Mostrando entradas con la etiqueta animación 3D. Mostrar todas las entradas
Mostrando entradas con la etiqueta animación 3D. Mostrar todas las entradas
Christine van Doesburgh
Delire-Chinois
Quiet Show
Based on the lyrics of Quiet Show, this short film captures the mood of the song by creating an atmosphere that is magical yet dark and melancholy. Quiet Show leads us through a forest of cut-outs inhabited by shadow puppets, where lights move by, passing out of sight. We are taken to a world of shadows and solitude.
About toutine:
I have created motion graphics for projects ranging from corporate video to live rock concerts. In many of these projects I've been both director and motion designer. In my projects I apply both 2D and 3D
animation, as well as compositing techniques. You'll find that I've made visual content for single screen and complex multiple screen installations.
WEB de Christine van Doesburgh www.toutine.com
Taku Kimura
Taku Kimura born 1963, studied fine art at the Art Department of Nihon University. He works as a CGI supervisor of LINKS Corporation, and he is also a part-time instructor at the Art Department of Nihon University. He was invited to IMAGINA´89 as a presenter for a lecture, and attended the exhibition "Ape Call from Tokyo" 1990-1992 (New York, Los Angeles, Tokyo).(via)
"Kudan" (2008)
As oppose to the mythological creature Minotaur, a monsters of western culture, a Japanese monster Kudan has a human head and the body of cow. Kudan is born from female cow. It speaks human language, predicts significant incidents such as war or disaster and dies in three days. This story is about a man who is accidentally transformed into a Kudan. One day the man, who doesn't communicate with his son well, receives a box by mail and he finds a strange helmet in the box. He is transformed into a Kudan when he wears it. Although his body stays in this world, his head is in another world, coming out from the cow's body. The helmet is a door to another world. In another world there are spirits of human beings, including the spirit of his son. The spirits form giant creatures like big trees. As he explores the world as a Kudan, he sees that the roots of the creatures connect to people individually in real world. They are sometimes pruned by strange creatures. He sees that they are about to cut his son's connection. He gets distraught and tries to help his son....
Although human beings look like they are individual life forms, the director Taku Kimura, feels that the gigantic life form consists of many cells which represent human beings. They are connected by "words" in his idea. The helmet is sent by the giant creature as a warning about how a lack of communication can destroy spirits in another world. The man regains communication with his son at last. (via)
"Sakuratei" (1997) VER FRAGMENTO
"Sakuratei" is an experimental piece which was made in co-operation with IMAGICA corporation. The work was directed by Koji Matuoka, and the music was made by Jun Miyake. In this piece, we aimed to emphasize our unique expression. The story is set in the future, but the image itself is basically analogue, and the motif of the expression is "nostalgic and uniquely japanese".
WEB de Kudan
LINKS DigiWorks Inc.
-La Parti Production
Panique au village: Extrait 1
Panique au Village
Bajo el encanto de la infancia
Un brillante trabajo que lleva una serie de televisión a la gran pantalla. Una ópera prima de animación belga llena de originalidad y presentada fuera de competición en el Festival de Cannes (via)
Pasar de un corto a un largometraje siempre es una tarea muy ambiciosa. Hay que idear una historia más larga, adaptar el estilo narrativo, desarrollar personajes con una personalidad bien definida y, sobre todo, cambiar de velocidad. El ritmo infernal de los diez minutos que dura un corto no se puede mantener durante una hora, a no ser que nuestra intención sea volver locos a los espectadores. Hay que marcar otro compás.
"Le Grand Sommeil"
Stéphane Aubier y Vincent Patar, flanqueados por sus guionistas Vincent Tavier y Guillaume Malandrin, estuvieron tres años trabajando en el guión de Panique au Village. Durante esos años, escribieron y retocaron la historia, los gags y los diálogos al mismo tiempo que dosificaban cuidadosamente su poción en el espacio de tiempo dado. La película saca provecho de esta meticulosa preparación. El guión propone una gran variedad de tempos, que van del adagio al allegretto, y con los que los directores juegan hábilmente para crear la fluidez que supone el éxito del largometraje.
