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e see directors are who just now as behind comfortable workstations S W . erformance ca eart o g p in ll ELINE H s in animation to P d PI est trenest gg i b ution in storyte l e iniatures, machinima, h o formula that every works for challenge. s they are behind cameras, experimenting and they’re with all kinds techniques of new to create ompanies,expand our thinking and The capabilities too. days “this of There’s is our are pipeline” over. c n m a Thisexperiences audiences. techniques—CG, for of blending motion, stop action, live 3D, stereo evo 32 R r ANIMATION m d eve ovies simultaneousl ovies t h l t ese opin conver he advantages of of advantages he di C “ D EO, Di EO, scuss still separate still p espite alot of g rocesses are rocesses are

g g ames an g i ence an ita o Cliff Plumer Cliff n ab l Domain ANIMATION ANA gimmicks. gobeyond that images story-enhancing create p w c c w f e d I 3D STEREO s a hit online series series online hit the of episodes 20 of animation and tour, III” Hell of out “Bat Loaf’s Meat for Loose” Is Monster “The video music 7-minute ILL-ustrated an content creates Animators! F afull-ser is Two Animators! N.J. Princeton, TWO ANIMATORS! COMPANIES specializin vi eatures today, clearly we’re in the early days of something that that of today, something days we’re early clearly the eatures in t’s fantastic to see stereo moving be moving stereo see to t’s fantastic ome of the trends we see unfoldin wesee trends ofthe ome onsumers at onsumers reative com ble to possible Below, work every technique. with I’ve listed xperience. While we’re seein While xperience. ro ounded in early 2001 by Tom and Joe Costantini, Two Tom Costantini, by 2001 Joe and early in ounded irectors are using it now: to enrich the story and the viewer’s viewer’s the and story the enrich to itnow: using are irectors ou orkfl d i eate d ll eos, commercia eos, d grow more. more. y d d . uctions, an uctions, ” t , ows for movies, TV shows, commercials, special venue venue special commercials, shows, TV formovies, ows a t c i h of a m a c R c mplemented stereo 3D stereo mplemented for a commer- Bowl Super he best possible audience experience for that story, story, for that experience audience possible he best d b campaign for the r ial. Toial. fi aid stor and lmmakers completed techniques; hand-animation ials—using nimation an for animation hand and nalysis, and animati g even S Benjamin Button Benjamin e achinima; combined performance capture, ima capture, performance combined achinima; eyon in traditional and production. animation Flash and traditional in tu I television series, codirection and animation of the of animation and codirection series, television at n the past year alone at , we’ve we’ve Domain, atDigital alone year past n the p d e h anies need to ex g io cre d animat ome. As t ome. As d e o Superfi Friends cial d even games, an games, even t f l the Fallen h spots, virtua e t d its inc its d o h visua n f eatrica h e e o d v f l ; d or animate r use u ice multimedia studio studio ice multimedia — Gears of War of 2 Gears eman d G l g -e e animation e animation c l stereo’s impact hittin the mo .I. Joe: The Rise o Rise The Joe: .I. p experience to hara l s ff d and their ex their and wor d for for ects companies companies ects per to mature in t in to mature g d .

c f H ld or stereo content grows, grows, content or stereo t e f v eav d y ormance capture an capture ormance s, we r ie and tie-in commer- ie tie-in and ond gags to the wa ond to gags the series, s series, s f y 2 y .com f tellers in creating creating in tellers or VH1 b videogame using using videogame o T p sites, games, games, sites, r he Curious Case Case he Curious ertise in stereo stereo in ertise b . e avai h h T f orts, music orts, Cobra e artistry to to e artistry ransformers: ransformers: h ’ s ave to ave to g

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Bu is an in c b Bric c c eff M L Boston Calif.; Monica, Santa VFX BRICKYARD in top-qualit from 3D characters all the wa the all 3Dcharacters from effects visual founded in 1999 to brin to 1999 in founded PRODUCTION IS LEADING INNOVATION LEADING IS PRODUCTION W q p i W p o f t v B a s p I CAPTURE PERFORMANCE o c e t m P a t or a team of animators to re-create the nuanced performance performance nuanced the re-create to ofanimators or ateam n videogames is somewhat behind features in the level ofso- level the in features behind somewhat is n videogames hing to do. Even with new techniques, it’s incredibl techniques, new with Even do. to hing hink about the internal development that will be required to to required be will that development internal the about hink urers in the the in urers n the past fi past n the ire to enhance the audience’s experience of CG characters ofCGcharacters experience audience’s the enhance to ire orrect, an orrect, and compan the -operated, ompositing. Artist-owned ost of production. It’s become a necessity to creating the type type the to creating It’s a become necessity of production. ost ra xecute apro xecute een app nd the overall story. Digital Domain’s focus on this area for for area this on focus Domain’s Digital story. overall the nd nimation too histication of the performances. Improvements are comin are Improvements performances. ofthe histication er de- by the driven again technology, erformance-capture uic f a talented f atalented f work we’re all lookin we’re all f work ince ocate roduction companies with inhouse R&D are delivering the the delivering are R&D inhouse with companies roduction en ajor innovations in this area toda area this in ajor innovations onica, onica, e hile rendering in games has come a long has wa games in rendering hile ects ects d B f f j tsmans Lig ormance-capture examp ormance-capture k amin kl ecause most the of impressive cost the required, and time h yar d ave seen a great agreat ave seen y, t y, us t d d b h in Boston an e outique specia d’ C t, T-Mo h l p ie B a oug s creative expertise on-set an on-set expertise s creative en d h h d l utton ren i at animating a at animating y ip, an to mo f p d ., Bric animations and j ve years, we’ve seen incredible advances in h ect and what buildin what and ect rofessional actor. actor. rofessional ent visua l p s . d erformance-ca b h er seam brought us great success, but it also con- i d ave notevo l e, NBA, Visa, Visa, NBA, e, k

