Beyond Ghibli: The Year of Yuasa

Masaaki Yuasa is one of the most eye-popping visionaries working in the industry, and today on Beyond Ghibli we’re looking at his last year of work.

PATREON: http://Patreon.com/BeyondGhibli

TWITTER: http://twitter.com/BeyondGhibli

00:00 Introduction

05:37 The Night is Short, Walk on Girl

06:43 The Tatami Galaxy

08:25 Lu Over the Wall

10:42 Devilman Crybaby [contains graphic imagery]

13:18 Conclusion & Credits

Täglich einen Kurzen: How Gene Kelly Danced with Jerry Mouse in 1945

Bill Taylor (Academy member, Visual Effects Branch) reveals the process used to combine Gene Kelly and Jerry Mouse for a dance sequence in the classic musical „Anchors Aweigh.“ From the Academy event „Gene Kelly: Choreography and the Camera“ on May 18, 2012.

Pacific Rim Uprising | Behind the VFX: Jaegers vs Kaiju | DNEG

Watch Aaron Gilman, DNEG Animation Supervisor on #PacificRimUprising go #BehindTheVFX and talk about the Animation work on the Jaegers and Kaiju, and why finding the right Mocap actors was a key starting point for the work. Enjoy!

Animation Studies: The Adventures of Prince Achmed with Cultural Historian Marina Warner

Novelist, critic and cultural historian Marina Warner joins moderator Peter Bloom (Film and Media Studies, UCSB) to discuss the film The Adventures of Prince Achmed (Die Abenteuer des Prinzen Achmed, 1926) and the various interpretations of the Arabian Nights. Recorded on 05/02/2018. Series: „Carsey-Wolf Center“ [7/2018] [Show ID: 33756]

(Visit: http://www.uctv.tv/)

 

Hier der komplette Film noch bis zum 7. August in der ARTE-Mediathek:

Making Of JIM KNOPF UND LUKAS DER LOKOMOTIVFÜHRER (2018)

VFX Supervisor des Films: Frank Schlegel 

VFX:

TRIXTER

VFX Supervisor: Jan Adamczyk

animation director  Jan Stoltz

VFX Producer: Franzisca Puppe

Scanline FX

VFX Supervisor: José-Manuel Weil

Senior VFX Producer: Michel Mielke

VFX Producer (Stuttgart): Julia Smola

Mackevision

VFX Supervisor Juri Stanossek

VFX Producer: Marina Winter

Chimney

VFX Supervisors: Bastian Konradt & Radoslaw Jamrog

VFX Producer / Head of Production: Rûken Baran

VFX Executive Producer: Sebastian Leutner

RISE FX

VFX Supervisor: Markus Degen

VFX Producer: Rene Grasser Read more

Amerikanische TV-Animations Probleme: What You Need to Know!

https://www.sagaftra.org/get-involved/tv-animation/tv-animation-what-you-need-know

Hier der offenen Brief der SAG AFTRA an die amerikanischen Mitglieder der Animations- und VFX Community:

June 27, 2018

Dear Member,

Our animation community finds itself in the fight of its life, working under expired contracts that do not provide for scale wages or residuals in the fastest-growing area of their work: Animated programs made for subscription-based streaming platforms like Netflix and Amazon.

Animation performers need the power of a strike authorization to avoid losing the hard-fought gains that generations of performers before them have struggled to win. That is why the National Board has unanimously recommended that you vote YES to authorize a strike, if necessary, of these agreements.

A strike authorization does not mean that a strike will necessarily happen, but it gives animation performers an additional tool to negotiate their contracts.

The 2014 Producer – SAG-AFTRA Television Animation Agreement and the 2014 Producer – SAG-AFTRA Basic Cable Agreement for Animated Motion Pictures (collectively, the “TV Animation Agreements”) cover animated programs made for initial exhibition over television and new media. They expired on June 30, 2017, but negotiations over the past year have failed to produce an agreement that the Animation Negotiating Committee can recommend. That is because animation performers have made clear in caucus after caucus — going back to the prior round of negotiations — that they will not accept any deal that does not provide fair terms for animated programs made for subscription-based streaming platforms.

Animation performers have insisted on fair terms for this work for good reason: Since the expiration of the TV Animation Agreements, more than 20 animated series produced for initial exhibition on a subscription-based streaming platform have gone into production. Because that work is not covered by the traditional terms of our TV Animation Agreements, our animation performers do not have the benefit of scale minimums when they work on these programs, the overwhelming majority of which will never pay residuals for any new media exhibition.

In other words, when you go to work on an animated program made for new media, the producer can pay you as little as you are willing to accept and will likely be able to use the program on Netflix, Amazon, Hulu, iTunes, etc. for subscribers to view or customers to pay to download forever without ever paying you a residual. 

