Animation Tips & Tricks
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UPA : Redesigning Animation
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously -
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. -
Apatoons.Pdf
San Diego Sampler #3 Summer 2003 APATOONS logo Mark Evanier Cover Michel Gagné 1 Zyzzybalubah! Contents page Fearless Leader 1 Welcome to APATOONS! Bob Miller 1 The Legacy of APATOONS Jim Korkis 4 Who’s Who in APATOONS APATOONers 16 Suspended Animation Special Edition Jim Korkis 8 Duffell's Got a Brand New Bag: San Diego Comicon Version Greg Duffell 3 “C/FO's 26th Anniversary” Fred Patten 1 “The Gummi Bears Sound Off” Bob Miller 4 Assorted Animated Assessments (The Comic-Con Edition) Andrew Leal 10 A Rabbit! Up Here? Mark Mayerson 11 For All the Little People David Brain 1 The View from the Mousehole Special David Gerstein 2 “Sometimes You Don’t Always Progress in the Right Direction” Dewey McGuire 4 Now Here’s a Special Edition We Hope You’ll REALLY Like! Harry McCracken 21 Postcards from Wackyland: Special San Diego Edition Emru Townsend 2 Ehhh .... Confidentially, Doc - I AM A WABBIT!!!!!!! Keith Scott 5 “Slices of History” Eric O. Costello 3 “Disney Does Something Right for Once” Amid Amidi 1 “A Thought on the Powerpuff Girls Movie” Amid Amidi 1 Kelsey Mann Kelsey Mann 6 “Be Careful What You Wish For” Jim Hill 8 “’We All Make Mistakes’” Jim Hill 2 “Getting Just the Right Voices for Hunchback's Gargoyles …” Jim Hill 7 “Animation vs. Industry Politics” Milton Gray 3 “Our Disappearing Cartoon Heritage” Milton Gray 3 “Bob Clampett Remembered” Milton Gray 7 “Coal Black and De Sebben Dwarfs: An Appreciation” Milton Gray 4 “Women in Animation” Milton Gray 3 “Men in Animation” Milton Gray 2 “A New Book About Carl Barks” Milton Gray 1 “Finding KO-KO” Ray Pointer 7 “Ten Tips for Surviving in the Animation Biz” Rob Davies 5 Rob Davies’ Credits List Rob Davies 2 “Pitching and Networking at the Big Shows” Rob Davies 9 Originally published in Animation World Magazine, AWN.com, January 2003, pp. -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
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. -
MONSTERS INC 3D Press Kit
©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor . -
Multiple Dynamic Pivots Rig for 3D Biped Character Designed Along Human-Computer Interaction Principles
Multiple Dynamic Pivots Rig for 3D Biped Character Designed along Human-Computer Interaction Principles by Mihaela D. Petriu A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Computer Science in Human-Computer Interaction Carleton University Ottawa, Ontario © 2020, Mihaela D. Petriu Abstract This thesis is addressing the design, implementation and usability testing of a modular extensible animator-centric authoring tool-independent 3D Multiple Dynamic Pivots (MDP) biped character rig. An objective of the thesis is to show that the design of the character rig must be independent of its platform, cater to the needs of the animation workflow based on HCI principles (particularly that of Direct Manipulation) and be modular and extensible in order to build and grow as needed within the production pipeline. In the thesis, the proposed rig design is implemented in Maya, the most widely used and taught commercial 3D animation authoring tool. Another thesis objective is to perform usability testing of the MDP rig with animation students and professionals, in order to gauge the new design’s intuitiveness for those relatively new to the trade and those already steeped in its decades of accumulated technical idiosyncrasies. ii Acknowledgements My deepest gratitude goes to my supervisor Dr. Chris Joslin for his constant guidance and support. I would also like to thank my family for their continuous help and encouragement. Finally, I thank my friend Sandra E. Hobbs for her constructive chaos that shed light on my design's weaknesses. iii Table of Contents Abstract ............................................................................................................................. -
Pamela Tom Produced By
