Animation

Part 7 in a weekly series exploring the adaptation of a childhood creation into a new comic for TR!CKSTER's 2013 volume, Childhood Heroes. Next Week: The Chase!21 days...

Thanks for watching my animation! I did it in order to teach myself Cinema 4D and Vray, the renders aren't perfect but the best I could get out of my machine. While I setup up most of the geometry using tracers, Xpresso and Thinking Particles, I had some help along the way from the following great resources... I edited the motion captures from this archive >>> sites.google.com/a/cgspeed.com/cgspeed/motion-capture and used Microsoft Kinect for some parts aswell I tweaked the character models from >>> thefree3dmodels.com/ Sound effects we're mostly sourced from >>> freesound.org And the music is obviously from Capcom's Street Fighter 2, play it here >>> itunes.apple.com/ie/app/street-fighter-ii-collection/id459660048?mt=8 If you like this, then checkout the far superior Quayola and Memo 'Forms' >>> vimeo.com/37967381 Peace! Gif> tinyurl.com/afmwoss Now in PG!Cast: dantheadmanTags: street fighter mograph, cinema 4d, vray, 3D, snes, xpresso, thinking particles, ken, ryu, blanka, chun li, guile, test, street, fighter, mograph, motion, sculptures and motion sculptures

When Jace Cooke and Alex Chung founded Giphy, they simply wanted a convenient platform for sharing and searching GIFs. But now, Giphy, which launched in Febrary, is reaching beyond its search engine origins and aims to serve as a tool to empower artists and animators. The first round of features to roll out on Giphy over the coming month are built to serve GIF makers rather than consumers. Artists will have dedicated URLs, making their work easily accessible for fans. When embedded on another blog, each GIF will include a coded block that shows the creator’s name. That’s right, no more stumbling onto a great GIF on Tumblr and wondering who created it. “I want Giphy to be what Vimeo is for videographers or Soundcloud is for musicians,” co-founder Jace Cooke told Cartoon Brew. Cooke invited several notable GIF makers to launch artist pages, including  animator Frank Macchia (see GIF below) and wildly popular Tumblr GIF artist Matthew DiVito (aka mr. div). The next step will be providing GIF makers with uncapped uploads—Tumblr, for example, has a maximum upload of 1 MB per GIF. Eventually, artists will have personalized dashboard with analytics for tracking where their GIFs are being shared. “I want to lend more credence to GIFs, give them a wider audience and open up the possibility of monetization for artists,” adds Cooke. Read more Animated GIF coverage on the Brew. For Cooke there are two major questions going forward: For GIF makers, how can Giphy adapt to best serve their needs? For everyone else, how can Giphy encourage more people to try creating GIFs? Cook is turning to the animation community to find answers to these questions, particularly the latter. Many creative people who work in CGI are interested in GIFs, but they haven’t yet given it a shot. “There’s a learning curve,” Cooke says . “They understand the value and they’re excited about it, but they’re a little apprehensive.” Ultimately, Cooke hopes to see more animators embrace GIFs, which he describes as “animated trading cards.” Even though there are many GIF repositories and search engines like GIFSoup, Tumblr, and Google’s new animated image search, Giphy is the first coherent attempt to elevate GIFs as an artform. “There is something really powerful about an art that is halfway between a photo and a video,” says Cooke. “GIFs are a legit medium, a form of expression that’s only going to grow.”

This is the second part of the book for youngsters written and illustrated by Dick Moores from his comic strip, Gasoline Alley. Moores took over the strip when Frank King, the originator, retired. I’ve written frequently that i love this edition of the strip. Dick Moores’ open, rounded line work is just beautiful to me, and I like his compositions as well. It’s interesting in this book how he keeps to closeups of the characters leaving a lot of white space to work against his linar shading. Only rarely do we get a longer, establishing shot of the scenes. It’s quite effective in its own way and, at the same time, gives it a variance to the strip done for syndication. Many thanks to Bill Peckmann for scanning and forwarding the book to us for posting. I love it. Book Cover 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 Notes about the book series.