This problem was partially addressed for live-action performers in the 2014 round of TV/Theatrical negotiations by setting new terms for high-budget productions made for subscription-based streaming platforms. In the most recent round of bargaining, those terms were further improved. Those terms only apply, however, for programs that are at least 20 minutes long and budgeted at $1.3 million or more for a half-hour show, requirements that exclude nearly all animated programs. Indeed, only one animated series produced in the most recent three-year term of our TV Animation Agreements met these requirements.

In the 2014 round of animation negotiations, we attempted to bargain adjustments to the minimum budget and runtime requirements to better reflect the reality of producing animated programs. Producers were adamant, however, that they were unwilling to deviate from the live-action terms. At the time, there were very few animated programs being produced for subscription-based streaming platforms and we decided not to disrupt employment to win terms for programs that did not exist yet. During the ratification process for the 2014 TV Animation Agreements, however, our members voiced their extreme displeasure that they were effectively denied the same gains that were achieved for live-action performers. Throughout the wages and working conditions process leading up to the current round of negotiations, members repeatedly expressed their resolve to vote against any contract that did not yield fair terms for animated programs produced for subscription-based streaming platforms.

Since the expiration of the TV Animation Contracts, there have been 22 additional series produced for subscription-based streaming platforms, as compared to 23 new series that have gone into production for basic cable. Disney announced that it is launching its own streaming platform, where it will house original animated content. Warner Bros. has launched a streaming platform for animated content called Boomerang and recently renegotiated several series that it was initially producing for basic cable to be made for its Boomerang platform instead. Animation performers cannot afford to ignore the reality that they are fighting for the future of their industry and their careers.

The last offer that the producers made, which is now expired, contained a partial, inadequate improvement to these requirements at an unacceptable price. Approximately 80 percent of live-action programs made for subscription-based streaming platforms are covered by terms that provide scale wages and residuals. Our best projection is that the producer’s last offer will cover less than half of animated programs made for subscription-based streaming platforms with terms that provide scale wages and residuals. And in order to achieve these subpar terms, animation performers will have to make concessions in this space that other performers have not had to make, including:

  1. Giving up residuals for use on foreign streaming platforms.
  2. Giving up the additional payment for a third voice for programs made for these platforms — a payment that members struck for in 1986.
  3. Allowing the minimum budget for triggering these terms to increase automatically every year, which does not happen for live action performers. This means that each year a smaller percentage of animated programs made for subscription-based streaming platforms will qualify for terms that include scale wages and residuals.

Our animation performers are the most talented professionals in their field and they deserve professional terms and conditions when they work. Scale wages and residuals are what allow all of our members to sustain themselves in their careers. Producers should not expect our members to make contractual concessions to achieve a watered-down version of these standard terms.

Only a demonstration of solidarity and resolve can change this result. That is why our Animation Negotiating Committee and National Board have both unanimously recommended that you vote YES to authorize the National Board to declare a strike of the TV Animation Agreements should it prove necessary.

Strength in unity,

Gabrielle Carteris

The Legacy Of Winnie The Pooh

See where it all began. Disney’s Christopher Robin, coming to cinemas August 17. In the heartwarming live action adventure Disney’s “Christopher Robin,” the young boy who shared countless adventures with his band of lovable stuffed animals in the Hundred Acre Wood is now grown up and living in London but he has lost his way. Now it is up to his childhood friends to venture into our world and help Christopher Robin rediscover the joys of family life, the value of friendship and to appreciate the simple pleasures in life once again. Disney’s “Christopher Robin” is directed by Marc Forster from a screenplay by Alex Ross Perry and Allison Schroeder and a story by Perry based on characters created by A.A. Milne and E.H. Shepard. The producers are Brigham Taylor and Kristin Burr with Renée Wolfe and Jeremy Johns serving as executive producers. The film stars Ewan McGregor as Christopher Robin; Hayley Atwell as his wife Evelyn; Bronte Carmichael as his daughter Madeline; and Mark Gatiss as Giles Winslow, Robin’s boss. The film also features the voices of: Jim Cummings as Winnie the Pooh and Tigger; Brad Garrett as Eeyore; Toby Jones as Owl; Nick Mohammed as Piglet; Peter Capaldi as Rabbit; and Sophie Okonedo as Kanga.

