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Holliday, Christopher. " Toying with Performance: Toy Story, Virtual
Holliday, Christopher. " Toying with Performance: Toy Story, Virtual Puppetry and Computer- Animated Film Acting." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 87–104. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781501324949.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 07:14 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. 87 Chapter 6 T OYING WITH PERFORMANCE: TOY STORY , VIRTUAL PUPPETRY AND COMPUTER-A NIMATED FILM ACTING C h r i s t o p h e r H o l l i d a y In the early 1990s, during the emergence of the global fast food industry boom, the Walt Disney studio abruptly ended its successful alliance with restaurant chain McDonald’s – which, since 1982, had held the monopoly on Disney’s tie- in promotional merchandise – and instead announced a lucrative ten- fi lm licensing contract with rival outlet, Burger King. Under the terms of this agree- ment, the Florida- based restaurant would now hold exclusivity over Disney’s array of animated characters, and working alongside US toy manufacturers could license collectible toys as part of its meal packages based on characters from the studio’s animated features Beauty and the Beast (Gary Trousdale and Kirk Wise, 1991), Aladdin (Ron Clements and John Musker, 1992), Th e Lion King (Roger Allers and Rob Minkoff , 1994), Pocahontas (Mike Gabriel and Eric Goldberg, 1995) and Th e Hunchback of Notre Dame (Gary Trousdale and Kirk Wise, 1996).1 Produced by Pixar Animation Studio as its fi rst computer- animated feature fi lm but distributed by Disney, Toy Story (John Lasseter, 1995) was likewise subject to this new commercial deal and made commensu- rate with Hollywood’s increasingly synergistic relationship with the fast food market. -
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. -
Elenco Film Dal 2015 Al 2020
7 Minuti Regia: Michele Placido Cast: Cristiana Capotondi, Violante Placido, Ambra Angiolini, Ottavia Piccolo Genere: Drammatico Distributore: Koch Media Srl Uscita: 03 novembre 2016 7 Sconosciuti Al El Royale Regia: Drew Goddard Cast: Chris Hemsworth, Dakota Johnson, Jeff Bridges, Nick Offerman, Cailee Spaeny Genere: Thriller Distributore: 20th Century Fox Uscita: 25 ottobre 2018 7 Uomini A Mollo Regia: Gilles Lellouche Cast: Mathieu Amalric, Guillaume Canet, Benoît Poelvoorde, Jean-hugues Anglade Genere: Commedia Distributore: Eagle Pictures Uscita: 20 dicembre 2018 '71 Regia: Yann Demange Cast: Jack O'connell, Sam Reid Genere: Thriller Distributore: Good Films Srl Uscita: 09 luglio 2015 77 Giorni Regia: Hantang Zhao Cast: Hantang Zhao, Yiyan Jiang Genere: Avventura Distributore: Mescalito Uscita: 15 maggio 2018 87 Ore Regia: Costanza Quatriglio Genere: Documentario Distributore: Cineama Uscita: 19 novembre 2015 A Beautiful Day Regia: Lynne Ramsay Cast: Joaquin Phoenix, Alessandro Nivola, Alex Manette, John Doman, Judith Roberts Genere: Thriller Distributore: Europictures Srl Uscita: 01 maggio 2018 A Bigger Splash Regia: Luca Guadagnino Cast: Ralph Fiennes, Dakota Johnson Genere: Drammatico Distributore: Lucky Red Uscita: 26 novembre 2015 3 Generations - Una Famiglia Quasi Perfetta Regia: Gaby Dellal Cast: Elle Fanning, Naomi Watts, Susan Sarandon, Tate Donovan, Maria Dizzia Genere: Commedia Distributore: Videa S.p.a. Uscita: 24 novembre 2016 40 Sono I Nuovi 20 Regia: Hallie Meyers-shyer Cast: Reese Witherspoon, Michael Sheen, Candice -
Free-Digital-Preview.Pdf
THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop. -
Rather Than Imposing Thematic Unity Or Predefining a Common Theoretical