Somebody smells money. An advertising agency has slapped a lawsuit on the creators of a Cartoon Network show, accusing the producers of ripping off their idea for a show about wacky, talking fruit. H2M, a Fargo, N.D.-based ad firm claims "Annoying Orange" creators Dane Boedigheimer and Spencer Grove, who are originally from North Dakota, saw the "Talking Orange" commercials that aired in the state from 2005 to 2009, When Annoying Orange was a gleam in YouTube's big glass eye, nobody got sued because there was little in the way of greenbacks at stake. Now, of course, the situation has changed and the sharks are circling. (Big surprise, yes?)

Since we're on a geography kick ... Chinese animation industry produces about 266,600 minutes of animation content every year. Foreign animation films dominate the market with more than 60% of television animation being of foreign origin. In China, there are about 8,000 animation studios. The key animation industrial bases in China are Hangzhou, Shenzhen, Shenyang and Wuxi. The Chinese animation industry is growing at the rate of about 10-15% YoY. The cost of outsourcing one episode of animation work to China is about US$ 60,000 - 70,000. ... The key factor which is driving the flow of outsourcing of animation jobs to China is the low cost labour as well as the availability of a large talent pool of animation professionals. ... But low costs only take you so far. Beyond the "work is inexpensive" calling card, the work created in the Middle Kingdom needs to be dynamic enough to compete in the world market place. Hasn't happened in a major way ... yet. Doesn't mean that at some point it won't. The world never remains static.

Through sight and sound and faceless terrorThrough endless corridors by trial and errorAhead a blazing light does burnAnd one door leads to the point of return.These are the opening words at the Haunted Mansion at Magic Kingdom and Disneyland, right?No, these are the words the Ghost Host (Paul Frees) speaks:When hinges creak in doorless chambers And strange and frighening sounds echo through the halls Whenever candlelights flicker and the air is deathly stillThat is the time when ghosts are presentPracticing their terror in ghoulish delight.What about the other words? They seem so similar.Dark Shadows fans will immediately recognize the verse as part of the infamous Dream Curse, one of the story arcs in the popular ABC daytime horror/fantasy soap opera. It's not considered one of the best storylines in the series, as it's a pretty cheesy plot (and I really like the show). The dreams are kind of funny rather than terrifying and they begin on Volume 7 of the Dark Shadows Collection DVD series.The first time viewers heard these words were on April 24, 1968. The Haunted Mansion opened on August 9, 1969. Could the Disney Imagineers been influenced by a hit TV show that a lot of people were watching over a year before the attraction opened?I couldn't say, but it's pretty interesting, no?

The NYT profiles Brigham Young University's animation school. ... Out of nowhere, B.Y.U. — a Mormon university owned and operated by the Church of Jesus Christ of Latter-day Saints — has become a farm team for the country’s top animation studios and effects companies. Unlikely as it sounds, young Mormons are being sucked out of the middle of Utah and into the very centers of American pop-culture manufacturing. Praising the program in a speech on campus in 2008, the president of Pixar, Edwin Catmull, noted: “It’s the perception not just of Pixar, but also at the other studios, that something pretty remarkable is happening here.” (During the production of “Brave,” for example, a 14-person team tasked with rigging the complicated musculature in horses and wrangling Princess Merida’s curls included six B.Y.U. alumni.) ... Makes sense to me that Brigham Young turns out top-flight artists. Many are older when they start their education, and they don't get slowed down or hampered by booze or drugs. And being older they have a clearer idea of where they want to go with their careers and the road they need to travel to get there. Adding, TAG Prez Bob Foster just pointed out to me that some of the best animation artists he's worked with have been Mormon. So there's a history of quality work that goes back a few years.

Produced by: Limón estudios Direction by: Ernest Desumbila Executive producers: Alejandro López, Albert Montero Edit & postproduction: Limón estudios Sound desing: HUE Creative Studios Line producer: Alejandro López Postproduction coordinator: Albert Montero DOP: Felipe Contreras Soto Art director: Iván Triviño Stylist: Jess Monterde Make up: Rubén Mármol Choreography: Les filles föllen Production manager: Jorge Llama Production coordinator: Luna LladósCast: LIMÓN ESTUDIOS, Ernest Desumbila, Felipe Contreras Soto, hue-studios, Iván Triviño Art Director and Jorge LlamaTags:

Directed by Gerry Geronimi assisted by Jack Bruner. Laid out by Hugh Hennesy and Don Griffith. Secretary Marie Dasnoit.This Final draft dated 10/8/54.