Presented by 5D | Institute in association with the USC School of Cinematic Arts and Autodesk Where: the Ray Stark Family Theater, USC School of Cinematic Arts, Los Angeles (Parking information) When: 7 pm to 10 pm, March 13, 14, 15, 2012 Curators: Alex McDowell (5D Creative Director), Peggy Weil (Adjunct Professor, USC/SCA), François Audouy (5D Founding Committee). Format: A series of three integrated workshop discussions and panel presentations, spanning three evenings. Each night will focus on an aspect of world building by blending case studies on digital design process and outcome, with active discussion for an interactive and informative conversation. Parking   The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles, CA 90007. Parking passes may be purchased for $8.00 at USC Entrance Gate #5, located at the intersection of W. Jefferson Blvd. & McClintock Avenue. We recommend parking in outdoor Lot M or V, or Parking Structure D, at the far end of 34th Street. Please note that Parking Structure D cannot accommodate tall vehicles such as SUVs. Metered street parking is also available along Jefferson Blvd. ×
Overview   5D | FLUX proposes the first in a series of Digital Design Summits for a participant audience of narrative designers, media makers, educators and students, beginning at the USC School of Cinematic Arts in March 2012, to address the new design practice and culture of narrative media in the digital and virtual production space. This unique event will be the first in a series of 5D design summits that address the evolving role of design in narrative media and the new approach to media-making through virtual production and “world building.” Through this summit, the 5D | Institute and USC SCA will frame an exploration into the language and practices of digital design methodologies, applying learning from the core media industries to an interdisciplinary discussion space within and across media. World Building as the new metaphor for the creation and actualizing of the story space in digital narrative media is the theme of this design summit. It addresses narrative design thinking, the iterative and immersive experience of creating new worlds of storytelling. As such, it expresses the full arc of design’s role through narrative media. This summit will unfold over three evening panel discussions. Each panel will be 120 minutes, with audience interaction blended in. All panel discussions will be recorded, and online videos will add to the growing knowledge-base in the 5D archives. The sessions will be mediated by a team of designers and world builders—stimulating a dynamic and information-rich discussion.	Title Partners       Key Partners          Supporting Partners
Breakdown   Suggested line-up. Participants to be confirmed. Day 1 / Tuesday, March 13 INCEPTION imagining and developing the world Day 2 / Wednesday, March 14 PROTOTYPING testing the story space and visualizing the world Day 3 / Thursday, March 15 MANUFACTURING & FINISHING building and experiencing the world Remarks: Tom Wujec (fellow, Autodesk) Remarks: David Morin (consultant, Autodesk / Chair, Joint Technology Committee on Virtual Production) Presentation: “World Building for independent cinema: ‘Upside Down’” Alex McDowell (production designer) Presentation: “Building Worlds in Animation: ‘How To Train Your Dragon’” Pierre Olivier Vincent (production designer), Patrick Hanenberger (production designer) Presentation: “Design for Virtual Production: ‘Real Steel, Alice, Avatar and Tintin’” Andrew Jones (virtual art director) Jeff Wisniewski (virtual art director) Panel: “Inception – Imagining the World” Moderator: Peggy Weil (digital media designer, USC adjunct professor, interactive media) Panelists: Rick Carter (production designer) Rick Jaffa (writer, producer) Tom Wujec (fellow, Autodesk) Angus Wall (editor) Michael Wilkinson (costume designer) Panel: “Prototyping the World and the Narrative” Moderator: Henry Jenkins (media scholar, provost professor, USC) Panelists: Jericca Cleland (CG cinematographer) Jim Bissell (production designer) Alex McDowell (production designer) Tom Meyer (production designer) Panel: “Capturing and Finishing the Story World” Moderator: Mike Fink (VFX supervisor, faculty USC SCA) Panelists: Francois Audouy (production designer) Chris deFaria (Warner Brothers) Ron Frankel (founder, Proof Inc) Habib Zargarpour (creative director of Microsoft Studios)
Presenters & Panelists   Jim Bissell Jim has designed twenty nine films, from 1982’s “E.T. the Extra-Terrestrial,” to last year’s release of “Mission:Impossible-Ghost Protocol”. He has worked with directors Steven Speilberg, John Schlesinger, Joe Johnston, George Clooney and Brad Bird, and has won Emmy and Satellite Awards, been nominated three times by the ADG, once by BAFTA and once by AMPAS. Rick Carter Rick Carter (production designer) won an Academy Award® and a BAFTA Award in for his otherworldly production design on James Cameron’s mega-hit “Avatar.” He has collaborated with Steven Spielberg numerous times, on the films “Lincoln,” “War Horse,” “Munich,” “War of the Worlds,” “A.I. Artificial Intelligence,” “Amistad,” and the blockbusters “Jurassic Park” and its sequel “The Lost World: Jurassic Park.” Like Spielberg, Zemeckis also enjoys continual collaborations with Carter, on such films as “The Polar Express,” “Cast Away,” “What Lies