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l d l t to t to S ture arena, but commercial but commercial arena, ture ig d eve print, an print, as quic g h l e those tools will add to the the to add will tools those h t, texture, trac fi y n aracter is sti l ff . Ever opment opment ects ects d ll d at in t in t d kl f y man f aci or Pontiac, or Pontiac, y through to through y in recent years. years. recent y in h h studio needs to to needs studio e stu e f l ities to ities rom manu f y eature wor eature ll y ot k t , animation , animation d , co h io h y e ers diffi d y h h l ay. or- was as ar . cult d f ac- est est ld g .

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d fi ularit e performance that the audience can relate to in her work l g as In as g h telling through character animation and acting. She aims to in ang Tec ang to fi nd more than 200 animator to fi y commercia g now y motion-picture experience motion-picture h a k f eature he Sin he . f Animation g s T y l er er h e.com aunc l g er is a character animator and animation teacher with extensive ies as an ia at Nan at ia s that experience to the creation o g v t Disne h g d aring aring l -winning -winning h e TV emo ree emo d erience on feature fi lmserience and on feature TV commercials. fi Her credits include the h d p an 20 years o t

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l . ame. Both are complex, and both Trans g important to animation produc ital Domain has worked on some y e creative process rat g e in ing on animation h s are so muc h l k itiona commercia oing using vi , Di d d t d g ld t to t among its more t able to experiment in a short format is format short a in experiment to able N h tra our ideas and stories out there online. The ui e too g f The Day After Tomorrow y b h ievement, receiving t experience , ms an ms l y h

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b T e arrier o arrier tert r to get get to f b eature u y f ping to e company wor is e l at peop e at enjamin enjamin e iant in advertisin roduction studio focused on animation and visual effects nimation work includes work nimation h h movie and tie-in commercials isting isting or or egacy o ease of bein ease of creative goal of a movie and game that deliver an equally high-qualit require time of overcome to have lot a and iteration. We t eas of the world’s most memorable spots. Recentl ( Th fe B g a p f l l DIGITAL DOMAIN Calif. Venice, Digital Domain is an Academ h tion—they’re probably the most important for themost tion—they’re tool probably grooming talent and trying new techniques. I love see ing them inlm, front and of every I love the shorts fi t SHORTS SHORTS incredibl are Shorts tegral part. The creative development of a movie should be driven by a common vision and developed along a par allel process with the try does business. Games are still treated like license, a a an vantages of developing games and movies simultaneously, these processes are still separate. Great movies often still great a lack game. The barriers are convergence not to creative—the or technical GAMES AND MOVIES: STILL NO CONVERGENCE for the future. YouTu 34 R r ANIMATION T c m a a top-qua execute it to ad c R Calif.Glendale, V the . For clients States. United the t strengths lie in personalit studio’s The product. asuperior and turnaround remunerative animate smart, funny, always original, and occasionally ools. ommitment an ommitment chievin ross-platform di nimation combined with astron with combined nimation enegade Animation is the industr the is Animation enegade h IEW THE ost ta vertising DVD pro DVD vertising e company It s l ente

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or of as a execute power an animation, America Zviah Eldar. Zviah America C Director Vico S York New RHINO Managing Director Ric Director Managing develo to artists and directors creative its uses Rhino videogame cinematics. B and miniseries, webisodic fi television, feature episodic lms, with ke g h h ince its its ince desi D/Director Natas t y er me eir art. eir art. fi d leader in in leader a t d s afull HOMhouses projects. multimedia fi for services lm, animation end sy d o Vicon House Calif. Angeles, Los MOVES OF HOUSE VICON 40 motion-ca

he l ra awareness. T ll tage featuring a 30’x50’ full-bod a30’x50’ featuring tage nimations, in-engine e eve m, te owe stems—provides full-service mo cap and end-to- and cap mo full-service stems—provides w l ’ d x70 g ivers animate ivers itiona n, y o d l ly oper o brands, advertising agencies, and fi lm/TV studios, fi and studios, agencies, lm/TV advertising brands, l r ia. l d aunc ’ O evision, ld’s in x25 g d N REEL

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winning both combinin vast and personal, reconstruction of the JFK assassination for Peter Jennings Jennings Peter for assassination JFK the of reconstruction has served as spokesman on man on spokesman as served has with more than 20 years of professional computer professional of years 20 than more with compan fi to The production frame. nal through e S b f a S York, New Seattle Angeles, Los London, SUPERFAD p a b c m e c a time Emm D Mich. Milford, STUDIOS ANIMATION MYERS DALE k c o a Monica Santa and Dallas in studios c e R Calif. Monica, Santa Dallas; STUDIOS CREATIVE FX REEL winnin or entertainment, or entertainment, ey tenets to its creative an creative its to tenets ey ommercia are technologies proprietary and environment ollaborative commercia ontent, haracter xperience with artistic approaches artistic with xperience xperience. A creative Acreative xperience. xtraor rtists and producers collaborate with clients at ever at clients with collaborate producers and rtists n nd ABC News. A seasoned writer and public speaker, M speaker, public and writer Aseasoned News. ABC nd nimator specializin etween. Wit est roduction techni uperfad is home to a diverse home is to a diverse uperfad eatt f the process, from ori from process, f the ee a ore t ore d l e M

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