ParaNorman is a 3D, stop-motion animated film by Oregon-based LAIKA. The animation studio worked with 3D Systemsto leverage 3D printing to help the 62 characters display a wider range of emotions – over 31,000 potential faces were made to help the film look more life-like and realistic.
Shortly after playing through Brave: The Video Game, the companion piece for the new Pixar movie, I was given the chance to ask the film’s director and producer a few questions. One was right at the head of the queue. Why does Pixar, a studio that creates brilliant movies and clearly has impeccable standards, content itself with farming out the interactive side to third parties?
“We try,” says Brave’s producer, Katherine Sarafian. “We worked quite closely with the game developers [Behaviour Interactive] and Disney Interactive because we want it to be great but, more importantly, we want it to feel like the movie even if it can’t quite look like the movie.
“The game expands the world, so it’s very important to us that any new characters or environments in there feel like Brave, which is why we work so closely and give so much of our time to it. Because if we just farmed it out then we’d be disappointed with the result. And Disney Interactive would be too.”
Some of Sarafian’s points have to be conceded – the game’s art style and enemy design certainly fit thematically with the movie. And the few cast members that feature in both game and movie emphasise the work that goes into the tie-in.
Read the complete article at The Guardian.
ARGUABLY the finest animated feature ever made, Beauty and the Beast returns to the big screen 20 years after its original release, all spruced up and shiny in a 3D version that will delight everyone, no matter how many times you have seen it before.
And this is a film that deserves to be seen on the big screen.
By far the best musical animation Disney has ever made — I’m already humming the theme song in my head, just thinking about it — it is a rare offering that has a strong story and moral tale at its heart, as well as an abundance of lovable, and not so lovable characters.
More violent than most cartoons of its time, with superb animation scenes and stand alone moments that have gone down in cinematic history — Be Our Guest — this re-release benefits from the addition of 3D technology but didn’t necessarily need it to draw audiences back to its magic.
It’s pure delight from start to finish and, although I’m sure you don’t need me to tell you the plot, just in case you are one of those rare breed that have no idea what I am talking about, let me fill you in:
Read the complete article at www.thisissouthdevon.co.uk
Please watch in full screen mode.
The central concept behind Beeple‘s animations is that all the sound should correspond to all the visuals. This is a rule that’s taken for granted in animated film, but for animated music videos it has revolutionary implications. A popular early example of this is Michel Gondry‘s video for Daft Punk’s “Around The World,” with each sound represented by a group of similarly costumed individuals. Beeple’s “IV.10” puts this very concept into overdrive with visual sound representations that cooperate to make a song in a Super Mario World-like environment.
Beeple is probably best known for the animation he created for Flying Lotus’ “Kill Your Coworkers” video, in which a seemingly innocent robot parade turns into a bloody “Kill All Humans” mission. The blocky characters are signature Beeple fare, also seen in his animation “Subprime.”
Perhaps the reason you don’t see more videos like Beeple’s is that creating such a synchronized audiovisual project is a painstaking process. To make something that looks really good requires great discipline and a meticulous eye, not to mention the skill for both audio production and animation. After seeing a sneak preview for IV.10, we sought out the man behind it and got some insights on how he works.
The Creators Project: In your newest animation IV.10, there’s a whole lot happening. Can you describe what we’re seeing, and how it relates to what we’re hearing?
Beeple: Basically you are seeing everything that is happening musically. The video and audio are meant to have a one to one correlation so that you can see every note of what happens in a piece of music.
How did you go about constructing this audiovisual world, and how long did it take you?
Read the complete article and watch more videos at The Creators Project.
Some people aren’t excited by still life, because that’s exactly what it is—still. Despite its significance during the 17th century, Ambrosius Bosschaert’s 1618 painting Roses, tulips, anemone, cyclamen and other flowers in a porcelain vase is just a picture of some pretty flowers. But 3D artists Rob and Nick Carter are giving the 400-year-old painting a treatment that renders it anything but still.
Read the complete article at The Creators Project.
While “Shadow and Colossus HD” is certainly not art–especially based on the concept of originality, this review is still worth reading:
In this age of mindless first-person shooters and endless chasing down of health packs, it’s refreshing to see a game like Ico and Shadow of the Colossus come around… again. They may be remastered, but they hold an important kind of currency in today’s gaming market: originality.
Go ahead and look at other reviews for Ico and Shadow of the Colossus (SOTC), they’ll all focus on the same thing – how the PS2 versions have been improved from Team Ico’s original releases. You really only need one line to sum up the obvious changes… so here it is: improved frame rates, updated graphics, trophies and 3D support.
Read the complete review at Gearburn
In this list of animated videos you won’t find anything from Kanye West, Jonas & Francois or the six-time award-winning animation for “Take On Me” from Norwegian pop band A-ha. Instead, we grazed the underbelly of the internet to bring you the best overlooked animations, most of which have never even been seen on TV. Though the songs may be from some relatively unknown artists, these animations are true mini works of art.
Australian producer Oh Yeah Wow directed this meticulous animation by light painting with glow sticks for every single frame. We’ve seen this technique used a ton before, but this deserves a little extra love because it also was a finalist at the YouTube Play/Guggenheim Museum Biennial in 2010.
This one is cool because it’s more like a stage projection than a video clip. Mustashrik and Partizan go insane mixing kaleidoscopes, sentences, half-naked women, and African masks—all in black and white.
View 6 more videos at The Creators Project.