„No Story Comes from Nowhere‟, or, the Dentist from Finding Nemo: Ambivalent Originality in Four Contemporary Works Jens Fredslund, University of Aarhus Abstract This paper offers a perspective on a range of contemporary developments and articulations of the phenomenon of intertextuality in fiction and film. Using as backdrop a brief discussion of different intertextual motifs in Salman Rushdie‟s Haroun and the Sea of Stories (1990), Paul Auster‟s Travels in the Scriptorium (2006) and Pixar‟s animated short film Boundin’ (2004), it moves on to discuss the highly intertextual relation between the works of Swiss writer Robert Walser and the contemporary American experimentalist Alison Bundy. The paper thus problematizes and qualifies the line of demarcation supposedly existing between texts or works of art and aims to expand and exemplify the scope of reference, citation and paraphrase inherent in the overall concept of intertextuality. This paper springs from a baffled encounter with four postmodern works which all revolve around the theme of ambivalent originality. The four works portray origin and the original as regurgitation and as a result or an end point. And they describe the site of origin as both primary and secondary, and as disturbingly identical to what appears to repeat it. This undermining of the stability and integrity of the point of origin is presented as a thoroughly relational event. Origin is seen to lose its originality in the interaction with its surroundings, echoing Graham Allen speaking of the „relationality, interconnectedness and interdependence in modern cultural life‟ (5). In this paper I discuss four different expressions of this „interconnectedness‟—expressions which each in their own way portray or testify to patterns of intertextuality. -
To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. -
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 . -
Depaul Animation Zine #1
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Boundin' Pixar Short Film Original
Boundin' pixar short film original Continue Boundin'Poster for Boundin'Directed byBud LuckeyProduced ByOsnat ShurerWritten byBud LuckeyStarringBud LuckeyNarrated byBud LuckeyMusic byBud LuckeyCinematographyJesse HollanderEdited bySteveveproductioncompany Pixar StudiosDistributed byenaBu Vista 2003 (2003-12) 2004 (2004- 11-05) (with Incredibles) The Duration of 5 Minutes 'CountryUnited StatesLanguageEnglish Boundin' is a 2004 Pixar computer-animated short film that was shown in cinemas before the feature film Incredible. The short film is a musically told story about a dancing sheep who loses confidence after a haircut. The film was written, directed, narrated and featured by musical composition and performance by Pixar animator Bud Luckey. The film plot features a sheep that lives in the American West. His elegant dances are popular with other animals. Once come sheep and oatmeal haircuts for wool. Losing his coat, other animals laugh at the sheep, and he becomes shy and loses confidence in the dance. It's while in his bare state that a benevolent shakalop comes across a little lamb and teaches it the dignity of the boundary, not just dancing (that is, getting up whenever you fall). The sheep are converted and his joy in life has been restored. Sheep's wool eventually grows back in winter, only to be cut again, but its pride is now completely unwavering and it continues to be linked. The moral of the story is to never feel bad about yourself. The voice cast of Bud Lucky as the narrator, sheep and Jackalope produced by writer-director Bud Luckey designed and voiced all the characters, composed the music and wrote the story. -
Meiermovies Short Films A-Z
MeierMovies Short Films A-Z Theatrically released motion pictures of 40 minutes or less Before perusing this list, I suggest reading my introduction to short films at the beginning of my By Star Rating list. That introduction will help explain my star choices and criteria. For a guide to colors and symbols, see Key. Movie Stars Location seen (if known) Year Director A A.D. 1363, The End of Chivalry 2 Florida Film Festival 2015 2015 Jake Mahaffy A la Francaise 3 Enzian (Oscar Shorts) 2013 Hazebroucq/Leleu/Boyer/Hsien/Lorton The Aaron Case 3 Enzian (FilmSlam 5/16) 2015 Sarah Peterson Aashpordha (Audacity) FL 2 Enzian (South Asian FF) 2011 Anirban Roy Abandoned Love 2 Enzian (Brouhaha 2014) 2014 Sarah Allsup ABC FL 1 Florida Film Festival 2014 2014 Nanna Huolman Abnie