VIDEO: JonJon Explains How He Made An Animated Music Video In Three Weeks Working alone, JonJon forgoes storyboards and pretty much the whole development stage, and dives straight into the animation. As he draws, he gains an intuitive feel for the narrative. He sticks to black and white, which “is flexible and forgiving — you can play with the drawing a lot easier.” The characters are fleshed out in fleet brushstrokes against sparse backgrounds. Everything is done digitally. For Kina’s video, JonJon conducted research on the young Italian producer, which prompted visual ideas: for instance, the motif of two roses, which was inspired by one of his logos. JonJon also drew inspiration from the song itself. The concept of the director’s commentary cropped up during production. JonJon started by recording his screen while animating, then stringing the footage together and adding a voiceover.
Travel - Did this sleepy village stop the Black Death? Over the course of eight days in August 1667, Elizabeth Hancock lost her six children and her husband. Covering her mouth with a handkerchief against the stench of decay, she dragged their bodies to a nearby field and buried them. Hancock’s loved ones were victims of the Black Death, the deadly plague that intermittently reared its head in Europe between the 13th and 17th Centuries, killing an estimated 150 million people. The epidemic of 1664 to 1666 was particularly notorious, and the last major outbreak of the disease in England. Some 100,000 people, one quarter of the city’s population, died in London alone. Amid the devastation, the sleepy Peak District village of Eyam, home to Hancock and her family, became the site of one of the most heroic acts of self-sacrifice in British history – and one of the main reasons the plague’s march was halted. Today, in Eyam, located 35 miles southeast of Manchester, all seems well in the world. You can still visit the boundary stones today.
A guide to watch online animation documentary films - | GuideDoc While they seem to be two completely incompatible genres, documentary and animation have been uniting forces gradually as the history of cinema develops, and the results end up being certainly memorable. In "Sin Dejar Rastros" a documentary film of Argentina that the Guidedoc team bumped into recently, director Diego Kartaszewicz introduces us to the pioneer of animation films on a global scale: Quirino Cristiani. This Argentinian filmmaker made "El Apostol", an animated documentary film that could have been the best Documentary film of 1910, a decade full of creative works in an incipient worldwide film production. In case you didn't now, GuideDoc is a global curated documentary streaming platform. Released in 1917, this seventy-minute film is a political satire about the Argentine president of the time, Hipolito Yrigoyen. Watch the only surviving film by Quirino Cristiani "El Mono Relojero" Watch the trailer of “Vals with Bashir” Watch the trailer of Agua Mole
Luthers judehat inget att fira Vi förfasar oss över det oförsonliga hat och besinningslösa våld som IS utövar mot alla dem de betecknar som otrogna muslimer och andra religiöst oliktänkande. Det sker i islams namn. De flesta andra muslimer menar att det är en förvriden tolkning av deras religion och tar avstånd från detta konkreta tolkningsalternativ. En följdfråga är vilka tankar och handlingar en religiös tradition kan rymma och fortfarande hållas för en legitim uttolkning, och när dessa tankar och handlingar spränger gränserna för det acceptabla. Med den aktuella frågan i bakhuvudet bör vi kritiskt granska den religiösa tradition vi svenskar själva är en del av, antingen aktivt i nuet eller indirekt genom samhällets historia. Det är läge att göra det nu när blickarna är riktade framåt mot 2017, då femhundraårsminnet av Martin Luthers spikande av de 95 teserna på kyrkporten i Wittenberg ska uppmärksammas. 1. 2. 3. 4. 5. 6. 7. Frågan blir nu hur den lutherska traditionen i dag vill hantera Luthers tydliga råd? 1. 2.
HISTORY OF RUSSIAN AND EASTERN EUROPEAN ANIMATION | Мультипликация: Russian, Soviet, and Eastern European cartoons introduction | European Animation Art animation can be found anywhere in the world, but in Europe it used to be more of a rule than exception. Animation has rarely been used as a commercial entertainment like in the US, although the amount of computer generated 3D pictures has increased nowadays. With that, a major part of signature style is gone. Hardly anyone can create individual pieces of art with this trending vehicle. European Animation is more uncompromising. The film is as long as it needs to be. In the US, European animation is generally considered too dark and bold. Traditional animation from (especially Eastern) Europe is usually made of very natural ingredients, there’s a lot of national romantics, painting inspired, folklore based, art nouveu -like, puppet theatre derived illustrations. One must respect the variety of styles. One of the most essential sources of inspiration is arguably Jiří Trnka’s illustrations from 1939 onwards. “Usually, animated films were shown in front of feature films in Prague.