New Moon Pictures Apricot Films, Lux Mundi Productions, Stone Circle Pictures Written and Directed by: Pamela Tom Produced by: Pamela Tom, Gwen Wynne, Tamara Khalaf Executive Producers: Don Hahn, Robert Louie, David Louie, Buck Gee Press Contact: World Premiere: Pamela Tom (323) 620-1228 Telluride Film Festival September 4, 2015 Press Materials available at: www.tyrusthemovie.com Running time: 77 min Sales Contact: Aspect Ratio: 16:9 [email protected] Formats: DCP, DVD, Bluray [email protected] This film is not rated TYRUS – Press Notes 1 SYNOPSIS Set against a backdrop of immigration, poverty, and racial prejudice, TYRUS is the true story of 105-year-old pioneering Chinese American artist Tyrus Wong, revealed through the lens of filmmaker Pamela Tom. Reaching back to 1919, nine-year- old Tyrus and his father left their village and family in China. Tyrusʼs incredible journey takes him from the Angel Island Immigration Station in San Francisco where he is detained and interrogated, to earning a scholarship to Otis Art Institute. During his 85-year career as a fine and commercial artist, Tyrus crosses paths with the likes of Picasso and Matisse, Walt Disney and Warner Bros. along the way. Although his design work was crucial to the animated classic Bambi and over 100 live-action movies including The Music Man, Rebel Without a Cause and The Wild Bunch, the name Tyrus Wong remains largely unknown – until now. Tyrusʼs life weaves an extraordinary thread in the tapestry of the American experience. ABOUT TYRUS WONG TYRUS is Tyrus Wong, a living legend. Nearly all of America, if not the world, has seen his work, and most likely has been deeply moved by it. -
The University of Chicago Cinema's Motion Forms: Film Theory, the Digital Turn, and the Possibilities of Cinematic Movement A
THE UNIVERSITY OF CHICAGO CINEMA’S MOTION FORMS: FILM THEORY, THE DIGITAL TURN, AND THE POSSIBILITIES OF CINEMATIC MOVEMENT A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY JORDAN SCHONIG CHICAGO, ILLINOIS DECEMBER 2017 The filmmaker considers form merely as the form of a movement. —Jean Epstein Contents LIST OF FIGURES iv ABSTRACT vi ACKNOWLEDGMENTS vii INTRODUCTION MOVING TOWARD FORM 1 CHAPTER 1 CONTINGENT MOTION Rethinking the “Wind in the Trees” from Flickering Leaves to Digital Snow 42 CHAPTER 2 HABITUAL GESTURES Postwar Realism, Embodied Agency, and the Inscription of Bodily Movement 88 CHAPTER 3 SPATIAL UNFURLING Lateral Movement, Twofoldness, and the Aspect-Perception of the Mobile Frame 145 CHAPTER 4 BLEEDING PIXELS Compression Glitches, Datamoshing, and the Technical Production of Digital Motion 202 CONCLUSION OPENING CINEPHILIA; or, Movement as Excess 263 BIBLIOGRAPHY 280 iii List of Figures Figure 1.1 Stills from A Boat Leaving Harbour (Lumière, 1895) and Rough Sea at Dover (Acres and Paul, 1895)………………………………………………………………………..64 Figure 1.2 A myriad of bubbles in Frozen (Buck and Lee, 2013)……………………………....79 Figure 1.3 A featureless character digs snow in a SIGGRAPH demo of Frozen’s physics engine …………………………………………………………………………………....80 Figure 1.4 Various blocks of snow collapse in a SIGGRAPH demo of Frozen’s physics engine …………………………………………………………………………………....80 Figure 2.1 Linear markings in Umberto D (De Sica, 1952)……………………………………104 -
The Essential Reference Guide for Filmmakers
THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey. -
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. -
Director, Writer, Producer, Story Artist, Animator 323.273.4713 [email protected]
Cameron Hood: Director, Writer, Producer, Story Artist, Animator 323.273.4713 [email protected] PORTFOLIO Cameronhood.com Represented by APA Agency Password: camhood Ryan Saul, 310.888.4200 AWARDS 13 Awards for Directing and Story Artist 1st place 2006 Chicago International Children's Film Festival 1st place audience award 2006 Palm Springs International Film Festival 1st place 2006 Seattle International Film Festival Best animated Short Film 2006 Anima Mundi - International Animation Festival of Brazil 1st Place Animated Short Film PROFESSIONAL EXPERIENCE Team leader, Producer, Director, Writer, Character Designer, Storyboard Artist and Character Animator 3D and 2D Team leader, Producer, Director, Writer, Character Designer, Storyboard Artist “Roar Animation!!! LLC” co-production with The WWE Studios, Los Angeles, CA 2016 – Present “Monday Night Roar!!!” - Animated Feature Film in development Writer/Script Rewrite, Director Imprint Entertainment, Universal City CA. 2013 - Present “Groove Tails” - Animated Feature Film in development Feature Story Artist, Marketing Gag Writer, Various Films, Sequences and Marketing Illumination Entertainment, Santa Monica, CA. 2014 - 2015 “Minions Movie” “SING” “The Secret Life of Pets” “The Grinch who stole Christmas” Sequence Direction, Script Rewrite, Story Artist Unified Pictures, Santa Monica, CA. 2012 - 2013 “Noah’s Ark/Higher Ground” Feature Story Artist Illumination Entertainment, Santa Monica, CA. 2011 - 2012 “Despicable Me 2” Sequence Director/Story Artist (Freelance), Looney Tunes Warner Brothers Animation, Burbank, CA. 2011 Speedy Gonzales, “Pizzaribe”, Pepe le Pew, “Funk Skunk” Producer Arc Light Films, Lime Light Studios in association with T-Films Beverly Hills, CA. 2010-2011 “Sky Force”, (Duties included, Film re-write, Full Editorial re-cut, re-casting and voice direction) Animator Senior Animator, DreamWorks Animation, Glendale, CA.