Mark Lewis (born 1958) is a Canadian artist, best known for his film installations . He represented Canada at the 2009 Venice Biennale .
22-1029: Mark Lewis may refer to: Entertainment [ edit ] Mark Lewis (artist) (born 1958), Canadian artist and film-maker Mark Lewis (storyteller) (1954–2014), American storyteller Mark Lewis (filmmaker) (born 1958), Australian documentary film and television producer Mark Lewis (music producer) , American hard rock/heavy metal music producer Sports [ edit ] Mark Lewis (rugby union, born 1889) (1889–1968), Wales international rugby player Mark Lewis (tennis) (born 1961), New Zealand tennis player Mark Lewis (tight end) (born 1961), National Football League tight end Mark Lewis (baseball) (born 1969), infielder in Major League Baseball Mark Lewis (kicker) (born 1979), Arena Football League placekicker Mark Lewis (beach volleyball) (born 1980), Jamaican beach volleyball player Mark Lewis (announcer) , public address announcer for
44-607: A Governor General's Award in Visual and Media Arts . He lives and works in London, England which he moved to in 1997. He is Professor in Fine Art at Central Saint Martins, University of the Arts London and co-founder, co-director and co-editor of Afterall , a research and publishing project. Rear projection Rear projection ( background projection , process photography , etc.)
66-796: A Mark Lewis Program was held by La Cinémathèque québécoise. His work is in many collections including the National Gallery of Canada ; Museum of Modern Art New York; Musée National d'Art Moderne , Paris; the Centre Pompidou (Paris), the Museo de Arte de São Paulo and the Musée d'art contemporain de Montréal , among others. In 2007, he received the Gershon Iskowitz Prize and the Brit Art Doc Foundation Award. In 2016, he received
88-449: A moving vehicle, who in reality are in a vehicle mock-up on a sound stage . In these cases the motion of the backdrop film and foreground actors and props were often different due to the lack of camera stabilizing in the filming from the moving vehicles used to produce the plate. This was most noticeable as bumps and jarring motions of the background image that would not be duplicated by the actors. A major problem with rear projection use
110-449: A much sharper and more saturated image. Although the technique had been used experimentally for some time, it was during the filming of 2001: A Space Odyssey (1968) that the modern version was fully developed. In this case it was used to avoid costly on-location shots in Africa during the opening scenes of the movie, but the effect was also used throughout the film for a variety of shots into
132-571: Is different from Wikidata All article disambiguation pages All disambiguation pages Mark Lewis (artist) Lewis attended the Harrow College of Art (London) and the Polytechnic of Central London. In the 1980s, he studied with Victor Burgin , and was a friend of Laura Mulvey in 1981. He began his career as a photographer and from 1989 to 1997 lived in Vancouver, becoming part of
154-410: Is one of many in-camera effects cinematic techniques in film production for combining foreground performances with pre-filmed backgrounds. It was widely used for many years in driving scenes, or to show other forms of "distant" background motion. Actors stand in front of a screen while a projector positioned behind the screen casts a reversed image of the background. This requires a large space, as
176-666: The Art Gallery of Ontario which organized Mark Lewis. Canada (2017), the Museo de Arte de São Paulo (MASP) (2020), and at numerous other international venues such as the National Museum of Contemporary Art (Bucharest, Romania) (2005), the Hamburger Kunstverein (2005), Musée d’art Moderne du Grande Duc, Jean (Luxembourg) (2006), BFI Southbank (London) (2007), and at the Van Abbemuseum, Eindhoven, Netherlands (2013). In 2022,
198-655: The National Hockey League's Edmonton Oilers Mark Lewis (cricketer) (born 1987), English cricketer Other [ edit ] Mark Lewis (politician) (born 1957), Australian politician Mark Edward Lewis (born 1954), American historian of ancient China Mark J. Lewis (born 1962), Chief Scientist of the U.S. Air Force Mark A. Lewis (born 1962), Canadian mathematician and biologist Mark E. Lewis (engineer) , American industrial engineer Marc Lewis (born 1951), Canadian psychologist, neuroscientist, and author [REDACTED] Topics referred to by
220-607: The burgeoning photoconceptualism scene of the Vancouver School . In 1991, he produced the documentary Disgraced Monuments with Mulvey. In the mid‑1990s, he began making film-based installations . His first art film was Two Impossible Films (1995). In 1999, he eliminated sound from his film. His work focuses on the technology of film and the different genres which have developed in over 100 years of film history: he makes films that are often short, precise exercises on particular techniques, particularly rear projection (he believes
