March 31, 2013
March 30, 2013
March 29, 2013
March 28, 2013
March 27, 2013
March 26, 2013
March 25, 2013
March 24, 2013
Pilot Evolution - by Martin Allais
"Create, remove, evolve" was the theme of this ad, and the end result is fantastic.
The campaign involved combining cell animation and stop motion techniques. I'm a huge fan of this style of animation, black and white, one long shot (no cuts), lots of morphing techniques and great good old fashion hand-drawn traditional animation.
The objective of the campaign was to promote one of the Pilot pen brand’s latest models, the Frixion, whose main feature is that it lets you both write and erase. Based on this premise, the main task was to offer an unprecedented reading of the history of evolution in which the pen — a metaphor for divine intervention — provides a solution each time a problem arises, to rectify the situation and allow the species to evolve correctly through each of their stages. Created by the agency Grey, produced by Boolab.
March 23, 2013
March 22, 2013
Frames
"Frames" is a short mixed-media animation about a character who is thrust into different worlds after discovering the artificiality of his own world.
The film is Co-Directed and animated by Martin Thoburn and Matti Adoma.
Official Website: frames-film.info/about
Martin Thoburn martin-thoburn.com
Matti Adoma loomcreativepractice.com
March 21, 2013
March 20, 2013
March 19, 2013
March 18, 2013
The Shrine / An Argument
Music: Fleet Foxes
Album: Helplessness Blues
Director: Sean Pecknold
Animators: Sean Pecknold & Britta Johnson
Character Illustrations: Stacey Rozich
Art Assistant: Natalie Jenkins
Producer: Aaron Ball
Multiplane: Greg Pecknold
Post/Edit : Sean Pecknold
Particle FX: Britta Johnson
AE Assist: Austin Wilson
Sound FX: Shervin Shaeri
Story: Sean Pecknold
Labels: Bella Union & Sub Pop
Made in Portland, Oregon
Made with Dragonframe
This is What Happens When You Run Water Through a 24hz Sine Wave
What!? How is this even possible? Because of awesome SCIENCE! Brusspup’s latest video explores what happens when a stream of water is exposed to an audio speaker producing a loud 24hz sine wave. If I understand correctly the camera frame rate has been adjusted to the match the vibration of the air (so, 24fps) thus, creating… magic zigzagging water. Brusspup did a similar experiment last year where it looked as if the water was flowing in reverse. Can somebody please make a water fountain that does this or would we all be deaf? (via stellar & thisiscolossal)
March 17, 2013
March 16, 2013
"Who's Afraid of Mr Greedy?"
Animated by: Simon Boucachard, Jean Baptiste Cumont, Sylvain Fabre, Guillaume Fesquet, Adeline Grange, Maxime Mary and Julien Rossire
March 15, 2013
"Stripped" - The Feature Documentary needs your funding
Donate here.
Why should you donate?
Anyone that can score an interview with Bill Watterson deserves all the praise in the world!
This film is worth seeing just for that!
Plus, it looks like a kick ass documentary, the film is all done, but to help it get completely polished, edited and have some great archival footage inserted into it, it needs just a few thousand more bucks!
March 14, 2013
March 13, 2013
Venture Bros. Season 5 Sneak Peek!!!
Quite possibly the funniest cartoon of the past decade is finally beginning it's 5th season soon, here's a teaser.
March 12, 2013
Trailer for "Short Peace"
Four short films
- Combustible (Hi-no-youjin)
Written and directed by: Katsuhiro Otomo
Production design: Hidekazu Ohara
Music: Makoto Kubota
- Tsukumo
Written and directed by: Shuhei Morita
Production design: Keisuke Kishi
- Gambo
Directed by: Hiroaki Ando
Written by: Katsuhito Ishii
Character design: Yoshiyuki Sadamoto
- Buki yo Saraba
Original story by: Katsuhiro Otomo
Written and directed by: Hajime Katoki
Character design: Tatsuyuki Tanaka
- Opening Sequence directed by: Koji Morimoto
March 11, 2013
Frankenweenie - The Stereoscopic Journey
The 3D conversion of Tim Burton's black and white, stop motion comedy horror 'Frankenweenie' is discussed here with Matt Bristowe and Richard Baker, talking about the philosophy of stereoscopy, how to use 3D depth to provoke emotion, and how to keep it beautiful at the same time.
March 10, 2013
Frankenweenie - Visual Development
Concept art and environmental design for Disney’s Frankenweenie (2012). Artwork by Mingjue Helen Chen. She has a Tumblr, follow it to see more of her amazing art!
jigokuen.blogspot.com
jigokuen.blogspot.com
March 09, 2013
March 08, 2013
Mat Zo & Porter Robinson - Easy
Directed By: Louis & Tim McCourt
Art Direction by: Bjorn Aschim
Animators: Jonathan 'Djob' Nkondo, James Duveen, Sam Taylor, Wesley Louis, Tim McCourt,
Backgrounds and Layouts: Bjorn Aschim, Mike Shorten
Compositing: Sam Taylor and Jonathan Topf
3D VFX: Jonathan Topf
Graphic Design by: Hisako Nakagawa
Producers: Jack Newman and Drew O'Neill
"Prometheus Bound" by Peter Dodd
This is a 13 minute 2D hand drawn animated film made in-between commercial jobs. Based on the play of the same name by Aeschylus , it retells the myth of Prometheus, who stole fire from the gods to benefit mankind, and as a result was crucified atop a mountain.
March 07, 2013
Bob Godfrey - RIP
Two weeks ago, legendary UK animation director Bob Godfrey passed away. His career lasted over fifty years, spanning dozens of shorts films and TV series. In the process, he became the first British animator to win an Oscar for Best Animated Short, and he greatly helped the maturity and evolution of European animation by exploring contemporary and adult themes in his many of his works.
Elements: Experiments in Character Design
For her senior thesis project, Minnesota-based illustrator Kaycie D. turned the elements from the periodic table into whimsical cartoon characters.
She personifies each element by implementing its individual characteristics into the character design.
To check out the full list of characters, click here.
[via Kaycie D.]
March 06, 2013
NFB's "Universe" (1960)
Previously unavailable anywhere, The National Film Board of Canada has finally released this movie online. A triumph of film art, creating on the screen a vast, awe-inspiring picture of the universe as it would appear to a voyager through space, this film was among the large sources of inspiration used by Stanley Kubrick in his 2001: A Space Odyssey. Ground-breaking animation takes you into far regions of space, beyond the reach of the strongest telescope, past Moon, Sun, and Milky Way into galaxies yet unfathomed.
March 05, 2013
March 04, 2013
"Filmmaking - Show Your Work In Progress" by Kevin Parry
One of the most valuable, but often overlooked, parts of developing a film is showing other people ('fresh eyes') your progress. This is a crucial part of the storyboarding/animatic phase, because knowing how a viewer is reacting to your work BEFORE you start production lets you flag problems that will later on kill your film. As painful as it is to hear negative feedback, or even worse a blank expression, think about how that will feel when you've finished the project, instead of just throwing out a few sketches and reworking your ideas. Clarity is king before you hit production.
Film is visual storytelling. Once you have a full animatic edited together (storyboards with rough sound effects and a temp music track), show it to a fresh pair of eyes - someone who hasn't seen it before - and test if the story is in fact being told visually. A fresh pair of eyes can be absolutely anyone, and I typically like to screen for people who aren’t film savvy, because that’s your typical audience. Don't preface the screening with details either - just let someone watch through your animatic and ask them, 'What just happened?'
It's amazing what that one little question will tell you about your story. You're not looking for what they thought the film meant, but quite literally, what exactly took place. You want the security of knowing that your storyboards, which are the intended shooting script, are clearly getting across every single action and story point. If someone who has just watched your animatic is confused or can't tell you what was happening in a specific section, then a red flag should go up about your staging, shot choices, editing, etc. Maybe even your story in general.
Avoid the 'It's not finished yet!' mentality. If you're lacking story clarity in your animatic, then it's unlikely any amount of animation or performance will clear that up in production. It’s possible, but why take the risk? Opt for the comfort of knowing that your film is working BEFORE you start production.
I’ve embedded a video of mine that side-by-side compares the animatic to the final version of my animated short The Arctic Circle. They are almost identical. And I’ll admit a painful secret – this animatic was about the tenth version. The first nine were much, much different in terms of story and pacing. What I was realizing when I was showing these first versions to viewers was that they were absolutely confusing. It wasn’t until I rewrote and reworked the animatic to unmistakable clarity that I knew I could begin production and create a film that I not only wanted to make, but that would result in successful and clear storytelling.
Show your work!
- Kevin Parry
Source
Film is visual storytelling. Once you have a full animatic edited together (storyboards with rough sound effects and a temp music track), show it to a fresh pair of eyes - someone who hasn't seen it before - and test if the story is in fact being told visually. A fresh pair of eyes can be absolutely anyone, and I typically like to screen for people who aren’t film savvy, because that’s your typical audience. Don't preface the screening with details either - just let someone watch through your animatic and ask them, 'What just happened?'
It's amazing what that one little question will tell you about your story. You're not looking for what they thought the film meant, but quite literally, what exactly took place. You want the security of knowing that your storyboards, which are the intended shooting script, are clearly getting across every single action and story point. If someone who has just watched your animatic is confused or can't tell you what was happening in a specific section, then a red flag should go up about your staging, shot choices, editing, etc. Maybe even your story in general.
Avoid the 'It's not finished yet!' mentality. If you're lacking story clarity in your animatic, then it's unlikely any amount of animation or performance will clear that up in production. It’s possible, but why take the risk? Opt for the comfort of knowing that your film is working BEFORE you start production.
I’ve embedded a video of mine that side-by-side compares the animatic to the final version of my animated short The Arctic Circle. They are almost identical. And I’ll admit a painful secret – this animatic was about the tenth version. The first nine were much, much different in terms of story and pacing. What I was realizing when I was showing these first versions to viewers was that they were absolutely confusing. It wasn’t until I rewrote and reworked the animatic to unmistakable clarity that I knew I could begin production and create a film that I not only wanted to make, but that would result in successful and clear storytelling.
Show your work!
- Kevin Parry
Source
"Tegels" by Johan Rijpma
The hidden movements and melodies of street tiles.
Tiles is an animation made of a large photographic collection of street tiles. By viewing this collection of photographs as a sequence, different movements and processes become visible within the frame of the tiles. Both music and animation are trying to find a balance between a thought-out arrangement and an arrangement of ‘chance’ deriving directly from the tiles.
More info: johanrijpma.nl
John Lounsbery - Scene Progression
Scene of "Tony" from Lady and the Tramp, animated by John Lounsbery. The rough animation (on twos) and the finished color version on ones. You can see the animator's note to the assistant on the first drawing to put the scene on ones in Clean-up.
March 03, 2013
March 02, 2013
March 01, 2013
Empire Strikes Back - Rare Documentary
Excerpts from the lost 1980 Michel Parbot documentary. A good quality version of the footage from the original Dutch Broadcast combined with the clips released in 2007. All in the correct order with the main and end titles to make a coherent whole.
Harlem Shake
Three animation-related Harlem Shake parodies: by French blogger/animator Malec, and by Cartoon Network staff from Adventure Time, and a 3rd one with characters from the "Box Stories" web series.