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Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
Suggestions for Top 100 Family Films
SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT.. -
Animated Stereotypes –
Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes. -
A4 Size Poster Toonz.Cdr
VIT-AP - Toonz Course on Animation, Visual Effects and Gaming The Best Career opportunity in MEDIA STUDIES Animation, Visual Effects, and Gaming objectives To cover the complete process of 3D animation filmmaking techniques. Aer completing this course the students will have expertise in 3D animation filmmaking. Students will have strong exposure to major areas in 3D production pipeline like Character Modeling, BG & Props Modeling, Texturing, Character Rigging, Staging, Animation, Lighting, Rendering, Multipass CG Compositing, Hair Fur Stimulation, Fluid Dynamics& Cloth Stimulation. Scope for Employment Ÿ 3D animators with specialization in core areas of production are in demand worldwide. There are plenty of requirements in the creative industry. Ÿ A student who completes the AFMA course can join the industry as Jr artists and eventually scale up to the level of Animation directors/Technical supervisors/Senior Producers etc. Ÿ Elective during the 3 months internship program Ÿ Asset Creation, Character Animation, Lok Filaization, Effects Animation Ÿ 100% Placement Opportunities in Media Studies & Internship in Toonz Animation Studio. Production Studio Ÿ Founded in 1999, Toonz Animation, the animation division of Toonz Media Group, is specialized in IP creation, development, and production. The 18,000 sq state-of-the-art headquarters is located in the picturesque city of Trivandrum, India. Started as a pioneer in the Indian animation landscape, Toonz Animation today has emerged as one of the finest animation houses in the world. With great -
Ivana Pistorozzicv
Experience 2020/ 2014 Ivana Pistorozzi CV www.ivanapistorozzi.com Minister of Education - Visual Art Teacher September 2019 - Present (11 months) Modena, Emilia-Romagna, Italy Painting & Drawing Techniques at Liceo Artistico L. Venturi, Modena, Italy When the wise man points to the moon, Visual Art at Ic 3 Mattarella, Modena, Italy 2D/3D Character Animator & the fool looks at the finger Illustrator ChiaroScuro Creative - 2D Character Animator (2 months), Freelance Bologna,Emilia-Romagna, Italy 2D Animator - Video clip in Cutting of animation technique, After Effects [email protected] https://youtu.be/sAZ0ekeDui8 Imagem Srl - Storyboard Artist & 3D Character Animator Phone number (6 months), Freelance, Bologna,Emilia-Romagna, Italy Spot Unified Communication - VAR Group, CISCO partners +39 388 449 43 62 Software: Autodesk Maya, Photoshop, After Effects; Cinema 4D - Maxon Born: 17/03/1974 MADE ON VFX S.R.L. 3D Character Animator (4 months) Rome, Lazio, Italy, Freelance video pilot LA GRANDE ONDA, Software: Autodesk Maya Nationality: Italian Cisco Meraki - Storyboard and 3D Layout Artist (4 months) Freelance, Bologna Area, Italy corporate advertising: MERAKI client: CISCO & VARgroup. Software: Photoshop, After Effects; Cinema 4D - Maxon Creative collaboration - Director (3 months) HYPNOTIZED new edition - 2D animated short. Soundtrack by Katy Jungmann. Homage to the dark atmosphere of the movies of D.Lynch and D. Cronenberg. https://vimeo.com/187532628 or https://youtu.be/Isj6qB6sjkE POPCult - Concept Artist & Director of Animation (3 months) Freelance, Bologna, Emilia-Romagna, Italy 2” length - 2D animated commercial “E-Mobility Works!” Software: Adobe After Effects & Photoshop https://youtu.be/9HtHlm2k98c CV Experience 2020/ 2014 Ivana Pistorozzi www.ivanapistorozzi.com THE SHIFT - 3D Character Animator (2 months) Freelance THE SHIFT Studio for Turner Broadcasting, 3D Character Animator for The 45" BOLOGNA CARTOONITO DANCE –TV Show Intro. -
Business Consultation of Select Best Practices to an Animated Film Studio
University of South Carolina Scholar Commons Senior Theses Honors College Spring 5-5-2016 Business Consultation of Select Best Practices to an Animated Film Studio: How to Produce the Most Successful Film You Can Joshua Christian Blackwood University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/senior_theses Part of the Management Sciences and Quantitative Methods Commons Recommended Citation Blackwood, Joshua Christian, "Business Consultation of Select Best Practices to an Animated Film Studio: How to Produce the Most Successful Film You Can" (2016). Senior Theses. 110. https://scholarcommons.sc.edu/senior_theses/110 This Thesis is brought to you by the Honors College at Scholar Commons. It has been accepted for inclusion in Senior Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Business Consultation of Select Best Practices to an Animated Film Studio How to Produce the Most Successful Film You Can Senior Thesis Spring 2016 Student Josh Blackwood Director Dr. Lauren Steimer Second Reader Dr. Jack Jensen Table of Contents Introduction………………………………………………………………………………………..1 Establishing Scope………………………………………………………………………………...4 Methodology………………………………………………………………………………………5 Operational Planning Data Animation Studio………………………………………………………………………….8 Release Date…………………………………………………………………………….…9 Runtime…………………………………………………………………………………..11 Pre-sold Property………………………………………………………………………...12 Negative Cost…………………………………………………………………………….13 -
