Notes:
A “Synthespian” is a term used to refer to a computer-generated image of a film actor. These images are often used in place of the real actor when shooting special effects or stunts that are too risky or complex for the actor to perform. Synthespians can be created using a variety of different technologies, such as motion capture, computer animation, and 3D modeling.
Synthespians are often used to create realistic-looking and highly detailed representations of actors that can be integrated into a film or television show. They can be used to create entire scenes or sequences that would be impossible or impractical to shoot with real actors, such as scenes involving space travel or fantastical creatures. Additionally, Synthespians can be used to enhance existing footage of actors, such as by adding digital makeup or special effects.
References:
See also:
100 Best Virtual Production Videos | FACS (Facial Action Coding System) & Virtual Humans 2018 | Virtual Actors
Performance, labor, and stardom in the era of the synthespian
M Desjardins – Production Studies, The Sequel!, 2015 – taylorfrancis.com
In 2008, John Caldwell argued that systematic struggles over control determine contemporary media authorship, as they did in the studio era of film production. However, the increased competition and the blurring of labor categories in both production and …
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The screen is the material and imaginative interface where biology meets technology. It is the nexus between science and fiction, where technological and ethical concerns surrounding synthespians, representations of replicants, and manifestations of synthetic …
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J Stadler – Projections, 2019 – berghahnjournals.com
The screen is the material and imaginative interface where biology meets technology. It is the nexus between science and fiction, where technological and ethical concerns surrounding synthespians, representations of replicants, and manifestations of synthetic …
Making Believe: Screen Performance and Special Effects in Popular Cinema
L Bode – 2017 – books.google.com
… The Specter of the Synthespian In the 1990s until the early 2000s, the computer-generated actor or syn- thespian seemed to … flesh and blood actors could be replaced by cheap, malleable, and obedient digital performers.23 As of the mid-2010s synthespians have not …
The post-human future of brands
RV Kozinets – Strong brands, strong relationships, 2015 – books.google.com
… a congeries of software agents, the creation of information-designers, she is akin to what I believe they call a ‘synthespian,’in Hollywood”(Gibson 1997: 21). Gibson does not invent the word or concept here, but borrows this word from others. In fact, synthespians already exist …
Conclusion: Once More Around the Blockbuster
D Smith-Rowsey – Blockbuster Performances, 2018 – Springer
… Among Smith-Rowsey’s suggestions for future research: work on “blockbuster performances” in musicals, comedies, and animated films, as well as more work on so-called “synthespians.”. Download chapter PDF. Performances carry blockbusters …
A Mirror Image of Ourself’? The Technological Uncanny and the Representation of the Body in Early and Digital Cinema
FA Kamm – 2015 – kar.kent.ac.uk
… [synthespians] a really silly idea … No matter how good it gets, it will always be animation’ (Jones, 2001, 129). It should also be qualified that in highlighting Final 7 Another example of Aki Ross crossing the boundary as a synthespian into other popular media outlets for stars is …
Flickers of Film: Nostalgia in the Time of Digital Cinema by Jason Sperb
PC Kunze – The Velvet Light Trap, 2017 – muse.jhu.edu
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HJ Chung – Visual Studies, 2015 – Taylor & Francis
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I am Iron Man’: the Marvel Cinematic Universe and celeactor labour
W Koh – Celebrity Studies, 2014 – Taylor & Francis
… Rojek’s work exists alongside related research on the rise of the virtual celebrity, or ‘synthespian’ (Creed 2003, p. 159 … She considers synthespians as a natural evolution of the contemporary era’s mediated celebrity culture, where the body of the star must necessarily function as …
Digital cinemas
S Cubitt – The Routledge Companion to World Cinema, 2017 – eprints.goldsmiths.ac.uk