Hay una verdadera historia que va más allá de una simple sucesión de peripecias cómicas. Vaquero e Indio, unos pilluelos perturbadores y traviesos, toman cuerpo. Caballo, su refunfuñón hermano mayor, un personaje secundario, adquiere vida propia, personal e incluso sentimental. Una de las principales aportaciones de la película es la llegada a este universo de los niños de Madame Longrée (a quien pone voz Jeanne Balibar), una encantadora yegua de voz sensual, acicalada con fulares de una elegancia refinada y que es profesora de piano (el colmo para un ungulado). Caballo y Madame Longrée viven una historia de amor tan pasional como romántica. Los personajes secundarios se convierten en verdaderos actores, siendo más sujetos que objetos de la historia. Por ejemplo, mientras Steven está en la cárcel, Janine desarrolla una faceta de su personaje, mostrando emociones y haciendo cosas que hubieran sido imposibles en la serie de televisión.
El gran acierto de los autores es haber logrado, durante todo este ejercicio, mantener el tono general desarrollado en la serie, que al estilo de la magdalena de Proust, nos devuelve a la inocencia de la infancia. A través de esas figuritas, vemos al niño que juega. Imaginamos los referentes (padres, profesores, conocidos) en los que se inspira, más o menos conscientemente, para crear a sus personajes. Nos deleitamos con esa relación particular que tiene con la realidad y que presenta por una parte, una lógica simple, pero aplastante y por otra, una ausencia a veces total de coherencia. Nos sentimos atraídos por esa relación con el mundo, ni simplista ni vacío de sentido, del pillo con pantalones cortos que toma consciencia del universo que le rodea y lo reproduce, más o menos, como lo percibe: Indio encarga ladrillos por Internet, Steven lleva a sus animales a pastar en el tractor mientras Policía dirige el tráfico, Caballo va a buscar en coche a los animales cuando acaban sus clases de piano en el conservatorio, el establo donde dejan dormir a nuestros tres héroes después de que pierdan su casa es como un dormitorio común de un campamento de verano... Son estos elementos, mucho más que las aventuras que corren, lo que nos hace rendirnos al encanto de la película y a los que nos enganchamos y no podemos soltar hasta el final.
Sin tomarse muy en serio a sí mismos, estos dos amigos, Stéphane Aubier y Vincent Patar, son poseedores de un saber hacer lo bastante asentado para desarrollar un concepto más rico y más desarrollado. Además, podemos comprobar que se han divertido mucho y nos hacen ser cómplices de esa diversión. (via)
Panique au village: Extrait 4
sinopsis de Panique au Village
Vaquero e Indio son unos profesionales de las catástrofes. Cuando planean algo, el caos les persigue. Esta vez, quieren desearle un feliz cumpleaños a Caballo. ¿Qué regalarle? ¡Una barbacoa que puede construir uno mismo! Buena idea, pero por una confusión, Vaquero e Indio le mandan mil ladrillos... ¡Ya no es un cumpleaños, es un tsunami! La casa de Caballo desaparece bajo los ladrillos, aplastada. ¡Hay que reconstruirla! Se acabó el cumpleaños... ¡sobre todo porque unos ladrones se apoderan de los muros cuando terminan de levantarlos! Definitivamente, Caballo nunca podrá disfrutar de ese día especial para ir a ver a la yegua de la que está enamorado, la señora Longrée, que da clases de piano en el conservatorio de al lado. En lugar de eso, tendrá que enfrentarse a imposibles criaturas submarinas, un oso furioso, tres científicos locos y una matriarca psicópata. Un viaje al centro de la tierra, que les llevará por estepas nevadas y un mundo submarino. ¡El miedo se apoderará de su ciudad! (via)
Panique au village: La bande-annonce
www.paniqueauvillage.com
WEB
www.atowncalledpanic.tv
ENTREVISTA con Stéphane Aubier y Vincent Patar, directores de Panique au Village.(via)
“Todos los personajes han evolucionado con respecto a la serie”
Nos encontramos con Stéphane Aubier y Vincent Patar en un paisaje dantesco, una antigua fábrica donde se amontonan aquí y allá material de decorados, objetos diversos y cajas de cartón donde duermen cientos de figuritas. Los directores cuentan a Cinergie el impresionante trabajo necesario para la creación de esta película de animación de 75 minutos que les ha llevado a la alfombra roja de Cannes. Asimismo, nos hablan del inmenso placer que les ha proporcionado llevar a la gran pantalla el dulce delirio surrealista del mundo de Panique au village
Le making-of (accéléré)
Cinergie: En un principio, Panique au village era una serie de episodios cortos. ¿Cómo nació la idea de hacer un largometraje?