How Pcoip® Technology Can Save Broadcasters Time & Money While
TVTechnology How PCoIP® Technology Can Save Broadcasters Time & Money While Boosting Cybersecurity COVID-19 and the need to work from home is transforming the way broadcasters produce, play- out, and distribute content. This post-KVM model prevents hostile players from hacking into broadcasters via home/remote user computers. Meanwhile, the reduced bandwidth allows many more home/remote users to connect to a broadcaster’s office or studio without overloading the corporate IT system, because so much less data is going back and forth. Industrial Light & THE SOLUTION: TERADICI’s PCoIP Magic Overcomes TECHNOLOGY ‘Dailies’ Issues with All of the post-KVM features outlined above are provided by Teradici’s PC-over-IP PCoIP Technology nfortunately, the current KVM (Keyboard- (PCoIP) communications protocol. PCoIP Video-Mouse) model of remote access is not uses advanced display compression to n the motion picture industry, adequate for this task. The reason: home- provide end users with on-premises or ‘dailies’ are raw, unedited sets of based/remote users lack secure connectivity cloud-based ‘virtual machines’. Teradici’s Ifootage shot during the production to their corporate workstations and servers. virtual workspace architecture compresses, day that are shared for review U This is because their KVM infrastructure is encrypts and transmits only pixels to a among key players. For a company designed to support local connections to broad range of software clients, mobile like Industrial Light & Magic (ILM) – nearby LAN resources, rather than delivering clients, thin clients and stateless PCoIP renowned for its visual effects in the high-performance user experiences over Zero Clients1, resulting in a highly secure, Star Wars films and other blockbusters long distance WANs. -
EL CULTURAL SAN MARTIN Programa De Cine En Vacaciones
EL CULTURAL SAN MARTIN Programa de cine en vacaciones de Invierno 2018 Entrada general: $70 / Estudiantes y jubilados: $50 En boleterías o por www.tuentrada.com El Cultural San Martín Sarmiento 1551 www.elculturalsanmartin.org Lego Batman: La película, de Chris McKay (2017) Hay grandes cambios que amenazan a Gotham, pero si Batman busca salvar a la ciudad de la incursión hostil del Guasón, deberá considerar en dejar su lucha solitaria y tratar de trabajar con otros para aligerar la batalla. Género: Animación Dirección: Chris McKay Origen: Estados Unidos Año: 2017 Duración: 104 minutos Funciones: Sábado 14 y Domingo 15 > 15 hs El Gigante de Hierro, de Brad Bird (1999) En 1957, en la pequeña localidad de Rockwell, alguien ha visto cómo un enorme hombre metálico caía al mar. Un imaginativo niño descubre que se trata de un robot gigante, cuyo apetito de metal es insaciable. Entre ambos nace una fuerte amistad, pero el gobierno envía a un agente para investigar los hechos. Género: Animación Dirección: Brad Bird Origen: Estados Unidos Año: 1999 Duración: 86 minutos Funciones: Martes 17 > 15 hs Como Entrenar a tu Dragón, de Dean DeBlois y Chris Sanders (2010) Ambientada en el mítico mundo de los rudos vikingos y los dragones salvajes, narra la historia de Hipo, un vikingo adolescente que no encaja exactamente en la antiquísima reputación de su tribu como cazadores de dragones. El mundo de Hipo se trastoca al encontrar a un dragón que le desafía a él y a sus compañeros vikingos, a ver el mundo desde un punto de vista totalmente diferente. -
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.Com TABLE of CONTENTS
