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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. -
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 . -
Scott Rohrman, 42 Real Estate C
Associate Leadership Council The Creative City Date: Friday, March 4, 2016 Parking: Park in DMA garage between 8:00 – 8:15 a.m., 1717 N Harwood St, Dallas, TX 75201 Starting Location: Walk to Hall Arts Center, 2323 Ross Avenue. Arrive no later than 8:15 a.m. Program Chair: Jill Ibison, Corgan Program Committee: Marti DuBuisson, Corgan; Nathan Nash, Nash Development Company I. Welcome and Introductions. Texas Sculpture Walk 8:30 a.m. a. Patricia B. Meadows, President, Art Connections II. Walking tour of the Arts District, History and Impact 9:30 a.m. a. Catherine Cuellar, Director, Entrepreneurs of North Texas III. Transition to the DMA 10:45-10:55 a.m. IV. DMA Tour 11:00 a.m. a. Pollock Exhibit – Docent lead b. Gallery Exhibit – Docent lead V. Lunch at the DMA Café 12:00 p.m. VI. Individually Drive to Deep Ellum 12:45 p.m. a. Surface or street parking near 2650 Main St, Dallas, TX 75226 b. Walk to Reel FX, 301 N Crowdus St, Dallas, TX 75226. Meet in Lobby. VII. Reel FX. Digital Media 1:15 p.m. a. Liz Hemme, Lighting Superv isor VIII. Walk to Undermain Theatre, 3200 Main Street, Dallas TX 75226 2:30 p.m. IX. Undermain Theatre 2:45 p.m. a. Ken Bernstein, Technical Director and Ben Bryant, Facilities Manager, Undermain Theatre b. Erica Felicella, Art Conspiracy Executive Director X. Walk to Kettle Art Gallery, 2650 Main St, Dallas, TX 75226 3:45 p.m. XI. Kettle Art Gallery. View Exhibit and Casual Conversation 4:00 p.m. -
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 -
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 ............................................................................................................... -
Top Questions About Character Animation
Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame. -
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 -
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. -
M Asterclass
The Sixth Annual CG, Animation & Gaming Forum John Anthony Theatre June 9, 2007 Collin College 9:00 a.m. – 5:30 p.m. 2800 E. Spring Creek Pkwy, Plano, TX Masterclass 10 a.m. – 3:30 p.m. June 8, 2007 Room C-104, Collin College www.industrygiants.org From the drawing board to the movie theater - and all points in-between – the sixth annual Industry Giants 2007 computer graphics, animation and gaming forum investigates what it takes to cultivate and keep an animation and gaming industry in Texas. Bryan Engram – Reel FX Creative Studios 9:00 a.m. Rita Street – Radar Cartoons 1:30 p.m. Animation Supervisor Managing Director, Producer, and Author Currently, Bryan is finishing commercial spots for Rita is managing director of Radar Cartoons, Dreamworks’ Shrek the Third. His credits include coproducer of The Nicktoons Film Festival, and feature films The Wild, Everyone’s Hero, and Teenage vp of development for Mike Young Productions, Mutant Ninja Turtles; shorts such as Blue Sky’s Aunt Her current animated series, Ruby Gloom, has been Fanny’s Tour of Booty; and game cinematics for Halo 2 nominated in the Annecy (France) and Cartoons on and Transformers :The Game. the Bay (Italy) Festivals. Elizabeth Hitt – Digital Domain 10:00 a.m. Steve Gaconnier – Janimation 2:30 p.m. Visual Effects CEO and Chief Creative Director Elizabeth works for Academy Award winning visual Janimation is nationally recognized as a talented effects house Digital Domain and has credits on and industrious company through their work for Stealth, Zoom, Texas Chainsaw Massacre: The Beginning, such clients as Fox Sports, Nokia, Pennzoil, Miller The Hitcher, and the upcoming Transformers. -
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. -
Toonboom.Com FEELING GRATEFUL
SPRING 2012 toonboom.com FEELING GRATEFUL A WORD FROM THE PRESIDENT Dear Customers, Partners and Friends, I would like to open the Winter issue of Toon numerous studios and educational institutions Boom News by thanking all of you for your train animators and create jobs in a fast-changing tremendous support and loyalty. There are no market.” words to describe how privileged we all feel at Our dedication to making the global animation Toon Boom to continuously serve such a vibrant industry successful can only be matched by our and dynamic community composed of professional passion for working with incredible individuals, such content creators, hobbyists, educators, students as yourselves, and helping to create entertainment and children. and messaging for a better world. We are deeply grateful for receiving our second We would like to wish you a wonderful Holiday Primetime Emmy® Engineering Award, this time Season and the very best for 2013. May Peace, for Toon Boom Storyboard Pro. This wonderful Health, Love and Creativity fill up your days recognition granted by the Academy of Television throughout the New Year! Arts and Sciences is a true testament to Storyboard Pro’s significant contribution to the broadcast With warm regards, industry, be it live action or animated. I was also very touched to receive a special Humanitarian Prize at The World Animation Feature Films & VFX Summit in Marina del Rey, California. The award, presented by Animation Magazine president Jean Thoren in front of animation industry leaders, was given to me in -
Allan Cabal [email protected] (310) 508-6679
Allan Cabal [email protected] (310) 508-6679 OBJECTIVE To be part of an inspiring team of creative individuals that would enable me use my production experience as an animator/previs artist to its highest potential SKILLS • Software: Maya 2017, 3dsmax 2017, Softimage 2014, Character Studio, C.A.T, Vray, Adobe Photoshop/Premiere, various plug-ins/scripts for Maya/3dsmax, Shotgun • Traditional Art Skills: Traditional animation training, character development, storyboarding, airbrush illustration, figure sculpture, and extensive life drawing experience with graphite, ink, charcoal, conte, and watercolor (Traditional art samples available upon request) WORK EXPERIENCE Zoic Studios:Animator 2018: animation for episodic shows “The Wallking Dead & Magnum P.I reboot” Pixomondo: Senior Animator/Previs Artist 2014-2016 Dragon animation for “AT&T Uverse Game of Thrones: It’s Time” commercial, animation/previs for various “Wanda theme park rides” Uncharted Territory: Animator Feb-March 2016 “Independence Day: Resurgence” Prologue Films: Senior Animator Aug-Oct 2014 “Audi car promo” Blur Studios: Senior Animator/previs artist Jan-July 2014 “Halo: Masterchief collection" “StarTrek Theme Park Ride” Pixomondo: Senior Animator 2011-2013 Animation for feature films “Oblivion” "Hugo"and "Redtails" Spatial Harmonics Group: Animator Nov 2011 Animation for Motorola Razr and Pantene commercials 23dfilms: Lead Animator 2009-2010 Animation lead for the television shows "Crime360, American Paranormal: Bigfoot Revealed, Haunted Prison, I-predator " LLP Digital: