Toon Boom News Spring 2013.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Toon Boom News Spring 2013.Pdf Channeling Creativity Towards Infi nity Toon Boom takes great pride in developing technologies that enable anyone to express their ideas. When customer feedback praises how comfortable they feel with the products, they’re thrilled to focus on what matters—expressing themselves visually. As our modern lifestyle revolves so intensely around technology, Toon Boom strives to provide the best creative experience possible for all, on both desktops and tablets. While the team is globetrotting the world, the company moved to a new location, right in the Plateau area of Montreal. The Plateau is one of the most vibrant and dynamic districts with an abundance of multicultural entrepreneurs and businesses. We look forward to welcoming you here! TRADE SHOWS Toon Boom remains rooted in the fi eld, with speaking front, after attending Rio Content Market 2013 (Febru- opportunities in Canada and road trips planned to Asia, ary 20–22), Cartoon Movie (March 6–8), and AQUOPS as well as Eastern and Western Europe. Joan Vogele- (March 26–28), the team will attend MIPTV (Booth C-109) sang was a guest speaker at the National Capital India in Cannes, France (April 8–11), ExpoPixel in Bologna, Italy Forum in Ottawa and participated at the Doing Business (April 15–17), and eLearning Africa in Windhoek, Namibia in India seminar at HEC Montreal. On the industry event (May 29–31, 2013). We hope to see you soon! AWARDS On February 2, 2013, the International Animated Film Society, ASIFA-Hollywood, granted the Ub Iwerks Award for the Toon Boom Pipeline at the 40th Annual Annie Awards™. As part of the juried awards category, the Ub Iwerks Award recognizes the technical advancements that make a signifi cant impact on the art or industry of anima- tion, enabling freelancers and studios to collaborate on large productions. The gala event gave the Toon Boom team a wonder- ful opportunity to mingle and enjoy the moment with its customers and friends in the animation industry. From left to right: Diedrich Bader (presenter), Francisco Del Cueto, Marisa Labrador, Joan Vogelesang, Lilly Vogelesang, Karina Bessoudo toonboom.com/professionals and Robert Dancik. This issue’s cover courtesy of BENT Image Lab Toon Boom Animation Inc. 4200 St.Laurent Blvd, Suite 1020 Montreal, Quebec, Canada H2W 2R2 +1 514 278 8666 toonboom.com A Corus® Entertainment Inc. Company Printed in Canada 2 Toon Boom News SPRING 2013 In View With Larry King Focuses On 21st Century Education Featuring Toon Boom Aired on Discovery Channel on January 28, 2013, the In View with Larry King report on 21st century education illustrated the great benefi ts of using Toon Boom’s creative technology in the classroom. As a test case, Toon Boom chose Bluffton Elementary School, South Caro- lina, for their students’ impressive achievements in a very short time, right after implementing the Flip Boom line into their core curriculum. Indeed, during the fi rst year of implementation, this innovative approach translated into an increase of up to 15% in overall marks throughout the core curriculum, maintaining a much higher performance than the state level. There was also an over 40% increase in science, 36% in math, 12% in social studies, and 26% in writing amongst African-American students. Integrating the arts into education goes far beyond teaching creative skills; it amplifi es students’ learning experience and opens their horizon to become whatever they aspire to be. During the 2013 Oscars ceremony, First Lady Michelle Obama clearly stated that message which positions Toon Boom’s unique offerings for education as a natural companion to reach this goal. Watch all videos at toonboom.com/bluffton EDUCATION 2013 started off with two major announcements related to Toon Boom’s dedication to education. First, Toon Boom has recently joined one of ICTC’s youth and education initiative programs, the Arts Schools Network (ASN) in Focus on IT (FIT). At a time when youth unemployment order to collaboratively promote the is high, FIT provides the necessary building blocks for an benefi ts of using arts as a medium of innovative learning experience and encourages students communication to teach core curriculum to acquire 21st century skills in business, technology, and while developing students’ creativity. communications while completing their secondary school During the Spring of 2013, Toon Boom diploma. hosted a series of free 45-minute webinars on Animating Meeting the FIT standards is a testament of Toon Boom the Core and The Power of Digital Storytelling. Toon Boom Studio’s signifi cant pedagogic impact not only in Canada, will also attend ASN’s Annual Conference in New York in but also in the United States and beyond. October 2103. Their community of art leaders, schools, ICTC President and CEO Namir and organizations from around the world is very open to Anani, commented, “It is through the using creative technologies to teach all subjects, engage educational innovation of organizations, their students, and stimulate their interests. such as Toon Boom, that our Cana- dian students have access to fi rst-class artsschoolsnetwork.org curriculum that prepares Canadians for the ICT jobs of the future. Toon Boom Studio engages Second, Canada’s Information and Communications students in a meaningful way, exposing them to the Technology Council (ICTC) has recognized Toon Boom possibility of working in the interactive media fi eld, and Studio and its curriculum as one of the best vehicles to teach preparing them for the workforce through instilling critical 21st century business and technology skills to Canadian business and technology skills in them.” s t u d e n t s . T o o n B o o m h a s b e e n a p p r o v e d a s a n o f fi c i a l e d u c a - This great accomplishment will be carried over all of tional resource and curriculum to support the learning of Toon Boom’s educational initiatives worldwide. leading-edge skills among Canadian students through ictc-ctic.ca Proud recipient of: Emmy-Award Technology Toon Boom News SPRING 2013 3 TECHNOLOGY NEWS: PROFESSIONALS From Mind to Media with Toon Boom Storyboard Pro 4 Following its crowning with a 2012 Primetime Emmy® Engineering Award, Toon Boom Storyboard Pro has leaped forward with a new version that effi ciently and elegantly caters to live-action, gaming, and animation studios alike. • Use Storyboard Pro • Take advantage of to plan live action Storyboard Pro’s projects, camera 3D toolset to plan angles, action, scene multiplane scenes, order, and script integrate 3D integration for televi- objects, and create sion or feature fi lm basic animation for production advanced animatics • Create and draw on • Plan animated proj- pixel-based bitmap ects, from shorts to layers television and fi lm projects, making use of the advanced • Create storyboards drawing tools, layer for games, planning animation, camera workfl ows, and cut animation, and script scenes integration • Use the new pixel- • Export from based colour picker, Storyboard Pro to and save colours in Animate, Animate the palette for reuse Pro, Harmony, or FBX for 2D, 3D, and mixed media • Export your project projects from Storyboard Pro to Premiere, Final • Create custom Cut Pro, or Avid for bitmap-style brushes animatics and live action projects, and to PDF for print Watch the demo video and try it now! toonboom.com/storyboardpro 4 Toon Boom News SPRING 2013 TOON BOOM STAR This section is dedicated to Toon Boom employees. In each issue, we will introduce you to the people behind the tech- nology and put a face to the voice you may have spoken to. Vladyslav Pronin has been part of Toon Boom’s Web Marketing team since November 2011. He takes care of email marketing, paid search programs, affi liate market- ing, online ad placement, content marketing as well as web analytics. Targeting multiple channels, Vlad also manages the weekly campaigns, which include promo- tions, upcoming events, announcements, social media contests and advertising and electronic newsletters. To bring quality traffi c to the website, he regularly conducts keyword research for organic and paid search. Keeping Toon Boom’s electronic communications fresh and effec- tive is one of Vlad’s key goals. Subscription, engagement, and conversion form the basis of all the programs he over- sees and delivers. Recently, he worked on migrating the affi liate program to a new platform to establish a better fl ow of communication with affi liates and to keep them aware of latest sales, products and content updates. Vlad is a graduate of McGill University with a Diploma in Infor- mation Technology and Internet Business. Before joining Toon Boom, he worked for Atelier ID on brand building and online program mandates for technology companies, in particular, related to military simulation and ERP soft- ware. Originally from Kiev, Ukraine, Vlad worked in fi lm production and advertising at Gulliver Film for six years, offering production services throughout Europe. Then, he moved to New York where he worked in fashion and photography for two years. On a personal note, Vlad nurtures two passions: the fi rst one is music. Trained as a classical pianist, he is now producing electronic music. Vlad has extensively read about academic and electronic dance music history, its social impact and its culmination in rave revolution of the late 80s. His other passion is classical European cinema and conceptual fi lms featuring directors, such as Michelangelo Antonioni, Jean-Luc Godard, David Lynch, Jim Jarmusch, to name a few. Quite a nice mix of personal interests and technology background! Toon Boom News SPRING 2013 5 6 Toon Boom News SPRING 2013 INDUSTRY TIPS Image courtesy of the Toon Boom Multimedia and Content Creation Team Making the Most of Script Notes by Donna Lisa For all scriptwriters, including myself, a completed to have several readers, trusted readers, read the material.
