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2D Animation Software You’Ll Ever Need
The 5 Types of Animation – A Beginner’s Guide What Is This Guide About? The purpose of this guide is to, well, guide you through the intricacies of becoming an animator. This guide is not about leaning how to animate, but only to breakdown the five different types (or genres) of animation available to you, and what you’ll need to start animating. Best software, best schools, and more. Styles covered: 1. Traditional animation 2. 2D Vector based animation 3. 3D computer animation 4. Motion graphics 5. Stop motion I hope that reading this will push you to take the first step in pursuing your dream of making animation. No more excuses. All you need to know is right here. Traditional Animator (2D, Cel, Hand Drawn) Traditional animation, sometimes referred to as cel animation, is one of the older forms of animation, in it the animator draws every frame to create the animation sequence. Just like they used to do in the old days of Disney. If you’ve ever had one of those flip-books when you were a kid, you’ll know what I mean. Sequential drawings screened quickly one after another create the illusion of movement. “There’s always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation.”Matt Groening About Traditional Animation In traditional animation, animators will draw images on a transparent piece of paper fitted on a peg using a colored pencil, one frame at the time. Animators will usually do test animations with very rough characters to see how many frames they would need to draw for the action to be properly perceived. -
Animation and Machines: Designing Expressive Robot-Human Interactions Ⅰ
http://dx.doi.org/10.7230/KOSCAS.2017.49.677 Animation and Machines: designing expressive robot-human interactions Ⅰ. Introduction Ⅱ. Expanded animation Ⅲ. Animation and ubiquitous computing Ⅳ. Social Robots: a survey of the state of the art Ⅴ. Cartoons, animators and robots Ⅵ. Conclusion References 국문초록 Joao Paulo Amaral Schlittler ABSTRACT Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to Vilém Flusser they aren’t. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech. -
The Animated Movie Guide
THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues. -
Animayo 2008 Mike Booth – Animayo 2008
INTRODUCCIÓN La Muestra Internacional de Cine de Animación ANIMAYO, que el pasado año 2008 celebró su tercera edición, es un punto de encuentro e intercambio para los profesionales de la animación y para todos los que disfrutamos de ella. Un lugar donde las ideas, la creatividad y el arte de animar, se muestra al público a través de una depurada selección de trabajos, escuelas y artistas. Organizada por el Cabildo de Gran Canaria a través de Gran Canaria Espacio Digital, con la colaboración de Canarias Cultura en Red y bajo la dirección y producción del director de cine de animación Damián Perea, Animayo permite establecer un diálogo entre la producción más actual e innovadora y la obra de los creadores de animación tradicional, no estando sujeto a los condicionantes de la procedencia o de la técnica y con el único criterio que lo rige, que es el de la calidad. Animayo es una muestra abierta al público en general, que pretende servir de instrumento para la difusión del cine de animación más novedoso, comprometido y apasionado de todos los tiempos, destacando de manera especial aquellas producciones que han sabido enriquecer y potenciar las capacidades expresivas de la animación. Precedida del éxito rotundo que ha ido acumulando a lo largo de estas tres ediciones y que nos ha permitido triplicar la participación ciudadana en la última convocatoria (aspectos que analizaremos con detenimiento en el apartado “valoraciones”), la Muestra ha demostrado la madurez y estabilidad necesarias para que pongamos sobre la mesa el firme planteamiento, de cara a 2009, de hacerla crecer. -
VIEW Conference 21 – 26 Ottobre 2018 OGR – Corso Castelfidardo, 22 – Torino