… Stunts still require stunt artists; animals still require wranglers; even synthespians (digital actors like Gollum in The Lord of the Rings [Peter Jackson, 2002-4]: see King 2011; Prince 2012: 112-157) rely on specialist performances by live actors …
Self-Immolation by Technology’: Jean Baudrillard and the Posthuman in Film and Television
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… You were booed off the stage.’ However, who needs humans when, as Aleno claims, he has a computer program which can create ‘synthespians’ … Taransky can now use a computer-generated ‘synthespian’ to replace the movie’s leading actress …
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Page 193. Chapter Ten “DEEPEST ECSTASY” MEETS CINEMAS SOCIAL SUBJECTS: THEORIZING THE SCREEN STAR Mary R. Desjardins Film stars—performers whose names, likenesses, biographies and appearances …
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… the CG Actor. Keywords. Digital humans Uncanny valley Green screen acting Photorealistic CG Actors 3-D animation Virtual actors Synthespian. 1 Introduction and background to the study. World Entertainment News Network …
Modeling Behavior
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… This chapter uses a variety of these terms to label different aspects or instantiations of HBR in computer software. Artificial intelligence (AI). Synthespians. Synthetic forces. Semi-automated forces. Computer-generated forces. Intelligent forces. Agents. Computer-generated actors …
The Reality of Fantasy: Visual Effects as Fantasmatic Supplement in Game of Thrones (2011-)
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Superhero Synergies: Comic Book Characters Go Digital ed. by James N. Gilmore and Matthias Stork
LE Felschow – Cinema Journal, 2015 – muse.jhu.edu
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… Download chapter PDF. Barry King has discussed how technology has transformed the industrial production of the star image in the digital era, shifting the ground of performance with the rise of ‘photo-realistic synthespians’ as seen in films such as Avatar (Cameron, 2009) …
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A Konkle – Film & History: An Interdisciplinary Journal, 2016 – muse.jhu.edu
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C Cornea – Genre and performance, 2017 – manchesterhive.com
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Production studies, the Sequel!: cultural studies of global media industries
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… to ‘Insurgent Crowd-Sourcing’” xvii I. Tools of the Trade 1 1 I Like My Bots Like I Like My People: Weird, Mixed, Always Acting 3 Chris Peterson 2 Performance, Labor, and Stardom in the Era of the Synthespian 11 Mary … Those products range from bots, to props, to synthespians …
Animated personalities: cartoon characters and stardom in American theatrical shorts: by David McGowan, Austin, University of Texas Press, 2019, 328 pp., $34.95 …
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S Bissonnette – 2019 – taylorfrancis.com
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N Giffney – The Ashgate Research Companion to Queer Theory, 2016 – taylorfrancis.com
… human)’ (2003, 41). When I say nonhuman I mean two things: firstly, my concern is with synthespians or virtual actors: ‘computer-generated images enacting … parts … historically played by real-actors’ (Creed 2000, 79). Secondly, I …
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J Sperb – 2015 – books.google.com
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T Evans – 2016 – content.taylorfrancis.com
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N Majumdar – Framework, 2017 – JSTOR
… 17 Though the film’s publicity downplayed digital alteration in favor of the innovative work of global makeup artist Greg Cannom and the five to six hours of makeup work each shoot involved, it was the impression of Gaurav’s digital, malleable, and even synthespian qualities that …
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F Stephens – James Bond Uncovered, 2018 – Springer
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Digital Character Development: Theory and Practice
R O’Neill – 2015 – taylorfrancis.com