Stéphane Aubier: Estábamos muy contentos con la serie. Decidimos dar el salto a la gran pantalla después de hablar con Vincent Tavier, el productor, y con nuestro coguionista Guillaume Malandrin.
Vincent Patar: No teníamos muchas ganas de poner en marcha una segunda serie, sino más bien de cambiar nuestra forma de escribir, de contar las historias. Al principio no estábamos seguros de que una serie de animación tan salvaje como Panique au village pudiera funcionar en un largometraje. Pero desde el comienzo quisimos evitar hacer una película a base de sketches.
S.A.: Cuando creamos la historia en el guión gráfico, fotografiamos todas las imágenes y añadimos las voces para hacer una maqueta nos quedamos más tranquilos. Teníamos la historia, aunque nunca dejaba de evolucionar.
¿Cómo elegisteis las voces de los personajes?
S.A.: Desde el episodio piloto de la serie, queríamos una voz aguda para Vaquero, porque la hago yo. Para Caballo, por el contrario, necesitábamos una voz grave y tosca como la que Vincent puede hacer. Para Indio, tuvimos nuestras dudas. Nos decidimos por una voz muy nerviosa y pensamos en el cantante de PPZ 30, Bruce Ellison. Con los otros personajes nos decidimos sobre la marcha. Benoît Poelvoorde ya había trabajado con nosotros. Le podríamos haber dado cualquier personaje. Finalmente hizo del pequeño granjero, y estuvo espectacular. Con Bouli Lanners pasó más o menos lo mismo. Les ha dado una vida extraordinaria a todos los personajes secundarios. Nuestros descubrimientos han sido David Ricci, de Lieja, que pone su voz al asno, tiene una voz muy grave que le va muy bien, y Jeanne Balibar que da un toque de sensualidad.
Panique au village: Extrait 5
En el plano técnico, requería muchísimo trabajo. Todo se ha hecho a mano. ¿De cuántas personas se componía vuestro equipo?
V.P.: Éramos más o menos veinte personas y la fabricación nos llevó 14 meses. Poco tiempo para una película de animación. La técnica de Panique au village es simple. Caballo, en la serie, tiene tres posturas y corre todo el tiempo. Aquí no le podíamos hacer correr durante una hora y media, por lo que desarrollamos ocho posturas diferentes para darle un trote más lento. La animación es simple. Trabajamos con juguetes de plástico y el objetivo es darle vida a esas figuritas rígidas.
¿Cuántas figuritas habéis utilizado?
V.P.: Para la película hemos fabricado en total 1.500 figuritas. Caballo es el personaje que ha necesitado más, porque tenía muchas posturas distintas... quizás 130 o 140 figuritas. Vaquero e Indio requirieron casi una centena cada uno. Por el contrario, Policía sólo tiene cuatro o cinco posturas diferentes porque es rígido y no se mueve... es un policía.
En vuestro mundo masculino, hay un nuevo personaje que aporta un toque romántico. Madame Longrée, la amiga de Cheval, humaniza a este personaje.
S.A.: Nos parecía evidente que necesitábamos algo así, para precisamente alejarnos de la serie.
V.P.: Ha hecho evolucionar el personaje de Caballo. Deja de ser un personaje secundario con respecto a Vaquero e Indio, tiene una verdadera vida propia. Y todos los personajes han evolucionado con respecto a la serie.
¿Un Panique au village 2 a la vista?
S.A. et V.P.: De momento vamos a ver qué tal con el primero.
Entrevista de Dimitra Bouras et Marceau Verhaeghe
David O’Reilly
David O’Reilly (1985, Kilkenny, Irlanda) es un director de cine y artista con sede en Berlín, Alemania.
????? from David OReilly on Vimeo.
contribution to the PSST! Pass It On project.
See the full sequence with Shynola & David Shrigley here:
vimeo.com/3945955
La 59ª edición de la Berlinale, el festival internacional de cine de Berlin, ha otorgado el Oso de oro al mejor cortometraje a Please say something de David O’Reilly.
