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The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Jobs and Education
Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. -
L'animation Stylisée
Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works. -
Seattle Location Management and Scouting
Mark A. Freid – Seattle Location Management and Scouting. Field Producing. (310) 770-3930 [email protected] www.northernlocs.com QUALIFICATIONS Teamster Local 399 Location Manager. CSATF Safety Passport. LOCATION SCOUTING AND MANAGEMENT 2001-2017 FEATURE FILM/TELEVISION: War for Planet of the Apes. 20th Century Fox. VFX Plate Unit Location Manager Ryan Stafford, VFX Producer. 50 Shades Freed, 50 Shades Darker. Focus Features. 2nd Unit Location Manager Scott Ateah, 2nd Unit Dir. Barbra Kelly UPM. Marcus Viscidi Producer. Grey’s Anatomy. ABC/Disney. Location Scout Thomas Barg, Production Supervisor. Vacation. Warner Brothers/New Line. 2nd Unit Location Manager Peter Novak, 2nd Unit Production Supervisor. The Librarians . Electric Entertainment. Location Scout Bobby Warberg, Location Manager. David Drummond, Location Scout. 50 Shades of Grey. Focus Features. 2nd Unit Location Manager David Wasco Production Designer, Barbra Kelly, UPM, Marcus Viscidi Producer. Transformers 4. Paramount Pictures. Location Manager JJ Hook, Location Manager. Daren Hicks, Production Supervisor. They Die By Dawn. Location Manager Jaymes Seymor, Director. Peter Novak, Producer. America’s Most Wanted. STF Productions. Location Manager Miles Perman, Producer. Paranormal Activity The Marked One. Paramount Pictures Location Scout Christopher Landon, Director. Stephenson Crossley, Location Manager. Hayden Lake. Location Manager Ryan Page, Christopher Pomerenke Directors. Linette Shorr, Production Designer. Lacey Leavitt, Producer. Rampart. Lightstream Pictures. Location Manager Oren Moverman, Director. David Wasco Production Designer. Karen Getchell, Production Supervisor. Ben Foster, Lawrence Inglee, Clark Peterson, Ken Kao, Producers. Michael DiFranco and Lila Yacoub Executive Producers. Late Autumn. Location Manager Kim Tae-Yong, Director. Dave Drummond, Co-Location Manager Mischa Jakupcak, Producer. The Details. Key Assistant Location Manager Doug duMas, Location Manager. -
Sony Pictures Imageworks Arnold
Sony Pictures Imageworks Arnold CHRISTOPHER KULLA, Sony Pictures Imageworks ALEJANDRO CONTY, Sony Pictures Imageworks CLIFFORD STEIN, Sony Pictures Imageworks LARRY GRITZ, Sony Pictures Imageworks Fig. 1. Sony Imageworks has been using path tracing in production for over a decade: (a) Monster House (©2006 Columbia Pictures Industries, Inc. All rights reserved); (b) Men in Black III (©2012 Columbia Pictures Industries, Inc. All Rights Reserved.) (c) Smurfs: The Lost Village (©2017 Columbia Pictures Industries, Inc. and Sony Pictures Animation Inc. All rights reserved.) Sony Imageworks’ implementation of the Arnold renderer is a fork of the and robustness of path tracing indicated to the studio there was commercial product of the same name, which has evolved independently potential to revisit the basic architecture of a production renderer since around 2009. This paper focuses on the design choices that are unique which had not evolved much since the seminal Reyes paper [Cook to this version and have tailored the renderer to the specic requirements of et al. 1987]. lm rendering at our studio. We detail our approach to subdivision surface After an initial period of co-development with Solid Angle, we tessellation, hair rendering, sampling and variance reduction techniques, decided to pursue the evolution of the Arnold renderer indepen- as well as a description of our open source texturing and shading language components. We also discuss some ideas we once implemented but have dently from the commercially available product. This motivation since discarded to highlight the evolution of the software over the years. is twofold. The rst is simply pragmatic: software development in service of lm production must be responsive to tight deadlines CCS Concepts: • Computing methodologies → Ray tracing; (less the lm release date than internal deadlines determined by General Terms: Graphics, Systems, Rendering the production schedule). -