19a CONFERENZA INTERNAZIONALE DI VFX E COMPUTER GRAFICA VIEW Conference 21 – 26 ottobre 2018 OGR – Corso Castelfidardo, 22 – Torino www.viewconference.it © Disney•Pixar #VIEWCONFERENCE2018 PROGRAMMA #VIEWCONFERENCE2018 DOMENICA 21 OTTOBRE 13:00 - 14:30 VISUAL STORYTELLING: TUTTE LE PEPITE DELLA SALA DUOMO WORKSHOP STORIA CHE NON SAI DI AVERE VISTO 14:00 - 18:00 IMPARARE A FORMULARE UN BUSINESS PITCH DA DANIELLE FEINBERG, Vincitrice Annie Award Direttrice Fo- ALCUNI DEI MIGLIORI VENTURE CAPITALIST tografia per l’Illuminazione, PIXAR Animation Studios SHELLEY LK, Managing Partner, Affiniti Ventures, AV(M) 15:00 - 17:00 MAXON CINEMA 4D PER GUERILLA VFX DAVID MOLYNEUX, Director, Games Co. London MASTERCLASS HELGE MAUS, Titolare Pixeltrain 3D, VFX, Istruttore 18:00 - 19:30 IMPARA A FARE UN BUSINESS PITCH superiore certificato per Maxon GLENN ENTIS, Co-Fondatore di PDI, Vincitore Premio Oscar 17:00 - 19:00 RENDERMAN 22 DI PIXAR: INCREDIBILI EVOLUZIONI MASTERCLASS DYLAN SISSON, RenderMan, PIXAR Animation Studios SALA DOPOLAVORO 9:00 - 11:00 FONDAMENTI DI STORYBOARD MASTERCLASS EMANUELA COZZI, Storyboard Artist, LAIKA STORYBOARD 16:00 - 17:30 IL MOMENTO DI MILA © Universal Studios – Amblin Entertainment, Inc MASTERCLASS SHELLEY LK, Managing Partner, Affiniti Ventures, AV(M) CINZIA ANGELINI, Regista, Story Development, Head of LUNEDÌ 22 OTTOBRE Story, Cinesite Workshop/Masterclass SALA ACQUARIO SALA FUCINE 9:00 - 10:30 SMALLFOOT: UN MITICO MALINTESO SPIEGATO 9:00 - 11:00 Programma riservato alle scuole WORKSHOP KARL HERBST, Supervisore Generale -
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Don’t be Be Tailor Afraid to Humble. Your Reel. Fail. Fail as often and as badly as possible; Attitude plays a MAJOR role in your Do NOT try to make a one-size fits and every time you fail, just learn success. Who wants to work with all demo reel. This works in small a little bit and get a little bit better, a jerk? I don’t, and I’m sure you companies, but for the main studios and then you fail again and you don’t. This does not mean that you it may hurt your chances more than learn something, and you get a little need to let someone walk all over anything else. Make your demo bit better. A lot of students are very you, either. Build confidence in who reel specific to the position and timid about their work and are scared you are, share your thoughts, and studio for which you are applying. to put themselves out there and respect those of others. Remember, If you’re applying as an animator really try something…. But I say just there’s more than your way to tackle to a big animation studio where go for it and it’s fine if you fail. You’re a challenge. departments are very specialized, supposed to be failing right now. then everything on the reel should You’re students. So fail, learn, and say only ‘animation.’ It should not say get better….That’s how I got where I ‘texturing’ or ‘lighting’ or ‘modeling.’ am now. Shawn Kelly Bobby “BOOM” Beck Carlos Baena Animation Mentor Cofounder and Animation Mentor Cofounder and Animation Mentor Cofounder Lead Animator at Industrial Light CEO and animated on Pixar feature and former animated on Pixar & Magic films including Finding Nemo, The feature films, including Monsters Incredibles and Cars University, Toy Story 4Watch full video 4Read full article 4Read full article Live a Life. -
World's Best Creative Design Schools
MASTERS TRAIN MASTERS Striving to become ASIA’S NO& one of the .1 world’s best creative design schools With an investment of more than RM150 million, The One Academy’s new campus is now open! With the launch of the new building, the institute will continue to stay true to its successful teaching principles – The Best Facilities & the Best Educators Nurture the Best Students! Since its establishment 28 years ago, The One Academy has stayed true to its core values and practices the “Masters Train Masters” teaching philosophy, with the belief that world-class students can be cultivated through an education enriched by international industry professionals & leaders. We have nurtured many who have gone on to accomplish tremendous global achievements worldwide. At present, we have brought together hundreds of experienced and enthusiastic creative professionals to educate and empower our students. Besides being awarded The BrandLaureate Awards as Best Brand in Creative Education for 3 consecutive years, we were also named ‘Best of the Best’ creative institution of higher learning in Malaysia and Singapore. The One Academy was honoured as Creative School of the Year by the industry and was recognised as one of the World’s Top 10 Best Digital Art Schools by The Rookies International last year. As the college continues to gain higher merits year by year, it is clear that student achievement is our top priority, ensuring the goal of becoming Asia’s No. 1 is within reach! Our new campus which hosts RM150 mil worth of latest technologies & advanced facilities is located in a strategic area which is easily accessed through the Federal, KESAS, LDP and NPE highways. -