2016 FEATURE FILM STUDY Photo: Diego Grandi / Shutterstock.com TABLE OF CONTENTS ABOUT THIS REPORT 2 FILMING LOCATIONS 3 GEORGIA IN FOCUS 5 CALIFORNIA IN FOCUS 5 FILM PRODUCTION: ECONOMIC IMPACTS 8 6255 W. Sunset Blvd. FILM PRODUCTION: BUDGETS AND SPENDING 10 12th Floor FILM PRODUCTION: JOBS 12 Hollywood, CA 90028 FILM PRODUCTION: VISUAL EFFECTS 14 FILM PRODUCTION: MUSIC SCORING 15 filmla.com FILM INCENTIVE PROGRAMS 16 CONCLUSION 18 @FilmLA STUDY METHODOLOGY 19 FilmLA SOURCES 20 FilmLAinc MOVIES OF 2016: APPENDIX A (TABLE) 21 MOVIES OF 2016: APPENDIX B (MAP) 24 CREDITS: QUESTIONS? CONTACT US! Research Analyst: Adrian McDonald Adrian McDonald Research Analyst (213) 977-8636 Graphic Design: [email protected] Shane Hirschman Photography: Shutterstock Lionsgate© Disney / Marvel© EPK.TV Cover Photograph: Dale Robinette ABOUT THIS REPORT For the last four years, FilmL.A. Research has tracked the movies released theatrically in the U.S. to determine where they were filmed, why they filmed in the locations they did and how much was spent to produce them. We do this to help businesspeople and policymakers, particularly those with investments in California, better understand the state’s place in the competitive business environment that is feature film production. For reasons described later in this report’s methodology section, FilmL.A. adopted a different film project sampling method for 2016. This year, our sample is based on the top 100 feature films at the domestic box office released theatrically within the U.S. during the 2016 calendar -
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Stxsurreal Partners with Academy Award-Winning Visual Effects Company Dneg to Co-Finance Slate of Original Short Form Vr Series
STXSURREAL PARTNERS WITH ACADEMY AWARD-WINNING VISUAL EFFECTS COMPANY DNEG TO CO-FINANCE SLATE OF ORIGINAL SHORT FORM VR SERIES First Series in the Slate, THE LIMIT, from Director Robert Rodriguez is set to premiere on STX’s Surreal VR App Launching in Summer 2018 BURBANK, CA – April 9, 2018 – STXsurreal, the VR and immersive content division of Robert Simonds’ STX Entertainment, today announced that DNEG, fresh off of its fourth Academy Award win for visual effects, will partner to co-finance STX’s upcoming slate of premium, original, short-form VR series. As part of the deal, DNEG will exclusively provide STXsurreal post-production VFX and 3D conversion services on a minimum of six projects. The slate will premiere on STX’s previously announced pay-per-experience VR channel “SURREAL,” launching as an app on VR headsets in Summer 2018. “With the SURREAL channel, STX is revolutionizing what it means to create premium, original, narrative VR content,” said Rick Rey and Andy Vick, Co- Presidents of STXsurreal. “By partnering with DNEG, and utilizing their Oscar-winning visual effects expertise, we’re doubling down on our promise to bring audiences a truly cinematic and high-quality immersive experience featuring the most sought-after writers, directors and stars in the world today.” STXsurreal’s slate of original VR programming is being produced in a completely new format that bridges the gap between traditional widescreen and 360-degree video. The channel will kick off with THE LIMIT, a live-action, short-form virtual reality series from award-winning filmmaker Robert Rodriguez and starring actress Michelle Rodriguez. -
BEST PICTURE Director Actor in a Leading Role ACTRESS in A
Up–to–the–minute Oscar news and wrap-up on vulture.com 2011 OSCAR POOL BALLOT BEST PICTURE FOreiGN LANGuaGE FilM DOcuMENtarY Feature Black Swan Biutiful Exit Through the Gift Shop Banksy and Jaimie D’Cruz The Fighter Mexico | Directed by Alejandro González Iñárritu Gasland Josh Fox and Trish Adlesic Inception Dogtooth (Kynodontas) Inside Job Charles Ferguson and Audrey Marrs Greece | Directed by Giorgos Lanthimos The Kids Are All Right Restrepo Tim Hetherington and Sebastian Junger In a Better World (Hævnen) The King’s Speech Waste Land Lucy Walker and Angus Aynsley Denmark | Directed by Susanne Bier 127 Hours Incendies DOcuMENtarY SHOrt SUBJect The Social Network Canada | Directed by Denis Villeneuve Killing in the Name Nominees to be determined Toy Story 3 Outside the Law (Hors-la-loi) Poster Girl Nominees to be determined True Grit Algeria | Directed by Rachid Bouchareb Strangers No More Karen Goodman and Kirk Simon Winter’s Bone OriGINal SCOre Sun Come Up Jennifer Redfearn and Tim Metzger DirectOR How to Train Your Dragon John Powell The Warriors of Qiugang Ruby Yang and Darren Aronofsky Black Swan Inception Hans Zimmer Thomas Lennon David O. Russell The Fighter The King’s Speech Alexandre Desplat ANIMated SHOrt FilM Tom Hooper The King’s Speech 127 Hours A.R. Rahman Day & Night Teddy Newton David Fincher The Social Network The Social Network Trent Reznor and Atticus Ross The Gruffalo Jakob Schuh and Max Lang Joel Coen and Ethan Coen True Grit OriGINal SONG Let’s Pollute Geefwee Boedoe ActOR IN A LeadiNG ROle Country Strong “Coming Home” The Lost Thing Shaun Tan and Andrew Ruhemann Javier Bardem Biutiful Music and Lyric by Tom Douglas, Troy Verges, Madagascar, carnet de voyage (Madagascar, a and Hillary Lindsey Journey Diary) Bastien Dubois Jeff Bridges True Grit Tangled “I See the Light” Jesse Eisenberg The Social Network Music by Alan Menken, Lyric by Glenn Slater LIVE ActiON SHOrt FilM Colin Firth The King’s Speech 127 Hours “If I Rise” The Confession Tanel Toom James Franco 127 Hours Music by A.R.