Dreams from the woods | A movie by Johannes Nyholm The Pixar Theory Every Pixar movie is connected. I explain how, and possibly why. Several months ago, I watched a fun-filled video on Cracked.com that introduced the idea (at least to me) that all of the Pixar movies actually exist within the same universe. Since then, I’ve obsessed over this concept, working to complete what I call “The Pixar Theory,” a working narrative that ties all of the Pixar movies into one cohesive timeline with a main theme. This theory covers every Pixar production since Toy Story. A Bug’s LifeToy Story 2Monsters Inc.Finding NemoThe IncrediblesCarsRatatouilleWall-EUpToy Story 3Cars 2BraveMonsters University The point of this theory is to have fun and exercise your imagination while simultaneously finding interesting connections between these fantastic movies. [SIDE NOTE: All text in blue indicates updated edits since the original version] You can read the full theory below, or watch this summarized video that was made and narrated by Bloop Media. Lines are being crossed. Mr.
Professional Animination Design,Website Designing,3d Modeling/Animatics,Flash Presentation | AnimFactory Project "Expressions" by Helen Schroeder on Prezi Short interactive film: 3 Dreams of Black by Chris Milk A new interactive music video for the concept album Rome—a collaboration between Danger Mouse and composer Daniele Luppi inspired by the music from old spaghetti westerns. An HTML5 project for use in Google Chrome Director Chris Milk follows the success of The Wilderness Downtown with a new interactive music video for the concept album Rome—a collaboration between Danger Mouse and composer Daniele Luppi inspired by the music from old spaghetti westerns. The video is broken into three different dreams. Milk steps up both the visuals and the technology with a video built mostly with WebGL—an HTML5 technology capable of rendering realtime 3D inside a browser. [ Requires the Google Chrome web browser ] Andrew makes no attempt to hide his love for the magic art of animation.
James Carlisle: Armature upgrade Back to uni and starting third year with a mime/after effects project. Started by upgrading my summer armature from hard foam to balsa wood. Just to make sure it would survive the animation process. I also made about three pairs of spare hands just incase fingers/wrists broke In the past, there were separate briefs to do a mime, lip sync, and after effects project that don't link to each other at all. With this in mind, the basic premise for my mime piece is that my character is hit by some sort of meteor, stumbles around and unfortunately, dies. I now have all the raw footage from filming, which has been ridiculously stressful and tough at times but i'm happy with the way it looks. I have two weeks to add all the after effects to it and i'll post some screen shots from that next weekend.
stop motion model making "Will O' The Wisp" Production Bumper + Short Film (2014) - StopMotionAnimation.com Hello Everyone :) I've been posting some random W.I.P. photos and little test videos over the past year or so, but I recently discovered there's a "your project" section here in the forum. So this is a thread for my ongoing project, "Will O' The Wisp". Here's a little background about how the project came to be: Long story short - I was working on an indie film one winter, and I was hanging out in a trailer talking to the makeup Fx people and producer while we were waiting around for the next scene. A couple months after principal photography wrapped, one thing lead to another, and the producer wanted to know if I'd do a stop-motion bumper for the production company. It was originally only supposed to be a short bumper that played at 6 seconds, 15, and 30. However... Neither of us (the producer or myself) knew this was going to progress the way it did or as well as it has so far (knock on wood!). Now it's been almost a year. So... that's the general run-down. p.s.
How the Puppets from Fantastic Mr. Fox Were Made [Slide Show] With Haymoz’s drawings as a reference, the Mancunian puppet makers went to work. Sculptors began by fleshing out the designs into three dimensions using plastiline clay. The main animal puppets—the ones used for close-ups—were approximately 12 inches tall, and the human characters were slightly smaller; since they don’t share much screen time, the difference in scale wasn’t a problem. After the plastiline figure was approved by Wes—who directed this film remotely from his Paris apartment; Haymoz says that when he finally did visit the studio, it was like seeing Santa Claus—the sculptors removed a layer of clay equal to the thickness of the fur that was going to be applied to that particular area. Says Saunders, “It was kind of half science, half art, how you shrunk the character down so that when you added the hair to it, it would go back to the original volume.” The fur on the animals’ limbs and heads was applied to a latex backing that was stretched over the puppet. Read More
Stop Motion Puppet Creation by Helen Schroeder on Prezi