Animation Tips & Tricks
Animation Tips & Tricks BY: Shawn Kelly FOREWORD Hello everyone! Welcome to the first collection of the Tips & Tricks articles that you’ve been seeing in our monthly newsletter over the last few years. If you’re a regular reader, I just wanted to thank you for all the support, all the encouraging emails, and for all of the great feedback and follow-up questions! If you’re a new reader, however, there are a few things you should know. First, I love animation. LOVE IT. I love everything about this art form. Doing it, talking about it, studying it, etc. Which is probably the root cause of the second thing you should know: as much as I seem to continually promise to be less wordy in these articles, it never really happens, so don’t hold your breath. And third, after re-reading a lot of these tips and tricks, I clearly have an unhealthy obsession for fried chicken and Bacardi Anejo y Coca, so just be prepared for that as well! :) Anyway - I hope you have fun reading (or re-reading) these articles. For the most part, they’re just me rambling on about this or that, but it’s been amazing to hear from so many of you that you have found them helpful. Thanks again so much for all the great feedback! Please continue to send in your questions and comments to [email protected] - I read and reply to every email that comes through, and a lot of your suggestions end up becoming great article topics! Keep animating, and as always -- have FUN! SHAWN KELLY INTRODUCTION Welcome to the First Edition of Animation Tips and Tricks. -
Thinking Animation: Bridging the Gap Between 2D and CG the Magic of Animation
TEAM LinG ©2007 Angie Jones and Jamie Oliff. All rights reserved. No part of Publisher and General Manager, this book may be reproduced or transmitted in any form or by any Thomson Course Technology PTR: means, electronic or mechanical, including photocopying, recording, Stacy L. Hiquet or by any information storage or retrieval system without written Associate Director of Marketing: permission from Thomson Course Technology PTR, except for the Sarah O’Donnell inclusion of brief quotations in a review. Manager of Editorial Services: The Thomson Course Technology PTR logo and related trade dress are Heather Talbot trademarks of Thomson Course Technology, a division of Thomson Learning Inc., and may not be used without written permission. Marketing Manager: Heather Hurley “OSCAR®,” “OSCARS®,” “ACADEMY AWARD®,” “ACADEMY AWARDS®,” Executive Editor: “OSCAR NIGHT®,” “A.M.P.A.S.®” and the “Oscar” design mark are trade- Kevin Harreld marks and service marks of the Academy of Motion Picture Arts and Marketing Coordinator: Sciences. All other trademarks are the property of their respective owners. Meg Dunkerly Important: Thomson Course Technology PTR cannot provide software Project Editor/Copy Editor: support. Please contact the appropriate software manufacturer’s Cathleen D. Snyder technical support line or Web site for assistance. Technical Reviewer: Thomson Course Technology PTR and the authors have attempted Scott Holmes throughout this book to distinguish proprietary trademarks from PTR Editorial Services Coordinator: descriptive terms by following the capitalization style used by the Elizabeth Furbish manufacturer. Interior Layout Tech: Information contained in this book has been obtained by Thomson Bill Hartman Course Technology PTR from sources believed to be reliable. -
CATALOG 2021 -2022 Table of Content
CATALOG 2021 -2022 Table of Content Welcome to Animation Mentor ......................................................................................................................................................4 Our Mission .......................................................................................................................................................................................................................5 Our Founders ................................................................................................................................................................................................................6 Our Mentors ....................................................................................................................................................................................................................7 Admissions Process and Policies .................................................................................................................................................8 The Admissions Process ......................................................................................................................................................... 