DOCSLIB.ORG

History of Animation Part 3.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History of Animation Part 3.Pdf History of Animation 1950’s – Today Movie Theater History Stop Motion in the Movies Ray Harryhausen’s creation called Dynamotion o Process involving split screen rear projection to insert the stop motion characters into the background of live-action plates Harryhausen produces 16 movies using his Dynamotion from 1949 to 1981 o 1st Movies is Mighty Joe Young in 1949 o Movies such as Jason & the Argonauts, Trog & Clash of the Titans Harryhausen starts a trend of stop-motion animated movies which starts the Science Fiction o Warner Brother’s produce The Beast From 20,000 Fathoms o Paramount Studio expands by hiring the employees of the defunked Fleischer Brothers . Hire a director names George Pal, who is known as the father of screen science fiction by using cinematography, animation and puppets Tom Thumb (1958) Wonderful World of the Brothers Grimm (1962) 7 Faces of Dr. Leo (1963) The Downfall of Disney Disney was still producing animated movies throughout the time where animators were fighting to be television king. o Disney continue to rule the theaters . Cinderella (1950) Top Grossing movie that year . Alice in Wonderland (1951) . Peter Pan (1953) Top Grossing movie that year . Lady and the Tramp (1955) Top Grossing movie that year . Sleep Beauty (1959) . 101 Dalmatians (1961) Top Grossing movie that year . The Sword and the Stone (1963) . Mary Poppins (1964) Top Grossing movie that year . The Jungle Book (1967) Top Grossing movie that year Walt Disney died during the production of this movie With the death of Walt Disney, the quality of movies coming out of the company faltered o Artist did what they thought Walt would want and not what they thought was right History of Animation 1950’s – Today Movie Theater History . The company was producing disappointing movie after disappointing movie The Aristocats (1970) Robin Hood (1973) The Rescuers (1977) The Fox & The Hound (1981) The Black Calderon (1985) The Great Mouse Detectives (1986) Oliver & Company (1988) Sci-Fi Movie go partial Animation As the 70’s ended and the 80’s began, stop action animation picks up o Sci-Fi movies find its peak . Star Wars Triology . Aliens . Indiana Jones . Ghostbusters o Disney got into the mix too . However Disney is slow to adapt to this new technology of cable television and VCRs . Didn’t want to move from animation films, turning down the scripts for ET: the Extra-Terrestrial and Raiders of the Lost Ark . Tron (1982) was the 1st PG-rated movie from Disney 1st film with over 20 minutes of computer animation 1st film to imaginatively attempt to computer generate a “cyberspace” o The cyberspace was referred to as “The Matrix” This film coined the phrase “hack” The movie was disqualified for an academy award o The academy thought that using a computer to do the work was cheating o The academy reconsidered that stance after the Abyss (1989) . “Who Framed Roger Rabbit” (1988) The 1988 nomination came from a movie that Disney did with Touchstone film, which was a cross of live-action and animation- “Who Framed Roger Rabbit?” The Resurgences of Disney In 1985, Disney was given three ideas for animated movies, the first 2 were produced in 1986 and 1988, with the third being held off this till the end of the decade, because of its similarity to the Tom Hanks movie “Splash” (1984) o While in production, Disney felt that the movie needed to go back to the musical numbers of the past and brought in some heavy hitters for the musical numbers. History of Animation 1950’s – Today Movie Theater History . Disney had won Best Score and Best Song for a movie 4 times before his death . No Disney movie was even nominated for an Academy Award from his death till 1988 The movie won 3 Academy Awards and was said to be the kick start to the uprising of Disney o Disney started in 1986 draw the movie the Little Mermaid . Opened in November 1989 . $211 million in the theaters worldwide . Won 2 Academy Awards (Best Score and Best Song) o Disney continued from there, animating old children’s tales, just like they had done in the early days of Walt Disney . 1991 – Beauty and the Beast 6 Academy Award nominations o Won Best Score and Best Song 1st ever Animated movie to be nominated for Best Picture (Lost to Silence of the Lambs) o 1 of 3 ever nominated for Best Picture (Toy Story 3 and UP) Grossed $377 million in the theaters worldwide . 1992 – Aladdin 5 Academy Award nominations o Won Best Score and Best Song Grossed $504 million in theaters worldwide . 1994 – Lion King 3 Academy Award nominations o Won Best Score Grossed $784 million in theaters worldwide o This amount included the merchandising, which Disney started before the movie was released 1st Disney movie to have no Humans o Disney produced the first animated movie about a real life person for their next movie . 