STUART LITTLE 2: Let the Feathers Fly
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Neues Textdokument (2).Txt
Filmliste Liste de filme DVD Münchhaldenstrasse 10, Postfach 919, 8034 Zürich Tel: 044/ 422 38 33, Fax: 044/ 422 37 93 www.praesens.com, [email protected] Filmnr Original Titel Regie 20001 A TIME TO KILL Joel Schumacher 20002 JUMANJI 20003 LEGENDS OF THE FALL Edward Zwick 20004 MARS ATTACKS! Tim Burton 20005 MAVERICK Richard Donner 20006 OUTBREAK Wolfgang Petersen 20007 BATMAN & ROBIN Joel Schumacher 20008 CONTACT Robert Zemeckis 20009 BODYGUARD Mick Jackson 20010 COP LAND James Mangold 20011 PELICAN BRIEF,THE Alan J.Pakula 20012 KLIENT, DER Joel Schumacher 20013 ADDICTED TO LOVE Griffin Dunne 20014 ARMAGEDDON Michael Bay 20015 SPACE JAM Joe Pytka 20016 CONAIR Simon West 20017 HORSE WHISPERER,THE Robert Redford 20018 LETHAL WEAPON 4 Richard Donner 20019 LION KING 2 20020 ROCKY HORROR PICTURE SHOW Jim Sharman 20021 X‐FILES 20022 GATTACA Andrew Niccol 20023 STARSHIP TROOPERS Paul Verhoeven 20024 YOU'VE GOT MAIL Nora Ephron 20025 NET,THE Irwin Winkler 20026 RED CORNER Jon Avnet 20027 WILD WILD WEST Barry Sonnenfeld 20028 EYES WIDE SHUT Stanley Kubrick 20029 ENEMY OF THE STATE Tony Scott 20030 LIAR,LIAR/Der Dummschwätzer Tom Shadyac 20031 MATRIX Wachowski Brothers 20032 AUF DER FLUCHT Andrew Davis 20033 TRUMAN SHOW, THE Peter Weir 20034 IRON GIANT,THE 20035 OUT OF SIGHT Steven Soderbergh 20036 SOMETHING ABOUT MARY Bobby &Peter Farrelly 20037 TITANIC James Cameron 20038 RUNAWAY BRIDE Garry Marshall 20039 NOTTING HILL Roger Michell 20040 TWISTER Jan DeBont 20041 PATCH ADAMS Tom Shadyac 20042 PLEASANTVILLE Gary Ross 20043 FIGHT CLUB, THE David -
The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
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. -
CA Chart of Accts Film
CALIFORNIA CHART OF ACCOUNTS Qualifying and Non-qualifying Accounts Films - Movies of the Week - Mini-Series Effective July 1, 2014 Revised March 2014 The chart below is intended as a helpful guide, and not an exact list of what are considered Qualified Expenditures. Qualified Expenditures are for pre-production, production, and post-production - not for development, marketing, publicity, or distribution . The following listing assumes where "yes" is designated that the service is performed or property is used in the state of California. Items used or personnel services employed both within and outside of California can be qualified only for the prorata portion of costs incurred directly in California. Any expenditures incurred prior to issuance of the tax credit allocation letter are not qualified expenditures. Account # Description Qualified Comments 101-00 STORY & RIGHTS 101-01 Story Rights - Purchase NO 101-02 Acquisition Expenses NO 101-06 Title Report YES If work performed in California. 101-08 Copyright Fee NO 101-99 Fringe Benefits NO 102-00 WRITING 102-01 Writers NO 102-03 Editor and Consultants NO 102-05 Research YES 102-06 Script Timing YES 102-07 Secretaries YES 102-08 Script Duplication YES 102-18 Script Clearance Research YES 102-19 Clearance Fees YES If paid to CA company 102-20 Clearance License Fees NO 102-40 Materials & Supplies YES 102-45 Box Rentals YES On Qualified Labor Only 102-47 Car Allowances, Mileage YES On Qualified Labor Only 102-50 Rentals YES 102-80 Writer Entertainment & Meals YES 102-85 Script Publication -
L'animation Stylisée
Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works. -
By E. B. White
TEACHING GUIDE by E. B. White ABOUT THE BOOK Stuart Little is no ordinary mouse. Born to a family of humans, he lives in New York City with his parents, his older brother George, and Snowbell the cat. Though he’s shy and thoughtful, he’s also a true lover of adventure. Stuart’s greatest adventure comes when his best friend, a beautiful little bird named Margalo, disappears from her nest. Determined to track her down, Stuart ventures away from home for the very first time in his life. He finds adventure aplenty. But will he find his friend? E. B. White’s treasured story is now available to a new generation of readers as an ebook, complete with Garth Williams’s original illustrations in full-color! DISCUSSION QUESTIONS 1. In the first two chapters, how does Stuart’s size 7. Retell the events that occur in chapter 9. How does benefit his family? CCSS.ELA-LITERACY.RL.3-5.1 Stuart get into trouble? How is he saved? CCSS.ELA-LITERACY.RL.3-5.1 2. In chapter 3, Stuart has difficulty washing up and brushing teeth. How do he and his family solve 8. In chapter 12, Stuart becomes a substitute teacher. these problems? CCSS.ELA-LITERACY.RL.3-5.1 What subjects do his students study? Which is your favorite? Which is your least favorite? Why? CCSS. 3. Why does Mrs. Little think Stuart is in the mouse ELA-LITERACY.RL.3-5.1; SL.3-5.1 hole? CCSS.ELA-LITERACY.RL.3-5.1 9. -