Siggraph 97 Visual Procedings
Anaconda The Animation of M.C.Escher’s “Belvedere” Sony Pictures Imageworks digital- Head of Systems: Alberto Velez M.C.Escher’s lithograph entitled ly created two photo-realistic Systems Coordinator: Katya Culberg “Belvedere” is famous for its giant Anacondas which would SA (Resources 3rd Party): Ted Alexandre impossible objects. Generally, believably attack, coil, eat, and SA (Hardware): Dean Miya it isn’t possible to look at these regurgitate their prey. A digital kinds of objects from different actor is also featured in the water- perspectives. Because these fall sequence. This vivid CG impossible objects don’t lend imagery interacts with live action elements and actors on a level themselves to visual illusion, this never seen before. piece develops a method of rota- tion and drawing that simulates Producer: Sony Pictures Imageworks the expected visual representation FX Supervisor: John Nelson of objects. FX Producer: Robin Griffin FX Coordinator: Jacquie Barnbrook Production Assistant: Darcy Fray Producer: Sachiko Tsuruno CG Supervisor: John Mclaughlin Animation Director: Eric Armstrong Animator: Alex Sokoloff Lead TA: Rob Groome Lead Digital Artist: Colin Campbell Animator: David Vallone AL Match Mover: Michael Harbour Digital Artist: Gimo Chanphianamvong Lead Compositor: Jason Dowdeswell Technical Director: John Decker TION FESTIV 237 COMPUTER ANIMA Lead Technical Director: Jim Berney Painter: Jonn Shourt Lead Animator: Kelvin Lee Lead Modeller/Animator: Kevin Hudson Animator: Manny Wong VISUAL PROCEEDINGS Art Director: Marty Kline -
Honor Roll 2006
i annual report Jennifer Rodriquez, age 3 gifts Childrens hospiTal los angeles honor roll of donors for the time period of January 1, 2006, through December 31, 2006 in gratitude and recognition The patients, families, staff and Board of Trustees of Childrens Hospital Los Angeles are grateful to the many people who help us build for the future and provide clinical care, research and medical education through their financial support. We recognize esteemed individuals, organizations, corporations and foundations for their generosity during the 2006 calendar year. This Honor Roll lists donors who contributed at least $1,000 in cash gifts, pledges or pledge payments. To view the Red Wagon Society Honor Roll of Donors, which lists gifts of $150 to $999, please visit the electronic version of the Honor Roll at www.ChildrensHospitalLA.org/honorroll2006.pdf. Foregoing individual recognition, we also extend thanks to those who made generous contribu- tions directly to one of our Associate and Affiliate, or allied groups. Children’s Miracle Network (CMN) gifts to CMN National will be recognized in the next issue of Imagine. In spite of our best efforts, errors and omissions may occur. Please inform us of any inaccuracies by contacting Marie Logan, director of Donor Relations, at (323) 671-1733, or [email protected]. • | imagine spring 07 $10,000,000 and above The Sharon D. Lund Foundation Confidence Foundation Randy and Erika Jackson Anonymous Friend The Harold McAlister Charitable Corday Foundation Foundation i Foundation Kenneth and Sherry Corday Johnson & Johnson $4,000,000 to $9,999,999 Mrs. J. Thomas McCarthy Mr. -
The Walt Disney Studios Presents Upcoming Film Slate from Disney, Pixar, Marvel, and Lucasfilm at D23 Expo 2017