A Brief History Of Animated Cinema In France Still from Fantasmagorie (1908) │© Breve Storia del Cinema October is the month for animated film in France. The Fête du cinéma d’animation rolls into 200 venues in 100 towns across the country for 500 events that culminate with International Animation Day, the anniversary of Émile Reynaud’s first public animated projection at the Musée Grevin in Paris on October 28, 1892. Sign Up. Read the Culture Trip newsletter. On that momentous day at the tail end of the 19th century, Reynaud, a science teacher, showed three of his cinematic creations, each 16 frames long and composed of 500 to 600 individually painted pictures. However, the first true animated cartoon – one with a genuine, if fantastical, plot – came with Émile Cohl’s Fantasmagorie, which premiered at the Théâtre du Gymnase in Paris on August 17, 1908. The most famous film from this period is undoubtedly Grimault’s La Bergère et le Ramoneur (The Shepherdess and the Chimney-sweep).
How 'Klaus' Draws On Centuries-Old Artistic Principles To Push 2D Animation Forward Step-by-step of a “Klaus” scene. Now that the film is out theatrically (and launching on Netflix tomorrow), much is being made of its visuals — but little has been said about how they were actually achieved. So Cartoon Brew decided to put some questions to Szymon Biernacki and Marcin Jakubowski, the film’s production designers, as well as Anaël Seghezzi, who helped develop the lighting and texturing tools at his company Les Films Du Poisson Rouge, in Angoulême, France. Below, the trio walk us through key stages in the making of the film. Developing the tools Marcin Jakubowski: From the very beginning it was clear to me that if something was supposed to look hand-painted, it had to be made by hand. Anaël Seghezzi: Around 2014, we were contacted by SPA Studios to do some tests for a new project they were developing. Finding the artists Jakubowski: That was a serious concern from the moment we started working on the proof of concept in 2015. Applying the tools Creating the world
Animation Price Guide and 3D VFX Cost Calculator How much does animation cost to make? Estimate the cost of animation projects for different mediums, styles, quality and duration using our interactive instant animation price calculator. Use this price guide to calculate a ballpark figure for your next animation project. 2. Choose the style Product/ engineering visualisation Fantasy character visual effects Robotic character integration CGI product demonstration 3D animation in a 2D style Automotive visual effects Stylised character integration Product visualisation (studio) Vector based, rigged, 2D animation Cut out style, rigged characters. 2D live action integration 2D, 2.5D, 3D mixed textural Stop motion + 3D printing + VFX ◈ This price is to be used as a rough guide only and not as a definitive estimate. ◈ Voice over talent, music and sound effects can significantly increase overall costs. ◈ Costs vary greatly depending on the number of characters, environments and complexity.
Disney Illustrator Creates A Series About Life With A Pet Octopus, And It's Amazing (30 Pics) By day, Brian Kesinger is a story artist at Walt Disney Animation Studios and by night he’s an author and illustrator of Walking Your Octopus. Kesinger masterfully blends the Disney world with the steampunk universe and imagines exciting adventures of a very unlikely friendship. The main characters of these wonderful adventures are Victoria and her pet octopus, Otto. From a relaxing tea party on a boat to lighting the candles for the evening, Victoria does everything with her domesticated cephalopod. More info: amazon | instagram | deviantart (h/t) Read more Living Lines Library: Rise of the Guardians (2012) - Color Keys, Color Scripts & Storyboards Posted by: Nagy Péter © DreamWorks Animation by Patrick Marc Hanenberger by Perry Maple & Max Boas by Felix Yoon by Max Boas Color scripts by Felix Yoon Storyboards by Johane Matte by Dave Derrick by Shane Prigmore by Stan Seo by Jayee Borcar by Woon Jung by Arthur Fong by Shannon Tindle by Shannon Tindle by Jason Scheier by Jason Scheier & Shane Prigmore Very early ideas > HERE < Selected Filmmaker B-Roll: Sources:
See a Beautifully Hand-Painted Animation of Ernest Hemingway’s The Old Man and the Sea (1999) Ernest Hemingway’s romantic adventure of man and marlin, The Old Man and the Sea, has perhaps spent more time on high school freshman English reading lists than any other work of fiction, which might lead one to think of the novel as young adult fiction. But beyond the book’s ability to communicate broad themes of perseverance, courage, and loss, it has an appeal that also reaches old, wizened men like Hemingway’s Santiago and young, imaginative boyish apprentices like his Manolin. The 1952 novella reinvigorated Hemingway’s career, won him a Pulitzer Prize, and eventually contributed to his Nobel win in 1954. And luckily for all those high school English students, Hemingway’s story has lent itself to some worthy screen adaptations, including the 1958 film starring Spencer Tracy as the indefatigable Spanish-Cuban fisherman and a 1990 version with the mighty Anthony Quinn in the role. But the production here, unlike Hemingway’s spare prose, makes a dazzling display of its technique.
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