Eva Samaras
Biographic Data
| ID | 9565357 |
|---|---|
| NAME | Eva Samaras |
| GIVEN NAMES | Eva |
| FAMILY NAME | Samaras |
| SIGNATURE | SAMARAS E |
| AFFILIATIONS | University of Technology Sydney |
| ORCID | 0000-0001-5683-722X |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Research and Practice – A Conversation
Since the mid-twentieth century, Australia has been widely recognised for innovative approaches to the practice and theory of archives and records, from the Australian Series System to the Records Continuum Model and beyond. But the relationship between archival work, records management, and contemporary theory and research is not always clear, nor is it unproblematic. Mike Jones and Rachel Tropea invited a group of colleagues to explore these id…
Archiving visual effects
Digital visual effects emerged onto cinema screens during the mid-20th century and have now become an essential feature of contemporary film and television production. Notwithstanding the rise and prominence of visual effects in the telecinematic discourse as a key visual storytelling tool, there is currently a visual effects gap in audiovisual archival collections, and a digital void in the documented memory of film and television. Why are there…
Off-Lining to Tape Is Not Archiving
This paper examines digital asset archiving and preservation practice in the visual effects (VFX) industry. The authors briefly summarize media archaeology theory and provide an overview of how VFX studios presently archive project assets and records, based on case study and interview research conducted with expert VFX practitioners from leading international studios. In addition, the authors propose that current practice could be improved by ado…
No prominent works on this page.
Off-Lining to Tape Is Not Archiving
This paper examines digital asset archiving and preservation practice in the visual effects (VFX) industry. The authors briefly summarize media archaeology theory and provide an overview of how VFX studios presently archive project assets and records, based on case study and interview research conducted with expert VFX practitioners from leading international studios. In addition, the authors propose that current practice could be improved by ado…
Archiving visual effects
Digital visual effects emerged onto cinema screens during the mid-20th century and have now become an essential feature of contemporary film and television production. Notwithstanding the rise and prominence of visual effects in the telecinematic discourse as a key visual storytelling tool, there is currently a visual effects gap in audiovisual archival collections, and a digital void in the documented memory of film and television. Why are there…
Research and Practice – A Conversation
Since the mid-twentieth century, Australia has been widely recognised for innovative approaches to the practice and theory of archives and records, from the Australian Series System to the Records Continuum Model and beyond. But the relationship between archival work, records management, and contemporary theory and research is not always clear, nor is it unproblematic. Mike Jones and Rachel Tropea invited a group of colleagues to explore these id…
Digital and Traditional Archives Management (3 works) · Art (2 works) · Cinema and Media Studies (2 works) · Computer Science (2 works) · Multimedia (2 works) · Visual arts (2 works) · Art history (1 works) · Asset (computer security) (1 works) · Biography (1 works) · Communication (1 works)