Beneath,” “Death Becomes Her” and “Back to the Future, Parts II and III.” Jericca Cleland An experienced, accredited CG cinematographer, Jericca Cleland designed the filming and staging of critically acclaimed films “Arthur Christmas”, “Finding Nemo”, and “Toy Story 2″. Her development, preproduction, and previsualization studio Twenty One Inc emphasizes collaboration and commitment to strong, unified storytelling. She is currently directing an animated show for teens. Chris deFaria Christopher deFaria oversees the development and production of Visual Effects and Feature Animation for Warner Bros Pictures. Recent projects include the “Harry Potter” films, the “Batman” series, “I Am Legend”, “Where the Wild Things Are”, “Watchmen”, “Sherlock Holmes” (1 & 2), “Sweeney Todd”, “Clash of the Titans”, “The Matrix” trilogy, “Happy Feet 2″ and the upcoming, “Hobbit” (1 & 2). Mike Fink Michael has earned degrees from California State University Northridge, San Francisco Art Institute, and California Institute of the Arts, in an attempt to leave behind a checkered past that included stints as an Army officer, a money manager, and a studio artist and photographer. Michael began working in film on “China Syndrome” in 1977. He “cut his eye teeth” on films such as “Star Trek – The Motion Picture” and “Blade Runner” before becoming a Visual Effects Supervisor on “War Games”, in 1982. He has since worked on over 50 films, including “Buckaroo Banzai”, “Batman Returns” (Academy Award Nomination), “Braveheart”, “Mars Attacks!”, “X-Men”, “X-Men 2″, “Constantine”, “The Golden Compass” (Academy Award), “Tropic Thunder”, “Avatar”, “Tron: Legacy”, “Sucker Punch”, and “Tree of Life”. Ron Frankel Ron Frankel founded Proof, Inc. in 2002 to advance the use of previsualization for feature film production. His recent work employs augmented reality to create live on-set, in-camera visualizations. In addition to his work on films, Ron has used previs to problem solve large-scale architectural installations, to help create immersive environments and to aid in the design of video games. Recent collaborators include Marc Webb, Justin Lin, Zack Snyder, Gary Ross and Michel Gondry. Patrick Hanenberger Patrick Hanenberger was born in Melbourne Australia and raised in Wiesbaden, Germany. He moved to the U.S. to study Industrial and Graphic Design at the University of Michigan and later on Transportation Design at the Art Center College of Design in Pasadena. Today he works as a Production Designer at Dreamworks Animation, Concept Artist for life action films as well as part time college instructor at the Art Center College of Design in Pasadena. Rick Jaffa Rick Jaffa began his career in the mailroom of the William Morris Agency where he eventually became an agent, representing writers and directors. Jaffa’s first collaboration with his wife and partner, Amanda Silver, resulted in “The Hand That Rocks The Cradle.” Most recently, Jaffa & Silver wrote and produced “Rise of the Planet of the Apes”. Henry Jenkins Henry Jenkins is the Provost’s Professor of Communication, Journalism, and Cinematic Arts at USC. He is the author and/or editor of twelve books on various aspects of media and popular culture, including Textual Poachers: Television Fans and Participatory Culture, Hop on Pop: The Politics and Pleasures of Popular Culture and From Barbie to Mortal Kombat: Gender and Computer Games. His newest books include Convergence Culture: Where Old and New Media Collide and Fans, Bloggers and Gamers: Exploring Participatory Culture. He has written for Technology Review, Computer Games, Salon, and The Huffington Post. Andrew Jones Andrew Jones is one of the most experienced art directors on films utilizing virtual production techniques. His innovative work in virtual production design teams includes the films “Oz: The Great and Powerful,” “The Adventures of Tintin,” “Alice in Wonderland,” “Avatar,” “Beowulf,” “Transformers,” “Monster House,” and “The Polar Express.” Tom Meyer Tom Meyer (Production Designer) is currently in pre-production on Shawn Levy’s re-imagining of “Fantastic Voyage,” which is being produced by James Cameron, his company Lightstorm and 20th Century Fox. His most recent collaboration with Levy is near future robot boxing world of “Real Steel”. Meyer’s feature film work includes “Jonah Hex,” starring by Josh Brolin, “Orphan” for producers Joel Silver and Leonardo DiCaprio, the North Afrian sequence for Bryan Singer’s World War II epic “Valkyrie,” “We Are Marshall,” “A Lot Like Love,” “Blue Crush,” “Catch That Kid” and the short film “Whatever We Do,” a 2003 Sundance Film Festival entry produced by Tobey Maguire. His credits as an art director include John Stockwell’s “Crazy/Beautiful,” Christopher McQuarrie’s directorial debut, “The Way of the Gun,” “The Crow: Salvation” and “No Vacancy.” David Morin David Morin (Chair, Joint Technology Subcommittee on Virtual Production & Chair, Autodesk Film CTO Advisory Council) David participated in the early development of motion capture and 3D software at Softimage, as Director of Special Projects at Microsoft, and Vice-President of Special Projects and Content Group at Avid Technology. David later joined Manex Entertainment as President of the MVFX division, a visual effects house. Today David is chairman of the Autodesk Film CTO Advisory Council, a focus group of large studio facilities. He