1995 – Pocahontas 1 Academy Award nominations o Won Best Song o Disney continues with well known tales . 1996 – Hunchback of Notre Dame . 1997 – Hercules 1 Academy Award nominations . 1998 – Mulan . 1999 – Tarzan 1 Academy Award nominations o Won Best Song History of Animation 1950’s – Today Movie Theater History Computer Animation and the movies 1973 movie “Westwood” first to have a computer generated image in the film The movement doesn’t really get going until 1979, when George Lucas saw a vision for computer animation in movies In 1986, a division of LucasArt broke away and was purchased by Apple Computer Steve Jobs and made into the independent company called Pixar with 44 employees o Pixar’s first shorts was in Luxo Jr. o Pixar produced the first CGI (Computer Generated Imagery) character in the animated short “Tin Toy” (1988) o Pixar starts using its computer animation to do commercials . Tropicana Orange Juice . Life Savers . Listerine . Made 15 different commercials in 1991 o In 1991, Pixar signs a deal with Disney for $26 million to produce a 3 computer animated movie . 1995 –Toy Story hits the big screen 1st fully computer animated movie Highest grossing film in theaters that year o Making $192 million in the U.S. o Pixar is constantly updating their animation software to stay ahead of the competition . Release Geri’s Game with updated software to have more realistic skin on humans Won an Academy Awards for Best Animated Short o In 1997, Disney and Pixar had a joint agreement to produce 5 more movies and causes Pixar to expand to a second building, as the company reaches 375 employees . 1998 – Bugs Life Grossed $163 million in the U.S. 1999 – Toy Story 2 Grossed $245 million in the U.S. 1st animated film to be created, mastered and digitally enhanced on the computer 1st animated sequel to out earn the original . 2001 – Monster, Inc. Grossed over $100 million in 9 days 3rd highest grossing animated movie of the year . 2003 – Finding Nemo Grossed on $70.2 million in the opening weekend . 2004 – The Incredibles Wins 2 Academy Awards for Best Animated Film and Best Sound Editing History of Animation 1950’s – Today Movie Theater History o After the 5 film deal is over, Disney decides to buy all of Pixar’s stock for $7.4 Billion, in essence, buying the company But Pixar was not the only game in town and as Pixar expanded, so did the other companies o Dreamworks started up in 1993 working on animation in live-action films such as Terminator 2 . In 1998, Dreamworks release Antz, one month prior to a Bug’s Life The movie was pitched to Pixar in 1988 by a then Pixar employee and was pitched to Dreamworks in 1994, after Pixar fired the same employee . Dreamworks was sold to Paramount in 2006, but still operates under the same name o Sony’ started producing Computer Animated films in 2001 . Final Fantasy: The Spirit Within was a science-fiction animation based on the video game and was the second highest grossing animated movie of the year o Nickelodeon got into the animated movie business in 1998 . First movie was a low budget film based on the television show, the Rugrats Movie o The Warner Brothers got back into the game too . 2001 – Osmosis Jones was a combination of live-action and computer animation The movie did very poorly in the theaters Dreamworks versus Disney Feud The 1998 computer animated movie that was so similar, started a silent feud between the companies to out duel the other. Each Company each year tries to out due the other, though there are some outsiders that throw their movies in, these two giants go at it year after year. While Dreamworks is dealing solely in computer animation, Disney is producing computer animation through Pixar and hand drawn animation and computer animation through the Disney company o 1st sole Disney computer animation was produced in 2005, Chicken Little History of Animation 1950’s – Today Movie Theater History Year Dreamworks Disney Others 2000 Road to El Dorado Dinosaur Titan A.E.# Chicken Run The Emperor’s New Groove* 2001 Shrek Monsters, Inc. Jimmy Neutron: Boy Genius Atlantis: The Lost Empire* Spirited Away 2002 Treasurer Planet* Ice Age Lilo & Stitch* 2003 Finding Nemo Brother Bear* 2004 Sharks Tale The Incredibles The Polar Express Shrek 2 Home on the Range* The SpongeBob Squarepants Movie 2005 Madagascar Chicken Little Hoodwinked 2006 Over the Hedge Cars Curious George Ice Age 2: The meltdown Happy Feet Open Season 2007 Shrek 3 Ratatouille Beowulf Bee Movie Meet the Robinsons Persepolis* The Simpsons Movie* 2008 Kung Fu Panda Wall-E Open Season 2 Madagascar: Escape 2 Africa Bolt Horton Hears a Who! 2009 Monsters vs.