Page 1. Page 2. DIGITAL CHARACTER DEVELOPMENT THEORY AND PRACTICE SECOND EDITION Page 3. This page intentionally left blank Page 4. DIGITAL CHARACTER DEVELOPMENT THEORY AND PRACTICE SECOND EDITION ROB O’NEILL …
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C Vasseleu – digital light, 2015 – oapen.org
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D McGowan – 2019 – books.google.com
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… enabled filmmaking. However, this subjection does not represent the diminish- ment of contemporary acting; the crafting of so-called synthespians does not “replace” the performance craft developed in old media forms. Rather …
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Z Amani – repository.uinjkt.ac.id
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… 40 Archives of Design Research 2015. 05. vol 28. no2 References 1 Aldred, J. (2011). From synthespian to avatar: re-framing the digital human in Final fantasy and The polar express. Mediascape Winter. Accessed January, 10, 2013. 2 Baumgartner, H., & Homburg, C. (1996) …
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… 2007. Sex at the Margins: Migration, Labour Markets and the Rescue Industry. London: Zed Books. Aldred, Jessica. 2011.“From Synthespian to Avatar: Re-framing the Digital Human in Final Fantasy and The Polar Express.” Mediascape. Accessed Janu- ary 10, 2013. www. tft …
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NA Agee – 2016 – search.proquest.com
Page 1. ANIMATING COMPOSITION: 3D COMPUTER-GENERATED IMAGING & TECHNICAL COMMUNICATION CLASSES NIKKI A. AGEE Doctoral Program in Rhetoric and Writing Studies APPROVED: Beth Brunk-Chavez, PhD, Chair Lucia Dura, PhD Vince Burke, MFA …
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P Turner, R Hetherington, S Turner, M Kosek – Digital Creativity, 2015 – Taylor & Francis
Page 1. The limits of pretending Phil Turner, Richard Hetherington, Susan Turner and Maggie Kosek School of Computing, Edinburgh Napier University p.turner@napier.ac.uk Abstract We propose that pretending is a cognitive …
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JN Gilmore – Mediascape–UCLA’s, 2014 – tft.ucla.edu
… 34. For more information on what Dan North has called the synthespian, or the computer-generated actor, see: Dan Norrth, Performing Illusions: Cinema, Special Effects, and the Virtual Actor (London: Wallflower Press, 2008). 35 …
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Page 1. www.IndianJournals.com Members Copy, Not for Commercial Sale Downloaded From IP – 66.249.64.111 on dated 24-Sep-2019 ZENITH International Journal of Business Economics & Management Research …
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R Hetherington – Proceedings of the Mulitimedia, Interaction, Design and …, 2015 – dl.acm.org
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E Smith – 2017 – ourarchive.otago.ac.nz
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TH Conner – 2014 – indigo.uic.edu
… congeries of software agents, the creation of information-designers. She is akin to what I believe they call a ‘synthespian,’ in Hollywood” (W. Gibson, 1996, p. 121). Such performers are “software agents — eigen-heads, their features algorithmically derived …
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… 6 This is a process of variation between persona as an endogenous projection of identity based on technique and persona as technologically mediated projection that is exoge- nous to the person of the actor and anticipates the synthespian an actor not connected, or with only a …
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A Emergence – The Oxford Handbook of Screendance Studies, 2016 – books.google.com
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Virtual Mayberry: Ritual, Technology, and an Imagined Community
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Page 1. 158 JPF&T—Journal of Popular Film and Television Ritual, Technology, and an Imagined Community ABSTRACT: This study traces the long-term impact of the 1960s television series The Andy Griffith Show. The analysis …
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DL Draker – 2018 – dspace.library.uvic.ca
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J Roscoe, C Hight – Faking it, 2018 – manchesterhive.com
Jump to Content Jump to Main Navigation …
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D North, B Rehak, MS Duffy – 2015 – books.google.com