Este galardón es muy meritorio ya que el festival de Berlín no distingue las obras de animación y el resto de trabajos. Pero no es la primera vez que ocurre algo así. En 1992, El viaje de Chihiro de Hayao Miyazaki consiguió ex aequo el Oso de oro al mejor largometraje.
Please say somehting narra la turbulenta relación entre un gato y un ratón en un futuro lejano. El corto está formado por 23 episodios de 25 segundos que han sido realizados íntegramente por David O’Reilly en un único ordenador.
En la web del autor, puede verse un preview formado por los 5 primeros capítulos de Please say something, aunque él mismo indica que son ligeramente diferentes de la versión estrenada.(via)
Please Say Something - Full Length from David OReilly on Vimeo.
Please Say Something
En palabras del artista:
La eterna lucha entre la lógica y la emoción, entre el hemisferio izquierdo y el derecho. Hay un elemento sarcástico en el tempo del filme que utilizo frente al aburrimiento, pero la historia es sincera.
Venetian Snares - Szamar Madar from David OReilly on Vimeo.
Venetian Snares - Szamar Madar es una animacion sin significado logico, pero con un atractivo audio-visual que no te deja de sorprender, la cancion es obra de Venetian Snares y lleva como titulo Szamar Madar. The External World Videos de O´Reilly en vimeo
WEB del autor.
????? from David OReilly on Vimeo.
contribution to the PSST! Pass It On project.
See the full sequence with Shynola & David Shrigley here:
vimeo.com/3945955
La 59ª edición de la Berlinale, el festival internacional de cine de Berlin, ha otorgado el Oso de oro al mejor cortometraje a Please say something de David O’Reilly.
Este galardón es muy meritorio ya que el festival de Berlín no distingue las obras de animación y el resto de trabajos. Pero no es la primera vez que ocurre algo así. En 1992, El viaje de Chihiro de Hayao Miyazaki consiguió ex aequo el Oso de oro al mejor largometraje.
Please say somehting narra la turbulenta relación entre un gato y un ratón en un futuro lejano. El corto está formado por 23 episodios de 25 segundos que han sido realizados íntegramente por David O’Reilly en un único ordenador.
En la web del autor, puede verse un preview formado por los 5 primeros capítulos de Please say something, aunque él mismo indica que son ligeramente diferentes de la versión estrenada.(via)
Please Say Something - Full Length from David OReilly on Vimeo.
Please Say Something
En palabras del artista:
La eterna lucha entre la lógica y la emoción, entre el hemisferio izquierdo y el derecho. Hay un elemento sarcástico en el tempo del filme que utilizo frente al aburrimiento, pero la historia es sincera.
Venetian Snares - Szamar Madar from David OReilly on Vimeo.
Venetian Snares - Szamar Madar es una animacion sin significado logico, pero con un atractivo audio-visual que no te deja de sorprender, la cancion es obra de Venetian Snares y lleva como titulo Szamar Madar. The External World Videos de O´Reilly en vimeo
WEB del autor.
-Pedri Animation BV
"George and Paul" Presentation Pilot. Dirigida por Joost van den Bosch y Erik Verkerk.
WEB de georgeandpaul.com
Siguiendo la estética de Pocoyo, llega esta nueva oferta de programa infantil 3D para niños que tiene todo para ser un exitazo global y se titula George & Paul.
George y Paul son dos muñecos de madera con personalidades muy diferentes, quienes viven en un mundo de bloques de madera donde sólo la imaginación es el límite respecto a las cosas que pueden crear, mientras se embarcan en un viaje de descubrimiento, complementando sus personalidades y buscando formas únicas y creativas para lograr soluciones, enseñando con ésto el desarrollar lo importante de descubrir y crear nuestras propias habilidades para dusfrutar la vida.
La premisa principal del programa es: divertirse, pensar positivo y enfocarse en las soluciones, no los problemas.
Personalmente le veo un promisorio futuro a este programa. Esta claramente inspirado en una de las mejores ofertas infantiles, pero integra suficientes ideas propias como para hacerlo un producto fresco, atrayente y fácilmente marketeable (lamentablemente un factor clave para un éxito en este segmento de público).(via)
WEB de la serie
Pedri Animation is a stopmotion animation producer founded by employees of the former Toonder Studios.