Recommended publications
  • Toon Boom Harmony 12.2 Play Guide
    Toon Boom Harmony 12.2.1 Play Guide Legal Notices Toon Boom Animation Inc. 4200 Saint-Laurent, Suite 1020 Montreal, Quebec, Canada H2W 2R2 Tel: +1 514 278 8666 Fax: +1 514 278 2666 toonboom.com Disclaimer The content of this guide is covered by a specific limited warranty and exclusions and limit of liability under the applicable License Agreement as supplemented by the special terms and conditions for Adobe®Flash® File Format (SWF). For details, refer to the License Agreement and to those special terms and conditions. The content of this guide is the property of Toon Boom Animation Inc. and is copyrighted. Any reproduction in whole or in part is strictly prohibited. Trademarks Harmony is a trademark of Toon Boom Animation Inc. Publication Date 7/6/2018 Copyright © 2016 Toon Boom Animation Inc. All rights reserved. 2 Harmony 12.2 Play Guide Contents Toon Boom Harmony 12.2.1 Play Guide 1 Contents 3 Chapter 1: Using Toon Boom Play 4 Starting Toon Boom Play 5 About Toon Boom Play 6 Loading an Image Sequence 8 Toon Boom Play Playback Toolbar 11 Toon Boom Play Commands 13 Glossary 17 3 Chapter 1: Using Toon Boom Play Chapter 1: Using Toon Boom Play The Toon Boom Play module is designed specifically for playing back and viewing animated projects once they have been rendered out into image sequences. This module opens directly from your program menu to load your final render. It's also used when playing back a scene with effects in Harmony. This section is divided as follows: Starting Toon Boom Play 5 About Toon Boom Play 6 Loading an Image Sequence 8 Toon Boom Play Playback Toolbar 11 Toon Boom Play Commands 13 4 Harmony 12.2 Play Guide Starting Toon Boom Play Before using Toon Boom Play, you must start the program.
    [Show full text]
  • Broadcasting Telecasting
    YEAR 101RN NOSI1)6 COLLEIih 26TH LIBRARY énoux CITY IOWA BROADCASTING TELECASTING THE BUSINESSWEEKLY OF RADIO AND TELEVISION APRIL 1, 1957 350 PER COPY c < .$'- Ki Ti3dddSIA3N Military zeros in on vhf channels 2 -6 Page 31 e&ol 9 A3I3 It's time to talk money with ASCAP again Page 42 'mars :.IE.iC! I ri Government sues Loew's for block booking Page 46 a2aTioO aFiE$r:i:;ao3 NARTB previews: What's on tap in Chicago Page 79 P N PO NT POW E R GETS BEST R E SULTS Radio Station W -I -T -H "pin point power" is tailor -made to blanket Baltimore's 15 -mile radius at low, low rates -with no waste coverage. W -I -T -H reaches 74% * of all Baltimore homes every week -delivers more listeners per dollar than any competitor. That's why we have twice as many advertisers as any competitor. That's why we're sure to hit the sales "bull's -eye" for you, too. 'Cumulative Pulse Audience Survey Buy Tom Tinsley President R. C. Embry Vice Pres. C O I N I F I I D E I N I C E National Representatives: Select Station Representatives in New York, Philadelphia, Baltimore, Washington. Forloe & Co. in Chicago, Seattle, San Francisco, Los Angeles, Dallas, Atlanta. RELAX and PLAY on a Remleee4#01%,/ You fly to Bermuda In less than 4 hours! FACELIFT FOR STATION WHTN-TV rebuilding to keep pace with the increasing importance of Central Ohio Valley . expanding to serve the needs of America's fastest growing industrial area better! Draw on this Powerhouse When OPERATION 'FACELIFT is completed this Spring, Station WNTN -TV's 316,000 watts will pour out of an antenna of Facts for your Slogan: 1000 feet above the average terrain! This means .