THE WALT DISNEY STUDIOS PRESENTS UPCOMING FILM SLATE FROM DISNEY, PIXAR, MARVEL, AND LUCASFILM AT D23 EXPO 2017 ‘Celebration of an Animated Classic: The Lion King’ Event Announced BURBANK, Calif., June 27, 2017 – The Walt Disney Studios presents an exclusive look at its unparalleled film slate at D23 Expo 2017 in Anaheim, California, taking place July 14–16. At two marquee Hall D23 presentations, the Studio will give fans a behind-the-scenes glimpse at its upcoming releases, with animated films from Walt Disney Animation Studios and Pixar Animation Studios showcased on Friday, July 14, and live-action projects from Disney, Marvel Studios, and Lucasfilm taking the stage on Saturday, July 15. Disney, Pixar, Marvel, and Lucasfilm are responsible for some of the world’s biggest movie hits, including recent blockbusters such as Disney’s Beauty and the Beast, Pirates of the Caribbean: Dead Men Tell No Tales, and The Jungle Book; Walt Disney Animation Studios’ Zootopia and Moana; Pixar Animation Studios’ Inside Out, Finding Dory, and Cars 3; Marvel Studios’ Guardians of the Galaxy Vol. 2, Doctor Strange, and Captain America: Civil War; and Lucasfilm’s Star Wars: The Force Awakens and Rogue One: A Star Wars Story. While the films to be featured in Hall D23 will remain under wraps until showtime, the Studio’s upcoming slate includes Pixar’s Coco; Marvel Studios’ Thor: Ragnarok, Black Panther, and Avengers: Infinity War; Lucasfilm’s Star Wars: The Last Jedi; Disney’s A Wrinkle in Time and Mary Poppins Returns; Walt Disney Animation Studios’ Ralph Breaks the Internet: Wreck-It Ralph 2; and more. -
School of Filmmaking Courses Animation
School of Filmmaking Courses Animation FAN 1101: Introduction to Animation I (1 credit) This course will introduce the student to the history, accomplishments, and potential of the field of animation, as well as to animation as an art form and unique storytelling device. Hand-drawn, stop-motion, and computer-generated animation will be explored, as well as the role and tasks involved in using each. Students will learn the Twelve Principles of Animation and put them into practice through three simple hand-drawn animation projects that will be spaced throughout the semester. A weekly series of animation screenings will acquaint the student with the art form as well. FAN 1102: Introduction to Animation II (1 credit) This course will continue the student's introduction to the field of animation through exercises and screenings. Students will continue to hone their animation skills via three slightly more advanced hand-drawn animation projects that will be spaced throughout the semester. Students will also learn about the set up of current animation production facilities and how they are run. Prerequisite(s): FAN 1101 FAN 2100: Animation Lab (1 credit) This elective will serve as a forum for the exploration of the basic principles and various forms of traditional animation (cut-out, 2-D, stop-motion, or puppetry). Available to students outside the animation concentration. Course work will culminate in a final animated project. Graded Pass/Fail. FAN 2101: Animation Foundations I (3 credits) This two-semester series of courses provides an introduction to the fundamentals of animation utilizing traditional 2D and 3D animation techniques. -
Impact Magazine December 2009
Volume 1 Issue #4 Hollywood Impact Magazine December 2009 and more... EDITORIAL As I searched for articles to include Contents in this month’s issue, I came across an interesting movie of the week, based on a true story, which aired this past Sep- Tinseltown Ministries 3 tember on cable. However, after much prayer and good counsel, I chose not to run this article in Hollywood Impact Artist Spotlight 5 Magazine at this time, as I am held ac- countable by God and responsible for Ingrid Chun, Los Angeles Philharmonic all who read and accept as truth what Violinist releases new CD is communicated and endorsed by its presence within the pages that follow. For many read and accept truths be- cause they are on the printed page, while “Songs For My Father” 5 others naively believe that just because by Ingrid Chun - her testimony someone calls themselves a Christian, they are a true follower of Christ. This editor chooses to not follow the crowd, Behind The Scenes 6 but my Lord and Savior Jesus