College Choices for the Visual and Performing Arts 2011-2012
A Complete Guide to College Choices for the Performing and Visual Arts Ed Schoenberg Bellarmine College Preparatory (San Jose, CA) Laura Young UCLA (Los Angeles, CA) Preconference Session Wednesday, June 1 MYTHS AND REALITIES “what can you do with an arts major?” Art School Myths • Lack rigor and/or structure • Do not prepare for career opportunities • No academic challenge • Should be pursued as a hobby, not a profession • Graduates are unemployable outside the arts • Must be famous to be successful • Creates starving artists Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School in the News Visual/Performing Arts majors are the… “Worst-Paid College Majors” – Time “Least Valuable College Majors” – Forbes “Worst College Majors for your Career” – Kiplinger “College Degrees with the Worst Return on Investment” – Salary.com Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Projected More than 25 28 million in 2013 million in 2020 More than 25 million people are working in arts-related industry. By 2020, this is projected to be more that 28 million – a 15% increase. (U.S. Department of Labor) Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Due to the importance of creativity in the innovation economy, more people are working in arts than ever before. Copyright: This presentation -
October: Independence
N § ][ ==1 L.A. SIGGRAPHPRESENTS: THE DIGITAL VISUAL EFFECTS OF ~'INDEPENDENCE DAY" AT THE WRITERS GUILD THEATRE 135 S. DOHENY, BEVERLY HILLS- - TUESDAY, OCTOBER 8TH c...1 6:30 - 7:30 SOCIAL HOUR, 7:30 - 9:00 PRESENTATION Fees: Non-members/ $5; Members/$i. Note.' Members who paidthe now annual rate of $25 will be admitted free of charge. New members and renewals will be handled at the membership·table the night of the event Please bring your membership card or labeled newsletter asproof of membership. SEE MAP1NSTDEFOR DIRECTIONS: - PARKING: ~ $1 IN LOT ADJACENT TO THEATRE, $7 IN LOT ACROS$ THE STREET_ eel L.A. SIGGRAPH presents sequences; among them the digital visual effects Seven, The American supel"isor and producer, President, Immortal Tricia Ashford and the CG Beloved, True Lies, Quiz supervisors, Tara Turner Show, Wolf, The joy Luck and, Joseph Francis, of Club and Indecent Independence Day. Proposdl. As the digital visual effects' . After working with Tricia to supervisor and producer establish the infrastructure forlndependence Day, for the creation of digital ~I Tricia Ashford supel"ised ~ effects of Independence the 'creation 'of over 400 shots, more shots than~the number 01 days in Day, Tara Turner moved over to manage and supel"ise the computer the production schedule. With these visual effects totaling over 50 min- generated imagery for the film. Working with co-CG supel"iso( Joe utes on screen,' filmmaking history was made not only at the box office, FranCiS, Tara oversaw the two CG units that were used to create nearly but also with the Independence Day Digital Unit which was created 200 shots involving compu'ter generated imagery. -
Vivian Oh, Et Al. V. Navarre Corp, Et Al. 05-Cv-1211-Class Action Complaint
F V 1, 3 UNITED STATES DISTRICT COURT DISTRICT OF MINNESOTA VIVIAN OH, Individually and on Behalf of All Civ. No. D,5' Others Similarly Situated, CLASS ACTION Plaintiff, COMPLAINT FOR VIOLATIONS OF FEDERAL vs. SECURITIES LAWS NAVARRE CORPORATION, ERIC H . PAULSON, JAMES G . GILBERTSON, BRIAN T. BURKE, CHARLES E, CHENEY and CARY L . DEACON, Defendants. DEMAND FOR JURY TRIAL NATURE OF THE ACTION This is a federal class action on behalf of purchasers of the common stock of Navarr e Corporation ("Navarre" or the "Company") between January 21, 2004 and February 22, 2005, inclusive (th e "Class Period"), seeking to pursue remedies under the Secu rities Exchange Act of 1934 (the "Exchange Act") . 