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The Cinema of Things: Globalization and the Posthuman Object
E Ezra – 2017 – books.google.com
Page 1. | | | | | OF THINGS | º GlobClizCfion Cnd ?he . Posthumon Object º º º º A * – — . º º º º 1. º s – * – * | Elizobeth Ezro | BLOOMSBURY Page 2. The Cinema of Things Page 3. ii Page 4. The Cinema of Things Globalization …
Television Music
N Coates – A Companion to the History of American Broadcasting, 2018 – books.google.com
Page 329. 321 15 Television Music Norma Coates Televised moments structure the history of post?Second World War popular music. Elvis Presley’s appearances on television in 1956 and 1957; the Beatles’ first appearance …
Drone Age Cinema: Action Film and Sensory Assault
SL Christiansen – 2016 – books.google.com
Page 1. s iº” |||| º º Page 2. Steen Ledet Christiansen is Associate Professor of English at Aalborg University, Denmark. His research focuses on popular visual culture, particularly film and the burgeoning field of post- cinema …
Media convergence in animation: an analysis of aesthetic uniformity
F Günde? – 2017 – repository.bilkent.edu.tr
Page 1. MEDIA CONVERGENCE IN ANIMATION: AN ANALYSIS OF AESTHETIC UNIFORMITY A Master’s Thesis by FER?DUN GÜNDE? Department of Communication and Design ?hsan Do?ramac? Bilkent University Ankara January 2017 Page 2. Page 3. dudakpay?’na Page 4 …
Doubling the duality: a theoretical and practical investigation into materiality and embodiment of meaning in the integration of live action and animation
FLY Lin – 2014 – books.google.com
Page 1. Doubling the Duality A Theoretical and Practical Investigation into Materiality and Embodiment of Meaning in the Integration of Live ACtion and Animation FAB|A LING-YUAN LIN Page 2. Doubling the Duality Page 3. Page 4 …
Sequels and SAMs: Re-contextualized Media and Affective Memory
B Rogers – 2018 – pdfs.semanticscholar.org
Page 1. Kennesaw State University DigitalCommons@Kennesaw State University Master of Arts in American Studies Capstones Interdisciplinary Studies Department Spring 5-7-2018 Sequels and SAMs: Re-contextualized Media and Affective Memory Ben Rogers …
John Lasseter
R Neupert – 2016 – books.google.com
Page 1. CONTEMPORARYFILMDIREC TORS John Lasseter Richard Neupert Page 2. John Lasseter Page 3. Page 4. Contemporary Film Directors Edited by Justus Nieland and Jennifer Fay The Contemporary Film Directors …
An Invention Without a Future: Essays on Cinema
J Naremore – 2014 – books.google.com
Page 1. An Invention without a Future 9780520279735_PRINT.indd i 9780520279735_PRINT.indd i 14/11/13 1:52 PM 14/11/13 1:52 PM Page 2. by james naremore The World without a Self: Virginia Woolf and the Novel Filmguide …
Science fiction and the prediction of the future: Essays on foresight and fallacy
G Westfahl, WK Yuen – 2014 – books.google.com
Page 1. Critical Explorations in Science Fiction and Fantasy, 27 + Science Ficliun and the Predicliun M lhe Fulure ESSAYS 0n FURESIGHT and FALLACY Edited by GARY WESTFAHL WUNB KIN YUEN and AMY KlT-SZE EHAN …
Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics
JA Turnock – 2015 – books.google.com
Page 1. Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics JULIE A. TURNOCK Page 2. Plastic Reality FILM AND CULTURE John Belton, Editor Page 3. FILM AND CULTURE A series of Columbia …
A study of how the technological advancements in capturing believable facial emotion in Computer Generated (CG) characters in film has facilitated crossing …
C Louis – 2014 – core.ac.uk
Page 1. A Study of How the Technological Advancements in Capturing Believable Facial Emotion in Computer Generated (CG) Characters in Film has Facilitated Crossing the Uncanny Valley A Research Report submitted in …
Seeing the Spell: Baroque, Decadence, and a Cinema of Digital-Animated Liberation
MD Morton – 2016 – yorkspace.library.yorku.ca
Page 1. SEEING THE SPELL: BAROQUE, DECADENCE, AND A CINEMA OF DIGITAL- ANIMATED LIBERATION MALCOLM MORTON A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS …
Character Body Expression in 3D Computer Animation: a New Posing Approach.
JAS Fonseca – 2015 – eprints.bournemouth.ac.uk
Page 1. Character Body Expression in 3D Computer Animation: a New Posing Approach by José António dos Santos Fonseca A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy …