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Reallusion Premieres Iclone 1.52 - New Technology for Independent Machinima
For Immediate Release Reallusion Premieres iClone 1.52 - New Technology for Independent Machinima New York City - November 1st, 2006 – Reallusion, official Academy of Machinima Arts and Sciences’ Machinima Festival partner hits the red carpet with the iClone powered Best Visual Design nominee, “Reich and Roll”, an iClone film festival feature created by Scintilla Films, Italy. iClone™ is the 3D real-time filmmaking engine featuring complete tools for character animation, scene building, and movie directing. Leap from brainstorm to screen with advanced animation and visual effects for 3D characters, animated short-films, Machinima, or simulated training. The technology of storytelling evolves with iClone. Real-time visual effects, character interaction, and cameras all animate in with vivid quality providing storytellers instant visualization into their world. Stefano Di Carli, Director of ‘Reich and Roll’ says, “Each day I find new tricks in iClone. It's really an incredible new way of filmmaking. So Reallusion is not just hypin' a product. What you promise on the site is true. You can do movies!” Machinima is a rising genre in independent filmmaking providing storytellers with technology to bring their films to screen excluding high production costs or additional studio staff. iClone launches independent filmmakers and studios alike into a production power pack of animation tools designed to simplify character creation, facial animation, and scene production for 3D films. “iClone Independent filmmakers can commercially produce Machinima guaranteeing that the movies you make are the movies you own and may distribute or sell,” said John Martin II, Director of Product Marketing of Reallusion. “iClone’s freedom for filmmakers who desire to own and market their films supports the new real-time independent filmmaking spirit and the rise of directors who seek new technologies for the future of film.” iClone Studio 1.52 sets the stage delivering accessible directing tools to develop and debut films with speed. -
Facial Animation: Overview and Some Recent Papers
Facial animation: overview and some recent papers Benjamin Schroeder January 25, 2008 Outline Iʼll start with an overview of facial animation and its history; along the way Iʼll discuss some common approaches. After that Iʼll talk about some notable recent papers and finally offer a few thoughts about the future. 1 Defining the problem 2 Historical highlights 3 Some recent papers 4 Thoughts on the future Defining the problem Weʼll take facial animation to be the process of turning a characterʼs speech and emotional state into facial poses and motion. (This might extend to motion of the whole head.) Included here is the problem of modeling the form and articulation of an expressive head. There are some related topics that we wonʼt consider today. Autonomous characters require behavioral models to determine what they might feel or say. Hand and body gestures are often used alongside facial animation. Faithful animation of hair and rendering of skin can greatly enhance the animation of a face. Defining the problem This is a tightly defined problem, but solving it is difficult. We are intimately aware of how human faces should look, and sensitive to subtleties in the form and motion. Lip and mouth shapes donʼt correspond to individual sounds, but are context-dependent. These are further affected by the emotions of the speaker and by the language being spoken. Many different parts of the face and head work together to convey meaning. Facial anatomy is both structurally and physically complex: there are many layers of different kinds of material (skin, fat, muscle, bones). Defining the problem Here are some sub-questions to consider. -
Animating Quadrupeds: Methods and Applications
DOI: 10.1111/j.1467-8659.2008.01312.x COMPUTER GRAPHICS forum Volume 28 (2009), number 6 pp. 1541–1560 Animating Quadrupeds: Methods and Applications Ljiljana Skrba1, Lionel Reveret2,FranckHetroy´ 2, Marie-Paule Cani2 and Carol O’Sullivan1 1Graphics, Vision and Visualisation group, Trinity College, Dublin, Ireland 2EVASION – LJK, CNRS, INRIA, University of Grenoble, Grenoble, France Abstract Films like Shrek, Madagascar, The Chronicles of Narnia and Charlotte’s web all have something in common: realistic quadruped animations. While the animation of animals has been popular for a long time, the technical challenges associated with creating highly realistic, computer generated creatures have been receiving increasing attention recently. The entertainment, education and medical industries have increased the demand for simulation of realistic animals in the computer graphics area. In order to achieve this, several challenges need to be overcome: gathering and processing data that embodies the natural motion of an animal – which is made more difficult by the fact that most animals cannot be easily motion-captured; building accurate kinematic models for animals, with adapted animation skeletons in particular; and developing either kinematic or physically-based animation methods, either by embedding some a priori knowledge about the way that quadrupeds locomote and/or adopting examples of real motion. In this paper, we present an overview of the common techniques used to date for realistic quadruped animation. This includes an outline of the various ways that realistic quadruped motion can be achieved, through video-based acquisition, physics based models, inverse kinematics or some combination of the above. Keywords: quadruped animation, animal biomechanics, motion capture, animation from video ACM CCS: I.3.7 [Computer Graphics]: 3D Graphics and Realism – Animation 1. -
AUDIENCE PERCEPTION of EXAGGERATED MOTION on REALISTIC ANIMATED CREATURES by Mackenzie Hammer
AUDIENCE PERCEPTION OF EXAGGERATED MOTION ON REALISTIC ANIMATED CREATURES by Mackenzie Hammer A Thesis Submitted to the Faculty of Purdue University In Partial Fulfillment of the Requirements for the degree of Master of Science Department of Computer Graphics Technology West Lafayette, Indiana August 2019 2 THE PURDUE UNIVERSITY GRADUATE SCHOOL STATEMENT OF COMMITTEE APPROVAL Prof. Nicoletta Adamo, Chair Department of Computer Graphics Technology Prof. Andrew Buchanan Department of Computer Graphics Technology Prof. Esteban Garcia Department of Computer Graphics Technology Prof. Dan Triplett Department of Computer Graphics Technology Approved by: Dr. Colin Gray Head of the Graduate Program Prof. Nicoletta Adamo Head of the Graduate Program 3 To my parents, brother, sister, and fiancé. For their continuous love and support in my pursuit to study Animation, and for the patience they had to listen to the many ramblings of a passionate artist along the way. 4 ACKNOWLEDGMENTS I wish to gratefully acknowledge my professors and thesis committee members for their insightful guidance, encouragement, and contribution to the completion of this work. 5 TABLE OF CONTENTS LIST OF TABLES .......................................................................................................................... 7 LIST OF FIGURES ........................................................................................................................ 8 ABSTRACT ................................................................................................................................... -
Digital Creature Animation – Full-Time | Trafalgar Road Campus | 1 Yr Technical Direction (3 Semesters) Launch Or Advance Your Career in Creature Computer Animation
Employer 94% Satisfaction* with the knowledge and skills that our graduates possess. FACULTY OF ANIMATION, ARTS & DESIGN Ontario College Graduate Certificate Program Code: PCDCA Digital Creature Animation – Full-time | Trafalgar Road Campus | 1 yr Technical Direction (3 semesters) Launch or advance your career in creature computer animation. Develop an in-demand computer animation skill. Create characters and creatures audiences Earn your master’s in 3D will remember Develop career-ready skills animation studying abroad Working in the Sheridan Centre for • Study advanced computer Sheridan has an arrangement with the Animation and Emerging Technologies animation techniques Dun Laoghaire Institute of Art and Design (SCAET), you’ll advance in your ability to • Study and apply physically accurate and (IADT) in Ireland. Graduates of Sheridan’s create memorable characters/creatures, technical animation Digital Creature Animation post-grad from script to storyboard to modelling and certificate program from 2009 or later can • Study advanced rigging and modelling advanced rigging, all the way through to apply to IADT to earn their master’s degree • Expand your portfolio post-production. in 15 weeks. • Showcase your technical skills and creativity * 2018 Key Performance Indicator (KPI) survey results produced by the Ontario Government, Colleges Ontario and student associations. Percentage shown reflects the average employer sheridancollege.ca satisfaction across all Sheridan programs over the last five years. Admission Requirements Program Eligibility • Sheridan’s Computer Animation Program or equivalent as assessed by Sheridan. Career Opportunities and Graduates of our program have a specialized, highly marketable skill that translates • A postsecondary diploma or degree in art directly to the workplace. They enjoy career opportunities in such industries as: film, and/or design. -
Arcade Game Animation
Chapter 9 Arcade Game Animation In this chapter, you’ll learn about: w Animation w Animation properties and fundamentals w Sprites and grid squares w Core arcade game animation techniques w Creating animation sequences for arcade games w General animation tips 293 294 Chapter 9 / Arcade Game Animation What is Animation? Animation is the process that produces the illusion of movement. It works by dis- playing two or more image fragments called frames (also commonly referred to as cells). When these frames are displayed in rapid succession with subtle changes made to their content, our eyes register these changes as movement. Animation is not a mystical art. Rather, it’s a well-established process that com- bines the aesthetics of design with real-world physics in order to breathe life into what are otherwise static objects and scenes. This chapter will introduce the fun- damental concepts behind animation to you so that you can create and implement animation in your own arcade game projects. Animation Properties and Fundamentals To be able to create effective animation, you must learn how to divide the ele- ments of motion into their basic components. This means breaking them down into a sequence of easy-to-follow frames. However, before you can do this, you must first learn and master two things: the art of observation and the characteris- tics of basic motion. The secret behind creating great animation lies in keen observation and the ability to focus on the subtle details of how different objects move. Every object exhibits certain peculiarities as it moves. -
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. -
First Words: the Birth of Sound Cinema
First Words The Birth of Sound Cinema, 1895 – 1929 Wednesday, September 23, 2010 Northwest Film Forum Co-Presented by The Sprocket Society Seattle, WA www.sprocketsociety.org Origins “In the year 1887, the idea occurred to me that it was possible to devise an instrument which should do for the eye what the phonograph does for the ear, and that by a combination of the two all motion and sound could be recorded and reproduced simultaneously. …I believe that in coming years by my own work and that of…others who will doubtlessly enter the field that grand opera can be given at the Metropolitan Opera House at New York [and then shown] without any material change from the original, and with artists and musicians long since dead.” Thomas Edison Foreword to History of the Kinetograph, Kinetoscope and Kineto-Phonograph (1894) by WK.L. Dickson and Antonia Dickson. “My intention is to have such a happy combination of electricity and photography that a man can sit in his own parlor and see reproduced on a screen the forms of the players in an opera produced on a distant stage, and, as he sees their movements, he will hear the sound of their voices as they talk or sing or laugh... [B]efore long it will be possible to apply this system to prize fights and boxing exhibitions. The whole scene with the comments of the spectators, the talk of the seconds, the noise of the blows, and so on will be faithfully transferred.” Thomas Edison Remarks at the private demonstration of the (silent) Kinetoscope prototype The Federation of Women’s Clubs, May 20, 1891 This Evening’s Film Selections All films in this program were originally shot on 35mm, but are shown tonight from 16mm duplicate prints. -
STEFANIE SCHEIL | ANIMATOR [email protected] | FACT SHEET
STEFANIE SCHEIL | ANIMATOR [email protected] | www.scheil3d.com FACT SHEET Name: Stefanie Scheil | Date of Birth: 04.10.1980 | Residence: Berlin & Düsseldorf, Germany Work Experience Animator (6+ years) Animation Lead (1+ years) Previs Artist (6+ years) Maya Generalist (10+ years) CG Supervisor (2+ years) Diplom Digital Artist (since 2007) Software Skills Maya (experienced) Photoshop (experienced) Houdini (basics) Zbrush (intermediate) Nuke (basics) Python (intermediate) Languages German (native) English (fluent) French (basic) Other (not exactly relevant) Skills Saxophone & Clarinet (20+ years) Ukulele (5+years) Patchwork & Woodworking (10+ years) TIMELINE 2020 Goodbye Kansas - Animator (VFX Creature, Netflix Series) Rise FX - Animator (VFX Feature Film) 2019 Rise FX – Animator ("Shazaam", Feature Film) Storz&Escherich – Animator (Creature Animation, Commercial) omstudios – Character Artist ( Character Poses, Print) Parasol Island – Previs Artist Rise FX – Animator ("Kingdome of Fire", Feature Film) ("Babylon Berlin", TV Series) 2018 Rise FX – Animator ("Avengers: Infinity War", Feature Film) Story House Productions – 3D Generalist ("ZDFzeit", TV) Rise FX – Animator ("Hellboy", Feature Film) 2017 Katalyst Berlin – Animator (Commercial) Rise FX – Animator ("Babylon Berlin", TV Series) Story House Productions – 3D Generalist ("ZDFzeit", TV) Rise FX – Animator ("Jim Button", Feature Film) 2016 Rise FX – Animator ("Renegades", Feature Film) Story House Productions – 3D Generalist ("ZDFzeit", TV) Rise FX – Previs Animator ("Jim Button", -
Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation
