Film, Part One, The General Authority for Cultural Palaces, 2002. 5- Samir Farid: The Public Sector in Egyptian Cinema, Syrian Knowledge Magazine - Issue 135, 1973. 6- Ali Abu Shadi: Chronicles of Egyptian Cinema, Egyptian General Book Organization, Cairo, 2004 AD. 7. Brian McKiernan: the revolution in cinematography, postproduction and distribution- focal Press, New York, 2002. 8- David Stump: Digital Cinematography - Fundamentals tools, Techniques & Workflows, Focal Press, U.S.A, 2014 9- Eran Dinar: The Filmmaker’s Guide to Visual Effects, The Art and Techniques of VFX for Directors, Producers, Editors and Cinematographers, A Focal Press Book-New York & London-2017. 10- Paul Wheeler: High Definition & 24P Cinematography, Focal Press London, 2003. 11- https://journals.ekb.eg/article_151244.html 12- https://www.facebook.com/thecrewpost/videos/2652345671567530/ 13- https://www.limaza.com/ 14- https://www.youtube.com/watch?v=5uSYlljE4lE | ||
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