CBC Curio offers streaming video and audio resource. Students and teachers can find and explore CBC/Radio-Canada content that has been carefully selected for its educational value and is available in teaching-friendly formats.Content is available in both French and English.

This course replaces the former CPT; Computer Production Technology course.
A Kindersley Composite School Student recently won second place in the WorkSafe Saskatchewan 2012 Youth Video Contest. The contest is an initiative by WorkSafe Saskatchewan to raise awareness and knowledge among youth about workplace health and safety issues. Students from across Saskatchewan were invited to submit an original 3-minute video on workplace safety.
A WorkSafe Saskatchewan committee adjudicated nominations based on the students’ creativity and originality in story development, production value, video effects and the video’s overall workplace health and safety message.
Grade 12 student, Vanessa Klassen took second place with her video “Life is Not a Video Game”, that was submitted by teacher Lisa Padberg. As the second place winner she receives $700 and KCS will receive $1000.00. The Saskatchewan Workers’ Compensation Board will present the student and school prizes in June.

Saskatchewan statistics indicate that youth (aged 15-24) are 20 per cent to 30 per cent more likely to have an injury than workers of any other age are. WorkSafe Saskatchewan’s youth strategy is to educate and influence the health and safety beliefs and behaviours of youth to achieve a reduction in injuries.
2013 video contest information will be available in August.

For more information, visit: http://www.worksafesask.ca/

A behind the scenes look at the groundbreaking virtual production technology used on The Mandalorian, Season One. Over 50 percent of The Mandalorian Season 1

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.