ACM SIGGRAPH 97 Video Rewrite: Driving Visual Speech with Audio Christoph Bregler, Michele Covell, Malcolm Slaney Interval Research Corporation ABSTRACT Video Rewrite automatically pieces together from old footage a new video that shows an actor mouthing a new utterance. The Video Rewrite uses existing footage to create automatically new results are similar to labor-intensive special effects in Forest video of a person mouthing words that she did not speak in the Gump. These effects are successful because they start from actual original footage. This technique is useful in movie dubbing, for film footage and modify it to match the new speech. Modifying example, where the movie sequence can be modified to sync the and reassembling such footage in a smart way and synchronizing it actors’ lip motions to the new soundtrack. to the new sound track leads to final footage of realistic quality. Video Rewrite automatically labels the phonemes in the train- Video Rewrite uses a similar approach but does not require labor- ing data and in the new audio track. Video Rewrite reorders the intensive interaction. mouth images in the training footage to match the phoneme Our approach allows Video Rewrite to learn from example sequence of the new audio track. When particular phonemes are footage how a person’s face changes during speech. We learn what unavailable in the training footage, Video Rewrite selects the clos- a person’s mouth looks like from a video of that person speaking est approximations. The resulting sequence of mouth images is normally. We capture the dynamics and idiosyncrasies of her artic- stitched into the background footage. -
Resume for Andrew Tamandl ... Animator Films Commercials Series
Resume for Andrew Tamandl ... animator 253 S. Broadway Apt 406, Los Angeles, CA, 90012, USA Ph: +1 415 606 1765 software ... Maya, 3dMax, After Effects, Nuke, Photoshop, [email protected] Illustrator, Storyboard Pro. www.andrewtamandl.com hardware ... SGI, Mac and PC (Linux, Unix, Windows, OsX) films commercials Guardians of the Galaxy, 2014. Character animation. Ford Fiesta 2010 “Dynamics/Safety/Fuel Efficiency” Rigging, animation. Star Trek into Darkness, 2013. Animation, design. Nintendo “The Legend of Zelda” 2009 Character animation, modelling. The Thing, 2011. Creature animation. UScel “Chicago” “Holiday” 2009 Character animation. New Balance “Feet on Head” 2009 Character animation, rigging. Hop, 2011. Character animation. Sony Playstation “The Agency” 2009 Character animation. ScoobyDoo! Curse of the Lake Monster, 2010. Character animation. XBox/Epic “Gears of War 2 (two spots)” 2008. Character animation. Red Dawn, 2010. Character animation. Kelloggs “Coco Rocks” 2007. Character animation. A Nightmare on Elm Street, 2010. Animation, soft-track. Chevolet “New Day” 2007. Character animation. I’m Here, 2010. Character animation. McDonalds “Alarm Chase” 2006. Character animation. Tron Legacy teaser, 2009. Character animation. Green Energy, 2006. Animation. The Tree of Life, 2009. Creature animation. Hawaii Anti Smoking, 2006. Animation, rigging. Transformers: Revenge of the Fallen, 2009. Character animation. Sears “Changing Rooms”, 2005. Modelling. GI Joe: The Rise of the Cobra, 2009. Character animation. Srixon “Game On”, 2005. Character animation, rigging. The Curious Case of Benjamin Buttons, 2008. Facial animation. NBC Winter Olympics, 2005. Animation. The Mummy: Tomb of the Dragon Emperor, 2008. Character animation. Previs. Layout. Ford Explorer, 2005. Animation, rigging. Transformers, 2007. Animation. Sony Playstation “Your Wrong”, 2005. -
FILM-GOING in the SILENT ERA Elizabeth Ezra in The
THE CINEMISING PROCESS: FILM-GOING IN THE SILENT ERA Elizabeth Ezra In the Surrealist text Nadja, published in 1928, André Breton reminisces about going to the cinema in the days ‘when, with Jacques Vaché we would settle down to dinner in the orchestra of [the cinema in] the former Théâtre des Folies- Dramatiques, opening cans, slicing bread, uncorking bottles, and talking in ordinary tones, as if around a table, to the great amazement of the spectators, who dared not say a word’ (Breton 1960 [1928]: 37). When Breton recalled these youthful antics, which had probably taken place in the late teens or early twenties, he characterized them as ‘a question of going beyond the bounds of what is “allowed,” which, in the cinema as nowhere else, prepared me to invite in the “forbidden” (Breton 1951; original emphasis). Breton’s remarks beg the following questions. How did such behaviour in a cinema come to be considered transgressive? How did the structures emerge that made it a transgressive act to speak or eat a meal in the cinema, to reject, in other words, the narrative absorption that had become a standard feature of the filmgoing experience? The conventions that gave meaning to such forms of transgression emerged over the course of the silent era in what may be called, to adapt Norbert Elias’s term, ‘the cinemizing process’ (1994). The earliest historians of cinema already relied heavily on a rhetoric of lost innocence (witness the multiple accounts of the first cinema-goers cowering under their seats in front of the Lumière brothers’ film of a train pulling into a station); the cinemizing process thus presupposes a ‘golden age’ of naive, uninitiated spectatorship followed by 2 an evolution of audiences into worldy-wise creatures of habit.