Load more

Recommended publications
  • The Indigenous Body As Animated Palimpsest Michelle Johnson Phd Candidate, Dance Studies | York University, Toronto, Canada
    CONTINGENT HORIZONS The York University Student Journal of Anthropology VOLUME 5, NUMBER 1 (2019) OBJECTS “Not That You’re a Savage” The Indigenous Body as Animated Palimpsest Michelle Johnson PhD candidate, Dance Studies | York University, Toronto, Canada Contingent Horizons: The York University Student Journal of Anthropology. 2019. 5(1):45–62. First published online July 12, 2019. Contingent Horizons is available online at ch.journals.yorku.ca. Contingent Horizons is an annual open-access, peer-reviewed student journal published by the department of anthropology at York University, Toronto, Canada. The journal provides a platform for graduate and undergraduate students of anthropology to publish their outstanding scholarly work in a peer-reviewed academic forum. Contingent Horizons is run by a student editorial collective and is guided by an ethos of social justice, which informs its functioning, structure, and policies. Contingent Horizons’ website provides open-access to the journal’s published articles. ISSN 2292-7514 (Print) ISSN 2292-6739 (Online) editorial collective Meredith Evans, Nadine Ryan, Isabella Chawrun, Divy Puvimanasinghe, and Katie Squires cover photo Jordan Hodgins “Not That You’re a Savage” The Indigenous Body as Animated Palimpsest MICHELLE JOHNSON PHD CANDIDATE, DANCE STUDIES YORK UNIVERSITY, TORONTO, CANADA In 1995, Disney Studios released Pocahontas, its first animated feature based on a historical figure and featuring Indigenous characters. Amongst mixed reviews, the film provoked criti- cism regarding historical inaccuracy, cultural disrespect, and the sexualization of the titular Pocahontas as a Native American woman. Over the following years the studio has released a handful of films centered around Indigenous cultures, rooted in varying degrees of reality and fantasy.
    [Show full text]
  • Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
    Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel
    [Show full text]
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • 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.
    [Show full text]
  • Animation: Types
    Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film.
    [Show full text]
  • Available Papers and Transcripts from the Society for Animation Studies (SAS) Annual Conferences
    SAS Conference papers Pagina 1 NIAf - Available papers and transcripts from the Society for Animation Studies (SAS) annual conferences 1st SAS conference 1989, University of California, Los Angeles, USA Author (Origin) Title Forum Pages Copies Summary Notes Allan, Robin (InterTheatre, European Influences on Disney: The Formative Disney 20 N.A. See: Allan, 1991. Published as part of A Reader in Animation United Kingdom) Years Before Snow White Studies (1997), edited by Jayne Pilling, titled: "European Influences on Early Disney Feature Films". Kaufman, J.B. (Wichita) Norm Ferguson and the Latin American Films of Disney 8 N.A. In the years 1941-43, Walt Disney and his animation team made three Published as part of A Reader in Animation Walt Disney trips through South America, to get inspiration for their next films. Studies (1997), edited by Jayne Pilling. Norm Ferguson, the unit producer for the films, made hundreds of photo's and several people made home video's, thanks to which Kaufman can reconstruct the journey and its complications. The feature films that were made as a result of the trip are Saludos Amigos (1942) and The Three Caballero's (1944). Moritz, William (California Walter Ruttmann, Viking Eggeling: Restoring the Aspects of 7 N.A. Hans Richter always claimed he was the first to make absolute Published as part of A Reader in Animation Institute of the Arts) Esthetics of Early Experimental Animation independent and animations, but he neglected Walther Ruttmann's Opus no. 1 (1921). Studies (1997), edited by Jayne Pilling, titled institutional filmmaking Viking Eggeling had made some attempts as well, that culminated in "Restoring the Aesthetics of Early Abstract the crude Diagonal Symphony in 1923 .
    [Show full text]
  • 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..
    [Show full text]
  • German Jews in the United States: a Guide to Archival Collections
    GERMAN HISTORICAL INSTITUTE,WASHINGTON,DC REFERENCE GUIDE 24 GERMAN JEWS IN THE UNITED STATES: AGUIDE TO ARCHIVAL COLLECTIONS Contents INTRODUCTION &ACKNOWLEDGMENTS 1 ABOUT THE EDITOR 6 ARCHIVAL COLLECTIONS (arranged alphabetically by state and then city) ALABAMA Montgomery 1. Alabama Department of Archives and History ................................ 7 ARIZONA Phoenix 2. Arizona Jewish Historical Society ........................................................ 8 ARKANSAS Little Rock 3. Arkansas History Commission and State Archives .......................... 9 CALIFORNIA Berkeley 4. University of California, Berkeley: Bancroft Library, Archives .................................................................................................. 10 5. Judah L. Mages Museum: Western Jewish History Center ........... 14 Beverly Hills 6. Acad. of Motion Picture Arts and Sciences: Margaret Herrick Library, Special Coll. ............................................................................ 16 Davis 7. University of California at Davis: Shields Library, Special Collections and Archives ..................................................................... 16 Long Beach 8. California State Library, Long Beach: Special Collections ............. 17 Los Angeles 9. John F. Kennedy Memorial Library: Special Collections ...............18 10. UCLA Film and Television Archive .................................................. 18 11. USC: Doheny Memorial Library, Lion Feuchtwanger Archive ...................................................................................................
