@fabiogiolito
Fabio Giolito
Why this font is everywhereHow Cooper Black became pop culture’s favorite font. Subscribe to our channel! http://goo.gl/0bsAjO There’s a typeface that has made a resurgence in the last couple of years. It’s appeared on hip hop album covers, food packaging, and advertising. Perhaps you know it from the Garfield comics, Tootsie Roll logo, or the Pet Sounds album cover by the Beach Boys. It's called Cooper Black, and its popularity and ubiquity has never waned in the hundred years since it was first designed. In the video above, Steven Heller and Bethany Heck tell the story of Cooper Black and deconstruct all the reasons it's been pop culture's favorite font for so long. Sources: Design literacy: Understanding graphic design. Steven Heller, 2014. The Book of Oz Cooper: an Appreciation of Oswald Bruce Cooper. Society of Typographic Arts, 1949. Font Review Journal: https://fontreviewjournal.com/cooper/ Fonts In Use: https://fontsinuse.com/typefaces/7357/cooper-black Letterform Archive: http://oa.letterformarchive.org/ Printing Films: http://printingfilms.com/ Museum of Printing: https://museumofprinting.org/ International Advertising and Design Database: https://magazines.iaddb.org/ Archive.org: https://archive.org/details/magazine_rack Cornell University Library Hip hop collection: https://rmc.library.cornell.edu/hiphop/flyers.php Additional sources: Getty Images / Shutterstock / Google Books Vox.com is a news website that helps you cut through the noise and understand what's really driving the events in the headlines. Check out http://www.vox.com. Watch our full video catalog: http://goo.gl/IZONyE Follow Vox on Facebook: http://goo.gl/U2g06o Or Twitter: http://goo.gl/XFrZ5H
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The Virtual Production of The Mandalorian, Season OneA behind the scenes look at the groundbreaking virtual production technology used on The Mandalorian, Season One. Over 50 percent of The Mandalorian Season 1 was filmed using this ground-breaking new methodology, eliminating the need for location shoots entirely. Instead, actors in The Mandalorian performed in an immersive and massive 20’ high by 270-degree semicircular LED video wall and ceiling with a 75’-diameter performance space, where the practical set pieces were combined with digital extensions on the screens. Digital 3D environments created by ILM played back interactively on the LED walls, edited in real-time during the shoot, which allowed for pixel-accurate tracking and perspective-correct 3D imagery rendered at high resolution via systems powered by NVIDIA GPUs. The environments were lit and rendered from the perspective of the camera to provide parallax in real-time, as if the camera were really capturing the physical environment with accurate interactive light on the actors and practical sets, giving showrunner Jon Favreau, executive producer and director Dave Filoni, visual effects supervisor Richard Bluff, and cinematographers Greig Fraser and Barry Baz Idoine, and the episodic directors the ability to make concrete creative choices for visual effects-driven work during photography and achieve real-time in-camera composites on set. The technology and workflow required to make in-camera compositing and effects practical for on-set use combined the ingenuity of partners such as Golem Creations, Fuse, Lux Machina, Profile Studios, and ARRI together with ILM’s StageCraft virtual production filmmaking platform and ultimately the real-time interactivity of the Unreal Engine platform.
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