    [Show full text]
  • Toon Boom Harmony 20 Premium: Getting Started Guide
    Toon Boom Harmony 20 Premium Getting Started Guide TOON BOOM ANIMATION INC. +1 514 278 8666 4200 St.Laurent Blvd, Suite 1020 [email protected] Montreal, Quebec, Canada toonboom.com H2W 2R2 Harmony 20 Premium Getting Started Guide Legal Notices Toon Boom Animation Inc. 4200 Saint-Laurent, Suite 1020 Montreal, Quebec, Canada H2W 2R2 Tel: +1 514 278 8666 Fax: +1 514 278 2666 toonboom.com Disclaimer The content of this document is the property of Toon Boom Animation Inc. and is copyrighted. Any reproduction in whole or in part is strictly prohibited. The content of this document is covered by a specific limited warranty and exclusions and limit of liability under the applicable License Agreement as supplemented by the special terms and conditions for Adobe®Flash® File Format (SWF). For details, refer to the License Agreement and to those special terms and conditions. Trademarks Toon Boom® is a registered trademark. Harmony™ and the Toon Boom logo are trademarks of Toon Boom Animation Inc. All other trademarks of the property of their respective owners. Publication Date 03-11-2021 Copyright © 2021 Toon Boom Animation Inc., a Corus Entertainment Inc. company. All rights reserved. 1 Table of Contents Table of Contents Table of Contents 2 Introduction 6 Chapter 1: Creating a Scene 8 Chapter 2: Introduction to the Harmony User Interface 12 Views 12 Adding a View 13 Camera view 15 Drawing view 16 Tool Properties view 17 Colour view 18 Timeline view 18 Drawing Substitutions View 19 Xsheet view 20 Library view 21 Node view 22 Toolbars 22 Adding
    [Show full text]
  • ANNUAL INFORMATION FORM Fiscal Year Ended August 31, 2015 Corus
    ANNUAL INFORMATION FORM Fiscal year ended August 31, 2015 Corus Entertainment Inc. November 9, 2015 ANNUAL INFORMATION FORM ‐ CORUS ENTERTAINMENT INC. Table of Contents FORWARD‐LOOKING STATEMENTS ........................................................................................................ 3 INCORPORATION OF CORUS .................................................................................................................. 4 Organization and Name ............................................................................................................................ 4 Subsidiaries ............................................................................................................................................... 5 GENERAL DEVELOPMENT OF THE BUSINESS ........................................................................................... 5 Significant Acquisitions and Divestitures ................................................................................................. 5 DESCRIPTION OF THE BUSINESS ............................................................................................................. 6 Strategic Priorities .................................................................................................................................... 6 Radio ......................................................................................................................................................... 7 Description of the Industry ...............................................................................................................
    [Show full text]
  • Le Scatole Magiche È Un film Evento Per Famiglie Dei Creatori Di Coraline E La Porta Magica E Paranorman, Entrambi Candidati All'oscar Per Il Miglior Film D'animazione
    Pressbook italiano Presentano Un film diretto da ANTHONY STACCHI e GRAHAM ANNABLE Tratto dal romanzo best seller di ALAN SNOW “Arrivano I Mostri” (Here be Monsters!) Con le voci originali di: Ben Kingsley, Isaac Hempstead Wright, Elle Fanning, Dee Bradley Baker, Steve Blum, Toni Collette, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, e Simon Pegg Prodotto da DAVID BLEIMAN ICHIOKA, PGA TRAVIS KNIGHT, PGA Scritto da IRENA BRIGNULL ADAM PAVA Direttore della Fotografia JOHN ASHLEE PRAT Uscita Italiana: 2 Ottobre 2014 Durata del Film: 97 minuti Il materiale fotografico è disponibile sul sito www.upimedia.com Ufficio Stampa Universal Pictures International Italy: Cristina Casati – [email protected] Marina Caprioli – [email protected] Matilde Marinai – [email protected] 1 Pressbook italiano Indice I. Sinossi pag 3 II. La Nascita dello Stop-Motion pag 5 III. Fuori dai Cartoni pag 7 IV. Dar Voce Anche Alle Scatole pag 11 V. I Boxtrolls Si Muovono pag 22 VI. I LAIKAni pag 42 VII. Ritocchi Finali pag 49 VIII. Tutti i Numeri di Boxtrolls pag 52 IX. Il Cast Artistico page 54 X. Il Cast Tecnico page 63 2 Pressbook italiano Sinossi Boxtrolls- Le Scatole Magiche è un film evento per famiglie dei creatori di Coraline e la Porta Magica e ParaNorman, entrambi candidati all'Oscar per il Miglior Film d'Animazione. Si tratta della terza produzione cinematografica dello studio d’animazione con sede in Oregon, LAIKA. Girato in loco presso gli studi LAIKA, in 3D e con metodi avanzati manuali e tecnologici, Boxtrolls- Le Scatole Magiche utilizza disegni manuali, formato grafico ibrido d’animazione in CG e tecnica dello stop-motion, per rappresentare la storia del best-seller fantasy d’ avventura di Alan Snow “Arrivano I Mostri!”.