The experience, knowledge and technical skills we have, enable us, with the help of our own facilities, to model, build and in the end make everything 'alive' in our own studios.
We strongly believe that working closely together with our relations and our free lance network leads to the best productions. (via)
PEDRI Animation BV es el estudio que lo ha desarrollado. En la web se pueden ver muchos otros trabajos de animación.
"Driftprikker" (2007)
KA-CHING Cartoons Animation Studios
Camila Carrossine
"Maria Flor"
Animación realizada por Camila Carrossine seleccionada en diversos festivales de animación, incluido el animamundi 2008.
Blog de Camila
Franck Dion
Born in Versailles, Franck Dion makes good use of his talent in multiple areas. He takes lessons to become an actor. At the same time, he becomes passionate about cinema and learns by himself to sculpt, to draw and to paint. He works with editors and magazines, designs theatre sceneries and animations for documentary films. He works as a director, writer and animator, in 2003, on the "Phantom Inventory" animation film, his first short film "Phantom Inventory" has won numerous awards.(via)
"Inventaire Fantome" (2004)
"Monsieur Cok" (2007)
WEB de Monsieur Cok
WEB de Dion
"Inventaire Fantome" (2004)
"Monsieur Cok" (2007)
WEB de Monsieur Cok
WEB de Dion
Arthur Cox
ArthurCox is a Bristol based animation company that was born in 2001 when Sarah Cox met Sally Arthur and they set up a studio in a Clerkenwell cupboard. It was here that they produced the Bafta nominated Heavy Pockets, and the award winning AIR scheme film ‘Perfect’, as well as many commercials for the French TV market.
After the move to Bristol in 2004 they were joined by directors Matthew Walker, Felix Massie and Emma Lazenby and they continue to produce award winning films; ‘John and Karen’, ‘Don’t Let It All Unravel’ and ‘A-Z’.
Se pueden ver diversos fragmentos de ArthurCox en Youtube y en su WEB.
Sarah Cox studied Animation at the Royal College of Art graduating in 1992. She has since worked as a director of short films and commercials. This includes most notably REEL TO REEL in 1997 (Winner, Best film under 10 mins British Animation Awards) and PLAIN PLEASURES commissioned by Channel 4 and completed in 2001, winner of a Silver Dove at Leipzig.
PLAIN PLEASURES 2001
Her latest film is a 6 minute commission from S4C: HEAVY POCKETS which was nominated for the Short Film BAFTA 2005 and has been screened in festivals worldwide including RUSHES, Onedotzero, Message to Man, MIAF, LIAF, Tricky Women, Clermont Ferrand and Morbegno.
HEAVY POCKETS 2004
She joined Picasso PIctures in 1994 and her directing credits include campaigns for Boots No7 and Avaya Communications as well as individual commercials for Sanatogen, Benadryl and Virgin Megastores. A year was spent as Head of 2D Animation at Savannah College of Art and Design, Georgia (1999 - 2000). Further teaching followed at the National Film and TV School UK (2001 - 2003) Exeter University, Bristol University and Newport. She is external examiner for London Met Animation MA and the National School of Film and Television Animation Direction course. Sarah left Picasso Pictures to set up Arthur Cox with Sally Arthur in 2002. Using a combination of live action and animation they have directed sequences for Channel 4 TV special WILDE STORIES as well as commercials for Coca Cola, Dasani mineral water, Nestea, Kelloggs Wheats and All-Bran. She directed Don't let it all Unravel a short knitted film about global warming for S.O.S./Live Earth 07 which was produced through Aardman.
John and Karen produced by Sarah Cox and directed by Matthew Walker has won several awards including Best Animation for Adults at Annecy 2007. She is currently producing the animation for a BBC Children's Newsround Special. Sarah is currently directing a short film Take Time - a short film about Bristol using archive footage, as well as developing ArthurCox's series Where's my Dinner? - a 52x7 adventure show with co-director Sally Arthur.(via)
Dear Nelson (2001)
3 Ways to Go (1997)
"A TIME AND A TIME" (2008) Sarah Cox
Sally Arthur
Since 2002 Sally has co-directed commercials, graphic sequences, idents and short films at Arthur Cox – a company she started with Sarah Cox – starting with Wilde Stories in 2002 and including ads for Oscillo, Dasani, Nestea, All bran and more – first in Clerkenwell Workshops and now in Bristol.