242-641: The crash of the dropship , as well as for several sequences in Terminator 2: Judgment Day (1991) such as the car escape from the mental hospital and the T-1000 hijacking the police helicopter; Cameron has been described as one of the few people in Hollywood still able to understand and use process photography as an effective technique. The Austin Powers film series (1997–2002) frequently used rear projection to help recreate
SECTION 10
#1732851830975264-476: The feel of old spy movies, while Natural Born Killers (1994) used the technique extensively throughout to emphasize characters' subconscious motivations. Rear projection was conceived long before its actual usage; however, it was only made possible in the 1930s due to three necessary technical developments. The most important was the development of camera and projector motors that could be linked up for synchronization of their shutters, which were developed out of
286-545: The invention of rear projection in late 1920s was when film became modern) and playing film backwards. In 2020, he told an interviewer: The only real technical invention of the cinema is the ability to go backward. In 2009, he represented Canada at the Venice Biennale in Italy in an exhibition curated by Barbara Fischer. He has had solo museum exhibitions at the Musée du Louvre , Paris (2014), The Power Plant , Toronto (2015),
308-436: The projector needs to be placed some distance from the back of the screen. Frequently the background image may initially appear faint and washed out compared to the foreground. The image that is projected can be still or moving, but is always called the plate. One might hear the command "Roll plate" to instruct stage crew to begin projecting. These so-called process shots were widely used to film actors as if they were inside
330-473: The rear projection screen brighter and thus more properly exposed. In 1930, Fox Film Corporation was the first to use the rear projection technique, with their films Liliom and then Just Imagine , and were subsequently awarded a technical Oscar for their work the next year. Shortly after this debut, Farciot Edouart ASC, at Paramount Pictures , refined the technique, starting in 1933, and developed several new methods such as syncing three projectors with
352-484: The same background plate for more even and bright exposure. Linwood Dunn ASC, at RKO Radio Pictures , expanded on this with the use of traveling matte with films like Flying Down to Rio (1933). The first ever full-scale rear projection was created by famed special effects director Eiji Tsuburaya for Arnold Fanck 's German–Japanese film The Daughter of the Samurai . In the late 1940s, David Rawnsley introduced
374-404: The same term This disambiguation page lists articles about people with the same name. If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Mark_Lewis&oldid=1157199302 " Category : Human name disambiguation pages Hidden categories: Short description
396-461: The technique in four minor British films, when it was heavily criticized. Alfred Hitchcock was a master at using process screenshots, mixing them with location shots so that the slight artificiality of the process screen shots does not distract from the action. He used the process to show Cary Grant 's character being attacked by a crop duster plane in North by Northwest and throughout the film, but it
418-461: The unrelated needs of "talking" movies whose timing had to be carefully controlled. Secondly, Eastman Kodak 's introduction of panchromatic film stock in 1928 allowed for the camera to expose the projected background more than orthochromatic stocks, making it look less faint than it did before. Finally, the larger film gauges beginning to emerge in the late 1920s demanded more powerful projection lamps, which were subsequently available for making
440-586: The windows of spacecraft. 2001 also used rear projection to produce computer screen effects. As front projection and bluescreen effects became more widespread and less costly, rear projection has been rendered largely obsolete. Quentin Tarantino used the process for the taxi ride sequence in Pulp Fiction (1994). James Cameron also used rear projection for several special effects shots in Aliens (1986), including
462-466: Was criticized when he used it extensively in Marnie . Fantasy filmmaker Ray Harryhausen pioneered a variation of rear projection in the 1950s and 1960s with Dynamation, whereby the rear screen was placed on a miniature set along with stop-motion creatures. Harryhausen figured out a way to synchronize the movement of the miniature figures with the background projection as a way to insert live-action humans in
SECTION 20
#1732851830975484-413: Was that the image projected on the screen was always slightly less crisp than the action in front of it, an effect which was especially noticeable in sequences where footage with rear projection alternates with non-projection shots. A major advance over rear projection is front projection , which uses a special screen material to allow the plate to be projected from the front of the screen. This results in
#974025