8 Enrollment .................................................................................................................................................................................... 8 Student’s Right to Cancel ..................................................................................................................................................... -
El Progreso De La Animación Le Concede Otra Percepción Al Cine
Las nuevas técnicas de animación 1. Introducción………………………………………………………………….…..p 7 1.1. Historia de la animación……………………………………...….…………..p 9 1.2. Animadores populares del pasado……………………………...……………p 15 1.2.1. Quirino Cristiani……………………………………………….……......p 15 1.2.2. Oskar Fischinger……………………………………..………………….p 19 1.2.3. Alexandre Alexeieff………………………………………..…....………p 21 1.2.4. Norman McLaren………………………………………………..……....p 23 1.3. Década del 70 en adelante…………………...……………..………...………p 25 1.3.1. En Estados Unidos……………………………………………………….p 25 1.3.2. En Japón…………………………………………..…………….….…….p 27 1.3.3. En Europa…………………………………...……………………..……..p 27 1.3.4. En Argentina……………………………………..…………………..…..p 28 2. Animación y sus variantes……………….…………………………..…………p 30 2.1. Naturaleza de la técnica de animación………………………………..……..p 32 2.1.1. Leyes físicas……………………………………………………...….…..p 33 2.1.2. Principios estéticos……………………………………………….......….p 36 2.2. Posibilidades que ofrece la animación……………………………….......….p 39 2.3. Tipos de animación existentes...…………………….…..…………………..p 40 2.3.1. Dibujos animados...……………… ……..……………...…………...….p 40 2.3.2. Stop motion………………………….……………………….……..…..p 41 2.3.3. Pixilación…………………………………………...……….….……….p 42 2.3.4. Rotoscopía………………………………...………….....................……p 42 2.3.5. Animación de recortes…………………………...……….……….…….p 42 1 2.4. Animación completa vs. Animación limitada………………………....………p 42 2.5. Proceso de producción ……………………………………………....………..p 43 2.6 Artistas y técnicos……………………………………………….…..………....p 47 3. La informática en la animación…………...………………...……...…….………p 50 3.1. Técnicas modernas……………………………………………..……..….…....p 51 3.1.1. Stop motion en la publicidad de Sony Bravia…………………………......p 52 3.1.2. Rotoscopía por computadora…...………………………………………….p 53 3.2. Animadores populares……………………….…………...…………......……..p 54 3.2.1. Brad Bird……………………………………………………….………….p 55 3.2.2. Matt Groening………………………………………………..……………p 56 3.2.3. John Lasseter…………………………………………………..…....……..p 57 3.2.4.Manuel García Ferré.....................................................................................p 58 3.2.5. -
Catálogo 2019
ÍNDICE INTRODUCCIÓN PÁG. 5 JURADO PÁG. 7 PARTICIPANTES PÁG. 15 SECCIÓN NO OFICIAL PÁG. 52 SECCIÓN OFICIAL PÁG. 73 CRÉDITOS PÁG. 91 FESTIVAL CORTO CIUDAD REAL 3 INTRODUCCIÓN INTRODUCCIÓN Sara Martínez Arcos Concejala de Juventud y Participación Ciudadana INTRODUCCIÓN Vuelve la cultura en mayúsculas, vuelve el cine en formato corto. El esfuerzo, la pasión por el trabajo bien hecho, la sensibilidad y el firme convencimiento de que los recursos públicos han de usarse para el bien de la ciudadanía en su con- junto vuelven a marcar al Festival Corto de Ciudad Real. En su vigésimo primera edición podría destacar algo que me parece espectacular, que son las ganas de querer superarse. Se ha mantenido el nivel de cortos recepcionados: 840 obras en competición. Se han estrechado lazos con otras iniciativas culturales de la ciudad, para dejar claro que para el Ayuntamiento todo suma, todos sumamos. Nuevos patrocinadores y espacios de la ciudad serán escenario de proyecciones, dejando claro que la cultura tiene que estar al alcance de todos. Esta edición, el Festival Corto, se anuncia a través de los ojos (esa seña tan nuestra) de una mujer, que coge su cámara y sale a grabar lo que le rodea, lo que le preocupa, sus sueños, sus inquietudes, siempre en movimiento, siempre hacia delante. Tiene ese espíritu joven, no olvidemos que el Festival ha nacido y crecido dentro de la Concejalía de Juventud, que nos hace creer, igual que ocurre con el cine, que los sueños pueden cumplirse. Siempre se suelen dejar los agradecimientos para el final. La razón no es otra que concluir un guión con la frase que sea el cierre perfecto.