    [Show full text]
  • Spongebob Squarepants
    DIPLOMARBEIT Titel der Diplomarbeit “Missing Identity” - The Queer Politics of SpongeBob SquarePants Verfasserin Beatrice Frasl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, 2013 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: ao. Univ. Prof. Dr. Monika Seidl TO MY SISTERS, SARA-YVONNE AND GEORGINA, WHO INTRODUCED ME TO THE WISDOM AND THE KNOWLEDGE OF SPONGEBOB SQUAREPANTS THANKS TO DR. MONIKA SEIDL for her support and agreement to supervise a thesis with a rather unorthodox topic in a rather short period of time. MY PARENTS for your continuous financial and emotional support and for believing in me. GINA AND SARA for general awesomeness. This thesis is dedicated to you. ANDI for too many things to mention, but, most importantly, for being my best friend. MY FRIENDS old and new, for your patience, encouragement and support; for open hearts, ears and minds. especially to JO for last minute technical troubleshooting and for disciplining me into writing my thesis with threats of physical violence – like any decent friend would. MARIE, CATI, NICOLE AND MICHI the team of fellow sufferers, for critical input, our crisis meetings, and for making the thesis-writing-process a little less unpleasant and a lot more entertaining. Together we took the meaning of the word “procrastination” to a whole new level. NICOLE for your supportive, comforting and encouraging words and your kindness. MICHI for your support throughout the process of writing this thesis, productive disagreement, coffee breaks (“coffee” “breaks”) and for sabotaging my panicky despair with your serenity and spongebobesque optimism. TABLE OF CONTENTS INTRODUCTION ............................................................................................................................
    [Show full text]
  • ANNUAL REPORT 2012 Table of Contents
    CORUSCONNECTS People + Partners + Brands + Platforms ANNUAL REPORT 2012 taBLE OF CONTENTS 1 Financial Highlights 2 Message to Shareholders 8 Corus Connects 10 Corus Television 12 Corus Radio 14 Corus Cares 16 Management’s Discussion and Analysis 40 Management’s Responsibility for Financial Reporting 41 Independent Auditors’ Report 42 Consolidated Statements of Financial Position 43 Consolidated Statements of Income and Comprehensive Income 44 Consolidated Statements of Changes in Equity 45 Consolidated Statements of Cash Flows 46 Notes to Consolidated Financial Statements 102 List of Assets 103 Directors 104 Officers 105 Corporate Information FINANCIAL HIGHLIGHTS REVENUES (1) SEGMENT PROFIT (1) (2) (in millions of Canadian dollars) (in millions of Canadian dollars) 825.2 842.3 285.9 290.0 767.5 256.0 10 11 12 10 11 12 FINANCIAL HIGHLIGHTS (in millions of Canadian dollars except per share amounts) 2012 2011 2010(3) Revenues(1) 842.3 825.2 767.5 Segment profit(1) (2) 290.0 285.9 256.0 Net income attributable to shareholders from continuing operations 148.7 141.5 119.7 Net income attributable to shareholders from discontinued operations — 5.0 7.0 Basic earnings per share attributable to shareholders From continuing operations $1.79 $1.73 $1.48 From discontinued operations — $0.06 $0.09 $1.79 $1.79 $1.57 Diluted earnings per share attributable to shareholders From continuing operations $1.78 $1.72 $1.47 From discontinued operations — 0.06 0.09 $1.78 $1.78 $1.56 Total assets 2,081.5 2,113.6 2,059.3 Long-term debt 518.3 600.8 691.9 Cash dividends
    [Show full text]
  • Stash03 18494 Maya6 Stash Ad 5/5/04 10:41 AM Page 1 Yes, It’S True