Christ. Disney Animator Mark Henn Not all Christians follow Christ, not all Christian denominations are Christ followers, though they may appear so. Film Festivals 10 Therefore, I must use discernment with Christian Film Festivals Explored every article, every story and every en- dorsement, and this is not an easy task Musician’s Corner 13 for as C.H. Spurgeon says, “Discern- Education Through Music - Los Angeles ment is not a matter of simply tell- ing the difference between right and wrong; rather it is telling the differ- The Risk of a Lifetime 14 ence between right and almost right.” Professional Violinist, As I sought wise counsel over this is- sue, I prayed that God would help me Victoria Lanier inpacting LA’s youth communicate to you, as readers, just how important it is to be discerning Hollywood Impact Studios 18 in everything we do, see, read, and be- lieve. -
Cartoon Hooks up Playlist
CARTOON HOOKS UP PLAYLIST Here's where you'll find all those crazy hook-up parodies. It's daunting, but fun. When John Lasseter and Ed Catmull instituted the new shorts program at Walt Disney Animation Studios, they not only wanted it to emulate Pixar's successful program, but also to reinvigorate the Disney legacy characters in 2D. It was included in the Animation Show of Shows in The format allows each of the characters to have their own personality set pieces. Both versions of the cartoon were released on the first "have a laugh! There's a lot of development. But unlike the old Gong Show days at Disney, Lasseter and Catmull prefer the more artist-friendly approach they've perfected at Pixar, in which you pitch a portfolio of three ideas, meeting initially with the Disney story trust, which consists of top directors and story artists. Otherwise, they look like they're unfocused. I got to meet Art Babbitt way back a few times and he gave Goofy the personality in the beginning. Goofy is so pliable. Voice Cast Bill Farmer - Goofy Trivia The two sports teams are called the Dawgs and the Geefs, both references to two of Goofy's alternate names over the years: Dippy Dawg his earliest incarnation and George Geef his name from his s "everyman" shorts. Instead of animating with pencil on paper, some of the animators, such as Dale Baer, worked on Wacom's cintiq tablets along with Toon Boom Harmony for the animation, while other animators such as Mark Henn and Andreas Deja continued to work in the traditional method with pencil on paper. -
Feature Films and Licensing & Merchandising
Vol.Vol. 33 IssueIssue 88 NovemberNovember 1998 1998 Feature Films and Licensing & Merchandising A Bug’s Life John Lasseter’s Animated Life Iron Giant Innovations The Fox and the Hound Italy’s Lanterna Magica Pro-Social Programming Plus: MIPCOM, Ottawa and Cartoon Forum TABLE OF CONTENTS NOVEMBER 1998 VOL.3 NO.8 Table of Contents November 1998 Vol. 3, No. 8 4 Editor’s Notebook Disney, Disney, Disney... 5 Letters: [email protected] 7 Dig This! Millions of Disney Videos! Feature Films 9 Toon Story: John Lasseter’s Animated Life Just how does one become an animation pioneer? Mike Lyons profiles the man of the hour, John Las- seter, on the eve of Pixar’s Toy Story follow-up, A Bug’s Life. 12 Disney’s The Fox and The Hound:The Coming of the Next Generation Tom Sito discusses the turmoil at Disney Feature Animation around the time The Fox and the Hound was made, marking the transition between the Old Men of the Classic Era and the newcomers of today’s ani- 1998 mation industry. 16 Lanterna Magica:The Story of a Seagull and a Studio Who Learnt To Fly Helming the Italian animation Renaissance, Lanterna Magica and director Enzo D’Alò are putting the fin- ishing touches on their next feature film, Lucky and Zorba. Chiara Magri takes us there. 20 Director and After Effects: Storyboarding Innovations on The Iron Giant Brad Bird, director of Warner Bros. Feature Animation’s The Iron Giant, discusses the latest in storyboard- ing techniques and how he applied them to the film.