2 . Navarre was formed in 1983 and is headquartered in New Hope, Minnesota, Defendant Navarre engages in the publication and distribution of various home entertainment and multimedia products , including personal computer software, audio and video titles, and interactive games . During the Class Period, defendants issued false financial results which understated expenses in at least the third quarter of fiscal 2004 and first quarter of fiscal 2005.' As a result, Navarre's stock trade d at artificially inflated levels, trading above $15 per share during the second half of calendar 2004. 4. On January 10, 2005, Navarre announced the acquisition of FUNimation Productions, Ltd. and The FUNimation Store, Ltd. (collectively "FUNimation") for $100 million in cash and between 1 .495 million and 1 .827 million shares of Navarre stock, depending on the price of Navarre stock. The release noted FUNimation' s growing sales from 2001 to 2003, but did not report its sales for any period of 2004. -
Seattle Location Management and Scouting
Mark A. Freid – Seattle Location Management and Scouting. Field Producing. (310) 770-3930 [email protected] www.northernlocs.com QUALIFICATIONS Teamster Local 399 Location Manager. CSATF Safety Passport. LOCATION SCOUTING AND MANAGEMENT 2001-2017 FEATURE FILM/TELEVISION: War for Planet of the Apes. 20th Century Fox. VFX Plate Unit Location Manager Ryan Stafford, VFX Producer. 50 Shades Freed, 50 Shades Darker. Focus Features. 2nd Unit Location Manager Scott Ateah, 2nd Unit Dir. Barbra Kelly UPM. Marcus Viscidi Producer. Grey’s Anatomy. ABC/Disney. Location Scout Thomas Barg, Production Supervisor. Vacation. Warner Brothers/New Line. 2nd Unit Location Manager Peter Novak, 2nd Unit Production Supervisor. The Librarians . Electric Entertainment. Location Scout Bobby Warberg, Location Manager. David Drummond, Location Scout. 50 Shades of Grey. Focus Features. 2nd Unit Location Manager David Wasco Production Designer, Barbra Kelly, UPM, Marcus Viscidi Producer. Transformers 4. Paramount Pictures. Location Manager JJ Hook, Location Manager. Daren Hicks, Production Supervisor. They Die By Dawn. Location Manager Jaymes Seymor, Director. Peter Novak, Producer. America’s Most Wanted. STF Productions. Location Manager Miles Perman, Producer. Paranormal Activity The Marked One. Paramount Pictures Location Scout Christopher Landon, Director. Stephenson Crossley, Location Manager. Hayden Lake. Location Manager Ryan Page, Christopher Pomerenke Directors. Linette Shorr, Production Designer. Lacey Leavitt, Producer. Rampart. Lightstream Pictures. Location Manager Oren Moverman, Director. David Wasco Production Designer. Karen Getchell, Production Supervisor. Ben Foster, Lawrence Inglee, Clark Peterson, Ken Kao, Producers. Michael DiFranco and Lila Yacoub Executive Producers. Late Autumn. Location Manager Kim Tae-Yong, Director. Dave Drummond, Co-Location Manager Mischa Jakupcak, Producer. The Details. Key Assistant Location Manager Doug duMas, Location Manager. -
Link of Math, Art, Fascinating in 3-D
FAMILY TIMES ૽ SUNDAY, AUGUST 4, 2002 / PAGE D5 Link of math, art, fascinating in 3-D n a world of violent video galo; Roof Skate, in which Stuart games, where dexterity of the pulls off some skateboard tricks; thumb and index finger is infi- and Air Dodge, in which players nitely more important than have to help Stuart or Margalo es- the flexing of the cerebrum, cape Falcon and return home with Ithere must be a place for children Mother Little’s ring. and their parents to interact and All are fairly basic driving, fly- actually learn something from that ing and maze-exploring chal- overpriced multimedia com- lenges, but the beautiful graphics puter/gaming system. Take a deep complement the on-screen action breath and enter the ROMper so games such as Air Dodge take Room, where place in a lush green Central Park learning is a with the New York City skyline in four-letter word the distance. — cool. Children can choose to play in The rela- Story Mode, which sequences the Courtesy of Buena Vista Home Entertainment tionship be- games to follow the movie, or Free The DVD “Tarzan & Jane” has lots of action and a strong female lead. tween design Play, which allows players to enjoy and number is their favorites in any order. Bonus features include a Build explored in a The most difficult game, Bal- Double delight the Tree House activity, which has breathtaking loon Jump, has Stuart ascending Here are two multimedia or enter- the Professor directing the child JOE way inArt and the Pishkin Building.