    DVD MAGAZINE Outstanding animation, VFX and motion graphics for design and advertising stash03 18494_Maya6_Stash Ad 5/5/04 10:41 AM Page 1 Yes, it’s true. Stash is off to a rip-snorting start. Our third issue, code named Stash 03, will land on the desks of visually acute stashDVD MAGAZINE and well-adjusted professionals in 30 countries on six contients - thank you Kuwait, Cypress and Nigeria. Those desks belong STASH MEDIA INC. to ad agencies, broadcasters, animation studios, post houses, Editor: STEPHEN PRICE producers, directors, creative directors, art directors, copywriters, Publisher: GREG ROBINS Associate editor: HEATHER GRIEVE editors, animators, designers, students and a dental receptionist DVD production: METROPOLIS DVD, in Dallas taking Maya and After Effects classes at night - thank New York you Maureen. This issue will also be available at discerning yet Animation: KYLE SIM, TOPIX, Toronto Toolkit: 3DS Max, Inferno friendly online retailers and terrestrial bookstores in New York, Music: TREVOR MORRIS, Toronto, Los Angeles, Vancouver and Singapore with London to Media Ventures, Santa Monica follow soon. Thanks: CHEYENNE, MAYA, NICOLE, JASON, TYLER, RADIOIO.COM Cover Image: Honda “Grrr” courtesy NEXUS PRODUCTIONS, London But wait, there’s more - we just renovated the website, rented Stash toolkit: Illustrator, Photoshop, InDesign, Transmit, Powerbook G4s, sunny new digs at Broadway and 12th from real nice people and Helvetica Neue, DIN Mittellschrift retained the multi-talented Heather G to keep us sane. Instructions: Fluff with a fork. SUBSCRIBE at www.stashmedia.tv Looks like this would be the time to get those submissions in Legal things: Stash Magazine and Stash DVD are published 12 times per year by Stash ‘cause I’m in a really good mood.
    [Show full text]
  • S.W. Conser 1245 S.E
    S.W. Conser 1245 S.E. 60th Avenue, Portland, Oregon 97215 Phone: (503) 706-1005 • [email protected] ANIMATION I create animated content for Portland-area studios, and also oversee contract work for a wider market through my firm Conch Communications. Recent projects include: 2007-2012: Designer of animated greeting cards for Birthday Alarm LLC, San Francisco, CA 2011: Character/Scenic Designer and Animator, Wise Decider mobile application, Decision Ergonomics, Portland, OR 2005-2007: Animator and Character Rigger for Renegade Animation, Glendale, CA (including game design for Leapfrog Enterprises, adapting properties for Pixar and Lucasfilm) 2004: Character Designer / Turnaround Artist / Storyboard Artist for Aberle Films, Battle Ground, WA 2001-2004: Animator / Storyboard Artist for Chel White Films / Bent Image Lab, Portland, OR STORYBOARDS & ILLUSTRATION For nearly fifteen years, I’ve created storyboards for commercial and feature productions as well as animation studios. My current client list includes LiquidFx, New York, NY; Sisbro Studios, Milford, MI; and Food Chain Films, Portland, OR. Other recent clients include Rhythm & Hues, Los Angeles, CA; Bozell / Campbell Mithun, Chicago, IL; RPM Advertising, San Rafael, CA; Flying Rhinoceros, Portland, OR; TomboFilm, Hollywood, CA; Nonbox, Portland, OR; and Curious Pictures, New York, NY. In addition, I’ve designed and overseen mural installations for public venues and private clients, inked comic stories for Slave Labor Graphics, designed webpage layout and corporate logos for LeeKantz.com in Chicago, and served as an illustrator and photographer for Portland Living Magazine. LIVE PRODUCTION From the early- to mid-1990’s, I crewed on a broad range of commercial shoots and features as a set decorator, location scout, and camera assistant, which helped sharpen the practical skills I use in my storyboard and animation work.