    [Show full text]
  • Toy Story: How Pixar Reinvented the Animated Feature
    Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation.
    [Show full text]
  • Philip Lazebnik
    Philip LaZebnik Filmography (Feature) Santa’s Daughter 2 2020, Screenplay, Deluca Films, Denmark Richard the Stork 2: The MysteryOf the Great Jewel 2020, Screenplay with Reza Memari, Knudsen and Streuber Productions, Berlin, Germany The Aardvark and the Ark 2020, Screenplay, Unified Pictures Sugar Kid 2019, Screenplay, Skopje Film Studio, Macedonia The Shamer’s Daughter 2: The Serpent’s Gift 2019, Screenplay, Nepenthe Film, Denmark Anna and the Fountain of Life 2016, Screenplay, Experimentarium/Science North Emma and Santa Claus 2015, Screenplay, Deluca Films, Denmark Asterix and the Domain of the Gods 2014, Screenplay, M6 Studio, Paris The Bachelor King 2013, Narration, Atlantic Productions, London The Three Investigators: The Mystery of the Silver Spider 2010, Screenplay, Studio Hamburg Search for Planet X 2009, Screenplay, Sirius Film The Three Investigators: The Mystery of Terror Castle 2009, Screenplay, Studio Hamburg The Templar Knights III: The Snake Crown 2008, Screenplay, M&M Productions The Templar Knights II: The Black Brotherhood 2007, Screenplay, M&M Productions The Three Investigators: The Secret of Skeleton Island 2007, Screenplay, Studio Hamburg/Walt Disney The Wild Bunch 2007, Screenplay, The Animation Lab The Templar Knights 2006, Screenplay, M&M Productions Asterix and the Vikings 2006, Dialogue, M6 Studio/A Film Saxo Grammaticus Contact: - 1/4 - Tel. +49 (0)30 - 440 17 341 [email protected] Fax +49 (0)30 - 440 17 930 www.rtagency.com 2006, Film/Story Consultant, Radar Film The Ugly Duckling 2006, Film/Story Consultant,
    [Show full text]
  • 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.
    [Show full text]
  • Animal Logic
    SUCCESS STORY | ANIMAL LOGIC STREAMLINING PRODUCTION AND TRAINING WITH NVIDIA QUADRO VDWS Image Courtesy of Warner Bros. Pictures VIRTUAL GPU-POWERED VMS OFFER A FLEXIBLE ALTERNATIVE TO PHYSICAL SECONDARY MACHINES INTRODUCTION Animal Logic is recognized as one of the world’s leading independent creative digital studios. For over 25 years, it has produced visual effects and animation for numerous award- winning feature films, including Peter Rabbit, Happy Feet, The Matrix, 300, Moulin Rouge!, and The LEGO Movie. Founded in Image Courtesy of Warner Bros. Pictures Sydney, Australia and with offices in Los Angeles, USA, the company expanded in 2015, opening a second creative studio in SUMMARY Vancouver, Canada. > Animal Logic Studios creates visual effects and animation for feature films. > Its second studio needed a cost-effective CHALLENGE STATEMENT and flexible way to provide users with secondary desktops. Following the announcement of a three-picture deal with Warner > The IT team deployed VMs powered by Bros, Animal Logic opened a second creative studio in Vancouver NVIDIA Quadro® Virtual Data Center Workstation (Quadro vDWS) instead of in late 2015. With production for the first film, The LEGO Movie 2: purchasing new $10,000 workstations. The Second Part scheduled to begin early 2016, Animal Logic had > Today NVIDIA vGPU-enabled VMs ensure users can access both Linux- and a small window to set up the new studio. This presented many Windows-based applications from a challenges — the biggest being machine inventory. “We started single machine. the site from the ground up, purchasing brand-new workstations > A flexible training environment can also be setup and broken down in a matter of for about 275 employees,” said Gino del Rosario, Head of minutes.
    [Show full text]