Oberfork: A Tale of Self-Preservation 0 Florida Film Festival 2018 2017 Shannon Fleming Abortion Helpline, This Is Lisa 3 Florida Film Festival 2020 2019 Barbara Attie/Janet Goldwater/Mike Attie Abiogenesis 2 Enzian (Oscar Shorts) 2012 Richard Mans The Absence of Eddy Table 4 Florida Film Festival 2017 2016 Rune Spaans Acabo de Tener un Sueño (I’ve Just Had a Dream) FL 3 Love Your Shorts 2016 2014 Javi Navarro Accidents, Blunders and Calamities 1 Florida Film Festival 2016 2015 James Cunningham Accordion Player Sl 1 1888 Louis Le Prince The Accountant 0 Enzian (FilmSlam 10/15) 2015 Stephen Morgan/Alex Couch Achoo 2 Oscar Shorts 2018 2018 L. Boutrot/E. Carret/M. Creantor Acide FL 2 Orlando International FF 2020 2018 Just Philippot Acoustic Ninja 2 Enzian (Brouhaha 2016) 2016 Robert Bevis Ace in the Hole 0 Orlando Film Festival 2013 2013 Wesley T. -
Press Release
Press release CaixaForum Madrid From 21 March to 22 June 2014 Press release CaixaForum Madrid hosts the first presentation in Spain of a show devoted to the history of a studio that revolutionised the world of animated film “The art challenges the technology. Technology inspires the art.” That is how John Lasseter, Chief Creative Officer at Pixar Animation Studios, sums up the spirit of the US company that marked a turning-point in the film world with its innovations in computer animation. This is a medium that is at once extraordinarily liberating and extraordinarily challenging, since everything, down to the smallest detail, must be created from nothing. Pixar: 25 Years of Animation casts its spotlight on the challenges posed by computer animation, based on some of the most memorable films created by the studio. Taking three key elements in the creation of animated films –the characters, the stories and the worlds that are created– the exhibition reveals the entire production process, from initial idea to the creation of worlds full of sounds, textures, music and light. Pixar: 25 Years of Animation traces the company’s most outstanding technical and artistic achievements since its first shorts in the 1980s, whilst also enabling visitors to discover more about the production process behind the first 12 Pixar feature films through 402 pieces, including drawings, “colorscripts”, models, videos and installations. Pixar: 25 Years of Animation . Organised and produced by : Pixar Animation Studios in cooperation with ”la Caixa” Foundation. Curator : Elyse Klaidman, Director, Pixar University and Archive at Pixar Animation Studios. Place : CaixaForum Madrid (Paseo del Prado, 36). -
SKETCHY Characters
% Toy Story 3, which ran 103 minutes, was laid out on 49,651 storyboards. Storyboarding a career at Pixar / by Amy Laskowski SKETCHY Characters % Story artist Christian Roman starts by mapping a character’s movement, sometimes adding a gag or two to the script. PHOTOGRAPHS BY DEBORAH COLEMAN/PIXAR † A sequel like Toy Story 3 can be bur- dened with the mis- conception that it will be inferior to the original. Visitors to Pixar’s Emeryville, what movie Roman is currently Calif., campus who hope to catch a storyboarding (based on Pixar’s glimpse of the animation studio’s lineup of films, it could be The next killer project better prepare Good Dinosaurr or Finding Dory, to have their hopes dashed. The among others). Because he wasn’t studio is so secretive about work in allowed to show us his offiffi ce, progress that Bostonia reporters, Roman met with us in the neu- there to interview story artist tral space of a conference room, Christian Roman, were not allowed where several easels were pur- to go anywhere without an escort posely devoid of any hint of on- and were forbidden to discuss going or upcoming work. Summer 2014 BOSTONIA 47 Meanwhile, on the floor below, toys, you need to consider that the out the scenes complete with dialogue, a sun-splashed atrium displays the camera is down at their level,” he says. spoken by the artists. They even sing studio’s past glories, some plated in Drawing is the major part of the songs that accompany the on- 24-karat gold.