    [Show full text]
  • Incongruous Surrealism Within Narrative Animated Film
    University of Central Florida STARS Electronic Theses and Dissertations, 2020- 2021 Incongruous Surrealism within Narrative Animated Film Daniel McCabe University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd2020 University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2020- by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation McCabe, Daniel, "Incongruous Surrealism within Narrative Animated Film" (2021). Electronic Theses and Dissertations, 2020-. 529. https://stars.library.ucf.edu/etd2020/529 INCONGRUOUS SURREALISM WITHIN NARRATIVE ANIMATED FILM by DANIEL MCCABE B.A. University of Central Florida, 2018 B.S.B.A. University of Central Florida, 2018 A thesis submitted in partial fulfillment of the requirements for the degree of Masters of Fine Arts in the School of Visual Arts and Design in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2021 © Daniel Francis McCabe 2021 ii ABSTRACT A pop music video is a form of media containing incongruous surrealistic imagery with a narrative structure supplied by song lyrics. The lyrics’ presence allows filmmakers to digress from sequential imagery through introduction of nonlinear visual elements. I will analyze these surrealist film elements through several post-modern philosophies to better understand how this animated audio-visual synthesis resides in the larger world of art theory and its relationship to the popular music video.
    [Show full text]
  • Saving Production Costs with Toon Boom Harmony
    Saving Production Costs with Toon Boom Harmony Creating quality animation on time and on budget requires a masterful blend of art and technology. Toon Boom Harmony software solution provides all the input, output and integration tools that animators need- including digital animation with virtually no clean-up. Courtesy of Nelvana Limited What puts the “boing” in Gerald McBoing Boing? What cal Producer for Nelvana, says that Harmony provides the puts the groove in all the keen teens in 6TEEN? Anima- support his animation team needs. tion, of course—animation with Harmony. Montreal’s Toon Boom Animation Inc. launched its Harmony software for “The quality goals for 6TEEN were to create a cut-out style animators worldwide late 2004, and the animation pro- show with a higher overall production quality by using duction solution has already earned praise from leading Toon Boom Harmony’s advanced animation and composit- companies like Ottawa’s Mercury Filmworks (providing ing tools,” Lahay says. “While development and design animation for Gerald McBoing Boing) and Toronto’s Nel- began in Flash, we were able to successfully transfer our vana Limited (6TEEN). production to Harmony. This gave us the ability to not only build hierarchies of these complex characters, but create Animation tends to a final product be an art form with that would have a split personality. needed mul- One half is fanci- tiple software ful, with its head in packages to the creative clouds, achieve.” while the other half is focused on Toon Boom’s no-nonsense, well- Harmony so- grounded produc- lution offers tion that must meet animators all demanding sched- the production ules.
    [Show full text]
  • HBO: Brand Management and Subscriber Aggregation: 1972-2007
    1 HBO: Brand Management and Subscriber Aggregation: 1972-2007 Submitted by Gareth Andrew James to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English, January 2011. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ........................................ 2 Abstract The thesis offers a revised institutional history of US cable network Home Box Office that expands on its under-examined identity as a monthly subscriber service from 1972 to 1994. This is used to better explain extensive discussions of HBO‟s rebranding from 1995 to 2007 around high-quality original content and experimentation with new media platforms. The first half of the thesis particularly expands on HBO‟s origins and early identity as part of publisher Time Inc. from 1972 to 1988, before examining how this affected the network‟s programming strategies as part of global conglomerate Time Warner from 1989 to 1994. Within this, evidence of ongoing processes for aggregating subscribers, or packaging multiple entertainment attractions around stable production cycles, are identified as defining HBO‟s promotion of general monthly value over rivals. Arguing that these specific exhibition and production strategies are glossed over in existing HBO scholarship as a result of an over-valuing of post-1995 examples of „quality‟ television, their ongoing importance to the network‟s contemporary management of its brand across media platforms is mapped over distinctions from rivals to 2007.
    [Show full text]