is also chairman of the Virtual Production Committee, a subcommittee of six Hollywood-based organizations. Pierre Olivier Vincent Pierre Olivier Vincent (production designer) is currently a production designer at DreamWorks Animation, where he has worked for the past 13 on creating worlds for many films, including “How to Train Your Dragon,” “Flushed Away,” “Spirit,” and “The Road to El Dorado.” Angus Wall ANGUS WALL is the founder of Rock Paper Scissors (a commercial editorial company), a52 (a VFX boutique), Elastic (a design studio), and Datalab (a data management company for digital film production). Wall recently won the Academy Award® for editing “The Girl with the Dragon Tattoo”. In 2011, he won the Academy Award®, Eddie Award, and BAFTA for editing “The Social Network”, and received nominations for the Academy Award®, Eddie, and BAFTA for his work on “The Curious Case of Benjamin Button”. Amongst many other films, he previously edited David Fincher‘s crime drama about the infamous serial killer, “Zodiac”, and the thriller “Panic Room”. Michael Wilkinson Michael Wilkinson is a costume designer. His recent design work includes Zack Snyder’s “Man of Steel” and “300,” as well as Joe Kosinski’s futuristic action movie “Tron Legacy.” Previously, Wilkinson won the Saturn Award for his designs for Snyder’s widely praised action thriller “Watchmen,” and was nominated for the CDG Award for his contemporary designs seen in the international ensemble drama “Babel.” Other film credits include “Sucker Punch,” “Jonah Hex,” and “Terminator: Salvation.” His theater work includes award-winning costume designs for the Sydney Theater Company, Opera Australia, The Australian Dance Theater and Radio City Hall. Jeffrey Wisniewski Jeffrey Wisniewski is a Virtual Art Director who has worked on the films “Tintin”, “Real Steel”, “Avatar” and “Fantastic Voyage”. He is an internationally acclaimed visual artist working with installation, sculpture and film. His most recent project was a virtual production entitled Battle of the Buddha, a motion capture film installation, curently on view at Patrick Painter Gallery Los Angeles. His work has been widely exhibited in museums and galleries in the United States, Europe and Asia. It has been placed in the collections of The Museum of Modern Art in New York, New York, the Moderna Museet in Stockholm, Sweden, the Museum of Modern Art in Frankfurt, Germany and many others. He is a recipient of the prestigious Deutscher Akademischer Austausch Dienst (DAAD) award for fine arts. Tom Wujec Tom Wujec (Fellow, Autodesk) is a recognized thought-leader and award-winning innovator. Tom works with the Fortune 500 to foster innovation practices at all stages, from strategic and business planning to the design and implementation of advanced digital design tools. He has brought several software applications to market, including Autodesk SketchBook Pro, PortfolioWall, and Maya which won an Academy Award for its contribution to the film industry. Tom’s work has been featured in many international conferences, such as TED, Pop!Tech and the Fortune Innovation Summit. Tom has worked as a creative director, writer and animator. Habib Zargarpour Habib is a Creative Director at Microsoft Studios since 2010. He has over 12 years of experience in visual effects for film and 10 years in the games industry. Nominated for two Academy Awards and winner of two BAFTAs in Visual Effects for his work on “Twister” and “The Perfect Storm” while at Industrial Light & Magic (ILM), his other film projects include 2 Star Trek films, “Spawn”, “Star Wars Episode I”, “The Bourne Identity”, and “Signs”. Habib served as a Senior Art Director at Electronic Arts (EA) from 2002 – 2009 where he worked on “Need for Speed Underground”, “007 Bond Everything or Nothing”, and “Need for Speed Most Wanted” which received a Visual Effects Society (VES) Award in 2006. Zargarpour combines his film and game experience to develop transmedia projects and discover new ways of storytelling using film and game technologies. He is an active member of AMPAS, BAFTA, and a founding member of the Visual Effects Society.   Curators   Francois Audouy Francois Audouy is a production designer and an early adopter of progressive film design tools. A veteran and advocate of immersive design, François was a founding member of the 5D Conference, a ground-breaking narrative media design conference. François recently completed the motion picture “Abraham Lincoln” Vampire Hunter” New Orleans with director Timur Bekmambetov and is currently in pre-production on “The Wolverine” with director James Mangold. Alexander McDowell RDI Alex McDowell is founder and creative director of 5D. One of the most innovative and influential designers working in narrative media, the impact of his ideas extend far beyond his 30-year career in cinema. Currently he is designing “Order of the Seven” at Disney. He recently completed production design for “Man of Steel”, directed by Zack Snyder and produced by Chris Nolan. Peggy Weil Peggy Weil is a digital media designer and artist focused on interactive media and immersive design. She is currently Adjunct Professor at USC School of Cinematic Arts in both Graduate Production and Interactive Media Divisions. lnkall.com
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UX11 Experience Design Forum
in Wellington, New Zealand

