英语翻译Beckett developed a unique technique that involved creating a loop of images that continued to evolve with each loop cycle.In this way a series of drawings,say 12,would be shot,modified and re-shot[1].So while the final artefacts of the f

英语翻译Beckett developed a unique technique that involved creating a loop of images that continued to evolve with each loop cycle.In this way a series of drawings,say 12,would be shot,modified and re-shot[1].So while the final artefacts of the f
英语翻译
Beckett developed a unique technique that involved creating a loop of images that continued to evolve with each loop cycle.In this way a series of drawings,say 12,would be shot,modified and re-shot[1].So while the final artefacts of the film would amount to only a handful of images,the film itself appears as a growing and expanding abstract loop.This was augmented with phasing of the imagery,changing the area of view,and other sophisticated uses of the optical printer.
He attended the California Institute of the Arts from 1970-75 as part of the first class of the Experimental Animation program.[2] While there,he learned from instructors such as Jules Engel and Pat O'Neill,and worked alongside animators including Kathy Rose and Sky David..
In 1974 he began his independent animation company,Infinite Animation,where he continued to produce his own work.In addition to his animation,he taught at CalArts and worked in the film industry,most notably at ILM,as head of Animation and Rotoscoping on Star Wars
His work has been restored by the iotaCenter and the Academy Film Archive.His films are distributed by Canyon Cinema
Film Screening and PanelInfinite Animation:The Work of Adam Beckett
August 17,2009,8pm( 2009年8月17日晚上8点),
Linwood Dunn Theater,Hollywood杜恩Linwood好莱坞剧场
Adam Beckett left an indelible mark on the world of animation and experimental filmmaking during his brief but noteworthy career.To ensure Beckett’s legacy,the iotaCenter has initiated the Adam Beckett Project to preserve his films and to support research on his life's
work
Ever since Adam Beckett’s family placed his film material on deposit with iota in 2004,Mark Toscano and Amy Sloper of The Academy Film Archive (left) have been inventorying and inspecting the collection,and preparing the films for preservation.In April 2006,iota was awarded a preservation grant by the NFPF for five of the titles and the lab work began.
All of this effort culminated in a retrospective of Beckett’s work at The National Gallery of Art on August 26th,2006.Professor Turner introduced the program and presented some of the images she had unearthed from her years of research.
This retrospective screened in Los Angeles for the first time on Sunday,October 8th,2006,at the REDCAT as part of a series of highlights from MoMA’s“Tomorrowland” show.
Ms.Turner again introduced the program.Since LA is Beckett’s hometown and home to Calarts,many of his friends and family members were in attendance.

英语翻译Beckett developed a unique technique that involved creating a loop of images that continued to evolve with each loop cycle.In this way a series of drawings,say 12,would be shot,modified and re-shot[1].So while the final artefacts of the f
贝克特开发了一种独特的技术,参与创建的图像的继续发展,每个循环周期的循环.在这样一个系列的图纸,说12,就会被枪毙,修改和重新拍摄[1].因此,尽管最后的电影文物就等于只有极少数的图片,电影本身表现为抽象的不断增加和扩大循环.这是与逐步增强的图像,改变了景区,以及打印机等精密光学用途.
从1970至1975年他参加在美国加州艺术学院,作为该计划的第一实验动画类的一部分.尽管有[2],他学会了从诸如朱恩格尔和帕特奥尼尔教官,动画师一起工作,包括凯西大卫罗斯和天空..
1974年,他开始了他的独立动画公司,无限动画,在那里他继续制作他自己的工作.除了他的动画,他曾任教于加州艺术学院和电影业最显着的ILM的工作,如动画和rotoscoping头部星球大战
他的作品已经恢复了iotaCenter和香港演艺学院电影资料馆.他的电影发行,电影峡谷
电影放映和PanelInfinite动画：亚当贝克特工作
09年8月17日,晚上8点（2009年8月17日晚上8点）,
林伍德邓恩剧场,好莱坞杜恩林伍德好莱坞剧场
亚当贝克特在他短暂的离开,但值得注意的职业生涯上的动画与实验电影世界不可磨灭的印记.为了确保贝克特的遗产,iotaCenter启动了亚当贝克特项目维护他的电影,并支持他的生命研究的
工作
自从亚当贝克特的家庭存放丝毫的薄膜材料,2004年,马克托斯卡诺和艾米斯卢珀香港演艺学院电影资料馆（左）已经清点和检查的收集,保存和准备的电影存款.2006年4月,被授予丝毫的标题和实验室的工作给予五个一开始保存的NFPF.
所有在贝克特的作品回顾展最终在国家艺术画廊于2006年8月26日这项工作.特纳教授介绍了该方案,并介绍了图像的她从她多年的研究发现了一些.
这次回顾展放映在洛杉矶上周日,2006年10月8日首次在REDCAT,作为一个从现代艺术博物馆的“明日世界”展示的亮点系列的一部分.
特纳女士再次介绍了该方案.由于洛杉矶是贝克特的家乡和家乡加州艺术学院,他的朋友和家人的许多成员出席了会议.