"Dear dairy" 2000
Arthur Cox are currently developing a series for children called Where’s my Dinner? and recently produced 3 short films.
"Perfect" 2004
Sally directed Perfect (fragmento 1) (fragmento 2) in 2004 – produced by Blackwatch for MESH / Channel 4 – about a suburban 70’ couple and their deteriorating possessions. It has been screened in many festivals including ANIMAC, Tricky Women, LIAF, MIAF, Anima Mundi, Animated Encounters, RESFEST. (via)
"A-Z" 2007 Sally Arthur
Fragmento de A-Z
Fragmento de A-Z en la bobina de los nominados al BAF 2008.
"A to Z" 2007
Emma Lazenby
Mother of many (2009)
After the move to Bristol in 2004 they were joined by directors Matthew Walker, Felix Massie and Emma Lazenby and they continue to produce award winning films; ‘John and Karen’, ‘Don’t Let It All Unravel’ and ‘A-Z’.
Se pueden ver diversos fragmentos de ArthurCox en Youtube y en su WEB.
Sarah Cox studied Animation at the Royal College of Art graduating in 1992. She has since worked as a director of short films and commercials. This includes most notably REEL TO REEL in 1997 (Winner, Best film under 10 mins British Animation Awards) and PLAIN PLEASURES commissioned by Channel 4 and completed in 2001, winner of a Silver Dove at Leipzig.
PLAIN PLEASURES 2001
Her latest film is a 6 minute commission from S4C: HEAVY POCKETS which was nominated for the Short Film BAFTA 2005 and has been screened in festivals worldwide including RUSHES, Onedotzero, Message to Man, MIAF, LIAF, Tricky Women, Clermont Ferrand and Morbegno.
HEAVY POCKETS 2004
She joined Picasso PIctures in 1994 and her directing credits include campaigns for Boots No7 and Avaya Communications as well as individual commercials for Sanatogen, Benadryl and Virgin Megastores. A year was spent as Head of 2D Animation at Savannah College of Art and Design, Georgia (1999 - 2000). Further teaching followed at the National Film and TV School UK (2001 - 2003) Exeter University, Bristol University and Newport. She is external examiner for London Met Animation MA and the National School of Film and Television Animation Direction course. Sarah left Picasso Pictures to set up Arthur Cox with Sally Arthur in 2002. Using a combination of live action and animation they have directed sequences for Channel 4 TV special WILDE STORIES as well as commercials for Coca Cola, Dasani mineral water, Nestea, Kelloggs Wheats and All-Bran. She directed Don't let it all Unravel a short knitted film about global warming for S.O.S./Live Earth 07 which was produced through Aardman.
John and Karen produced by Sarah Cox and directed by Matthew Walker has won several awards including Best Animation for Adults at Annecy 2007. She is currently producing the animation for a BBC Children's Newsround Special. Sarah is currently directing a short film Take Time - a short film about Bristol using archive footage, as well as developing ArthurCox's series Where's my Dinner? - a 52x7 adventure show with co-director Sally Arthur.(via)
Dear Nelson (2001)
3 Ways to Go (1997)
"A TIME AND A TIME" (2008) Sarah Cox
Sally Arthur
Since 2002 Sally has co-directed commercials, graphic sequences, idents and short films at Arthur Cox – a company she started with Sarah Cox – starting with Wilde Stories in 2002 and including ads for Oscillo, Dasani, Nestea, All bran and more – first in Clerkenwell Workshops and now in Bristol.
"Dear dairy" 2000
Arthur Cox are currently developing a series for children called Where’s my Dinner? and recently produced 3 short films.
"Perfect" 2004
Sally directed Perfect (fragmento 1) (fragmento 2) in 2004 – produced by Blackwatch for MESH / Channel 4 – about a suburban 70’ couple and their deteriorating possessions. It has been screened in many festivals including ANIMAC, Tricky Women, LIAF, MIAF, Anima Mundi, Animated Encounters, RESFEST. (via)
"A-Z" 2007 Sally Arthur
Fragmento de A-Z
Fragmento de A-Z en la bobina de los nominados al BAF 2008.