FMX 2011 is about to begin!

FMX 2011 2011 May 3–6 Stuttgart, Germany http://www.fmx.de

FMX 2011 is about to begin! FMX has always been at the cutting edge of digital entertainment, bringing together people from animation, effects, games and interactivity. This year we will present on the latest developments including: Visual Arts, Transmedia and Stereoscopy 3D for Games Weta Digital present their theme park ride King Kong 360-3D; Saschka Unseld will present exclusively on Pixar’s upcoming 3D animation feature Cars 2; in addition Global Production hosted by VES; a recent overview of developments in lighting and rendering; the impact of Open Source presented by Dan Candela; ILM’s first animated feature Rango; the changing nature of Visual Effects The King’s Speech presented by Dayne Cowan on Visual Effects; Volker Engel presenting on Anonymous — Roland Emmerich’s latest movie; Thomas Zauner on Hereafter directed by Clint Eastwood and Paul presented by Anders JL Beer. Ahead of the general release in July 2011 we will have an exclusive presentation on Harry Potter and the Deathly Hallows: Part 2. The conference is jam-packed with the Virtual Humans Forum, selected SIGGRAPH and Eurographic Papers, new Commercials, new Chinese Animation and the most influential companies from France and Germany. Participate in Tech Talks, Workshops and Masterclasses, the Trade Floor, the School Campus and the Recruiting Hub. The conference program is online go and check it out! There’s still time to get your ticket by visiting our ticket shop. Follow us on Facebook and Twitter @FMX_Conference

Digital Storytelling:
World Building in a Digital Universe

Image credit: still from Avatar, designed by Rick Carter; courtesy 20th Century Fox.

Friday 2011 April 8 9:45am–7pm James Bridges Theater UCLA School of Theater, Film, and Television Los Angeles, California

Conference site and ticket sales: http://bit.ly/tmediahwood Social media: @transmediahwood on Twitter Facebook

Co-Directors Henry Jenkins Provost’s Professor of Communication, Journalism, and Cinematic Arts Annenberg School of Communication, USC Denise Mann Associate Professor Producers Program, UCLA

Transmedia, Hollywood 2: Visual Culture and Design is a one-day public symposium exploring the role of transmedia franchises in today’s entertainment industries. Transmedia, Hollywood 2 turns the spotlight on media creators, producers and executives and places them in critical dialogue with top researchers from across a wide spectrum of film, media and cultural studies to provide an interdisciplinary summit for the free interchange of insights about how transmedia works and what it means. Co-hosted by Denise Mann and Henry Jenkins, from UCLA and USC, two of the most prominent film schools and media research centers in the nation, Transmedia, Hollywood 2 builds on the foundations established at last year’s Transmedia, Hollywood: S/Telling the Story. This year’s topic: Transmedia, Hollywood: Visual Culture and Design will move from an abstract discussion of transmedia storytelling in all its permutations to a more concrete consideration of what is involved in designing for transmedia.

The Museum of Tomorrow Workshop:
The Future of Man

Breaking the Box:
21st Century Collaboration Challenge

Thursday 2011 March 10
9:30–10:45am

USITT Annual Conference
Charlotte Convention Center
Charlotte, North Carolina

Moderator Panela Leung Narrative/scenic designer 5D founder member Participants Holger Förterer Interactive projections designer, Cirque Du Soleil The MET Opera’s new production of the Ring Cycle Peter Torpey Visual effects artist PhD candidate, MIT Media Lab: Opera of the Future Interactive designer	This unique event is presented by USITT–Scene Design Commission in partnership with 5D | The Future of Immersive Design. Breaking the Box is the sequel to the wildly successful session "The Future of Theatre Minds in Immersive Design" presented in partnership with 5D | The Future of Immersive Design Conference at USITT Kansas City 2010. We put to the test how technology has changed the way we think and work as collaborative artists within narrative design. Participants in the Breaking the Box Collaboration Challenge will present their out-of-the-box projects, showing how narrative collaboration can be utilized in a variety industries. Join our distinguished panel of the most innovative minds leading the way and learn how they are altering the formula of narrative collaboration. USITT homepage http://www.usitt.org/Conference.aspx
About the participants Panela Leung moderator Pan Leung is a narrative designer trained in scenic and costume theatrical design. Her work includes designs and scenic artistry all over the country most recently in the Boston, Massachusetts with The American Repertory Theatre at Harvard and Brandeis University. She received her Bachelor of Science and Bachelor of Art degrees from Northwest Missouri State University, earning a commendation award from the Kennedy Center in Washington D.C. with her design for Rumors by Neil Simon. She has built her theatrical career as a member of theatre companies including Glimmerglass Opera, the Opera Theatre of St. Louis, CLIMB Children’s Theatre in Minneapolis, and The Santa Fe Opera. Her experiences also include film and advertising projects, as an intern under Emmy Award winning production designer, Tom Walsh, on the ABC television show Desperate Housewives, Lexington Scenic in Los Angeles. Pan is also an active member of United States Institute of Theatre Technology, elected as a Director at Large on the national board. Currently she is working at the Entertainment Technology Center at Carnegie Mellon under Executive Producer Don Marinelli.
Holger Förterer http://www.cirquedusoleil.com/en/shows/ka/creators/holger-forterer.aspx http://www.foerterer.com/fluidum/ To call one of Holger Förterer creations a “projection” doesn’t come close to describing the magic he conjures with light. Born in Bochum, Germany, He started graphics programming at the age of eight. He studies computer science at the Universität Karlsruhe. He continued studies of media art at the HfG Karlsruhelectures on interactive and generative graphics. Currently his work includes teaching interactive graphics and programming at the Hochschule für Gestaltung (HfG) Karlsruhe. Holger Förterer does not see himself exclusively or primarily as a technician. “I am midway between art and technology,” he says. “All of my efforts seek to use technology to the point where it becomes art. At the same time, I struggle against technology taking me to the point where it takes over, at the expense of art. Ideas are the most important thing in our work. Man understands ideas, machines don’t. However, if art cannot bring machines to feel emotions, who or what can? I am going to try.”	Peter Torpey http://operaofthefuture.wordpress.com/2010/09/17/meet-the-team-peter-torpey-visual-design Growing up in Phoenix, my time outside of school was occupied by family and creative endeavors. I was always “inventing” or constructing, be it recreations of airplane cockpits in my bedroom or models of castles from television shows. There was no limit to what cardboard, construction paper, and tape could do. These pastimes eventually evolved into a hobby of model railroading. I have had the good fortune of having outstanding instructors throughout my education. The technology laboratory at my middle school provided endless hours of experimentation with structural engineering, mechanical systems, electronics, and robotics using components such as Fischertechnik. That environment offered many opportunities for creative problem solving. During those same years, I began studying the intricacies of computing and cultivated my interest in video production. I love the work that I do in visual effects because it draws from and unifies many of the fields that I have explored. I am fascinated by the commonalities that span my varied interests. Optics, music, nature, and computer science all expose base two arithmetic. I play with light; be it the exposure of a photograph, illuminating a scene on stage, or manipulating pixels. I attempt to understand the physical world in order to create illusions of reality in the form of an expressive painting, a town on a model railroad layout, or a CG model for an effects shot.

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