ARTE: Verfügbar von 09/07/2018 bis 07/08/2018 Die Abenteuer des Prinzen Achmed (1926)

Der erste abendfüllende Animationsfilm (1926) der Filmgeschichte führt in eine Schattenwelt aus „Tausendundeiner Nacht“: Die Kraft des guten Zaubers hilft Prinz Achmed, seine geliebte Prinzessin Pari Banu aus der Gewalt der Dämonen zu befreien. – Regisseurin Lotte Reiniger entwickelte die Technik des Silhouettenfilms in den 1920er Jahren zur Perfektion.
Lotte Reiniger entwickelte die Technik des Silhouettenfilms in den 1920er Jahren zur Perfektion. Zuerst schrieb sie das Storyboard und zeichnete ihre figurativen Ideen. Mit der Schere schnitt sie dann die selbstentworfenen Figuren und Motive aus schwarzem Fotokarton und verband deren Glieder mit Draht. Auf einer von unten beleuchteten Glasplatte bewegte Reiniger die schwarzen Silhouetten vor Hintergründen aus Butterbrotpapier, während eine frontal auf die Scheibe gerichtete Kamera 24 Einzelbildaufnahmen pro Sekunde schoss. Damit sich die Pappe durch die Hitze der Lampe nicht wellen konnte, beschwerte Reiniger die Figuren mit Blei. Von 250.000 produzierten Einzelbildern wurden für die Darstellung der Abenteuerreise 96.000 Aufnahmen verwendet. In drei Jahren Arbeit von 1923 bis 1926 kreierte sie den 66-minütigen Silhouettenfilm gemeinsam mit ihrem Ehemann Carl Koch, der für Kamera und Aufnahmeleitung verantwortlich war. Dazu schrieb Wolfgang Zeller eine stimmige Filmmusik, die sich stilistisch an der Spätromantik orientiert. Sie wurde von Jens Schubbe für ein kleines Kammerorchester bearbeitet und mit dem MDR Sinfonieorchester unter der Leitung von Frank Strobel neu eingespielt. In dieser transparenten Besetzung kommt die Qualität der Musik besonders zu Geltung, von der es in der zeitgenössischen Kritik hieß: „Seine Musik ist sinfonisch durchgearbeitet wie irgendeine, tonal, aber voll überraschender, stets aparter Harmoniefolgen und Ausweichungen. Sicher getroffen das Märchenhafte und was unser europäisches Ohr als ‚orientalisch’ zu empfinden gewöhnt ist.“

The Art of The Storyboard – Sneak Peek by special guest Lyndon Ruddy

https://www.youtube.com/channel/UC0lLeNdvLrFozQRsQ1TQiAw?sub_confirmation=1

Special Sneak Peek & Pre-Order Price. Click Here: https://creatureartteacher.com/produc… It’s a great privilege to present a course that has been in HUGE demand. Taught by one of the best story artists the I’ve had the privilege to work with, Lyndon Ruddy! *** Subscribe to My Channel for More Art & Animation Videos: *** http://www.youtube.com/subscription_c… ============================ Like my work? Follow me for More: ============================ Read more

Animation Is All About The Walk

Sources- I Drew Roger Rabbit – https://bit.ly/2yNB49L Richard Williams on Male and Female Walks – https://bit.ly/2KoHRLD Animating Art (doc about Art Babbitt) – https://bit.ly/2lAVmto Do It Yourself Animation Show (Williams teaches about the contact and passing positions) – https://bit.ly/2KsLbp1 Eric Goldberg’s advice for young animators – https://bit.ly/2KvyWI6

You can follow me through: Twitter- twitter.com/andymsaladino Vimeo- vimeo.com/theroyaloceanfilmsociety

Music by: “Circa 1980“ by Bonus Points – https://soundcloud.com/bonuspoints “A Beautiful Spring Day“ by George Bruns “Why Grumpy, You Do Care“ by Paul J. Smith & Leigh Harline “Darkness Into Light“ by John Tavener “Wonderful“ by Dyalla Swain – https://soundcloud.com/dyallas

Annecy und Networking mit Alexander Richter

WEEKLY NEWS

Annecy ist ein Animationsfestival an einem See in Annecy (Frankreich). Lass mich Euch Annecy vorstellen und im Anschluss sprechen wir über Networking und wie man an das Thema gehen kann.

Abonniere diesen YouTube-Kanal

Annecy is this beautiful animation festival near a lake in Annecy, France. Let me give you a brief overview of this festival and let’s talk about networking and how it can be done.

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„Heute lernen wir Skripten und Programmieren“ mit Alexander Richter

MINDSET – TD Monday

Das Nachfolgevideo um sich mental auf’s Skripten und Programmieren vorzubereiten. Wir sprechen über Ausreden, wieso wir diese Fähigkeit nicht bereits erlernt haben. Schauen uns Sprachen in Visual Effekts, Animation und Spielen an und welche davon sich besonders gut eignen. Große Überraschungen hier. Und zu letzt zeig ich Euch wie ihr Euer System mit Python und Sublime Text 3 aufsetzt.

Abonniere diesen YouTube-Kanal

MINDSET – TD Monday

The follow-up to the video to the mindset of what you should do when you want to start scripting and programming. We talk about excuses since a lot of times they are the reasons that hold you don’t and don’t allow you to start.
After that, we look into languages in Visual Effects, Animation and Games and which of them would be the best choice. (Big Surprises here.) And last but not least I show you how to start by installing Python and Sublime Text 3.

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