"A to Z" 2007
Emma Lazenby
Mother of many (2009)
A Bristol film director is celebrating winning a Bafta for her short animation, Mother Of Many.
The film, from production company Arthur Cox, follows the rhythms of a baby inside the womb. Director Emma Lazenby said she was "absolutely delighted" with the award for the film, which was inspired by her mother, who is a midwife. "I had been thinking of retraining as a midwife but I think I'll stick with animation now," she added. Producer Sally Arthur was unable to attend the award ceremony on Sunday night at London's Royal Opera House because she is in the late stages of pregnancy. Ms Lazenby has lived and worked in Bristol for three years, after a career that has encompassed filming in the Scottish Highlands and working on pop videos and adverts in London. She also worked as a designer on CBBC favourite Charlie and Lola. Caroline Norbury, of South West Screen, which helped finance the film said: "It's fantastic news for Bristol that once again our talent is being recognised. "Last year, Esther May Campbell and Aardman both brought home awards so to achieve a win again in 2010 is simply exceptional."
The Bafta awards are given by the British Academy of Film and Television Arts. (via)
Joan Ashworth
Joan Ashworth studied puppet animation at the National Film School in the mid-80s, graduating with her 18-minute film, The Web, using puppets made of soft leather and adapted from Mervyn Peake´s Titus Groan, the first book of his Gormenghast trilogy. She then went on to co-found the studio 3 Peach Animation, which became a highly successful producer of stop-frame animated commercials and title sequences. Finally becoming frustrated at working with such short formats, and wishing to return to more personal creative work, she moved to become the Head of the Royal College of Art´s highly respected Animation Department, which has won many international festival awards both for individual student films and for ´Best Animation School´. This has enabled her to continue her personal filmmaking, which has seen her move from traditional puppet animation to working with 3D computer technology. (via)
"The Web" (1987)
How Mermaids Breed (2002)
WEB de Joan Ashworth
"The Web" (1987)
How Mermaids Breed (2002)
WEB de Joan Ashworth
Yibi Hu
Yibi Hu is a visual artist, animator and filmmaker. He works on his own concepts and has created an exceptional portfolio of short films including, A Friend I Know, KEG, A Day at Dunjanez, Josie's Lalaland and Palingensia. Among these films many have won prestigious awards. His film KEG won a 2005 Adobe Design Achievement Award and Palingensia has won this year's top prize at the iStock Future Now! Contest.In 2006 Yibi was invited to compete in Reelideastudio at the Cannes Film festival where he won Best in Show. His other works have been shown in numerous film festivals, such as Onedotzero, Bitfilm festival, Bristol International Short Film Festival, Sundance Festival and many others around the world.
Yibi is also an experienced and awarded broadcast designer and works full time at UK's leading broadcast design company Redbee Media in London. Prior to working at Redbee Media he worked for BSkyB in London and SHMDS in Shanghai. As a broadcast designer Yibi has created many title sequences, content and on air idents on BBC Sport, BSkyB Sport, Shell, BBC Prime, UKTV, RTE, BBC World Wide and BAFTA among many others. (via)
Josie's Lalaland
IT'S ART: Could you tell me a little more about the history of Josie's Lalaland?
Yibi Hu: I first heard about a 14-year-old girl who was a blood cancer patient from one of my friends over in Asia. After 4 years of life in a hospital she stopped treatment and I was deeply moved by the girl's courage.I began to research children who are in the same situation as her and one day I read the story of Josie Grove in the newspaper. Josie was 16-years old and had been a leukemia patient for many years. She had two bone marrow transplants and a course of anti-cancer drugs, all of which were unsuccessful in beating Josie's cancer. When Josie was told that her condition was terminal she decided not to undertake any further treatment and went home to reunite with her family and enjoy a normal teenage life for her last 3 months. Not only because of similarity of two stories, but also the courage of these two different young individuals, I was inspired to create something that would capture such a spirit.
IA: Why have you chosen to relate this story using to video and C.G.?
YH: First, being a visual designer I naturally chose a visually rich route as my priority and CGI was an off the shelf solution.
IA: I really think you've achieved a very emotional short film. When watching it for the first time I experienced a lot of feelings, not only because of the story but also because of your artistic choices. Can you speak of these choices?
YH: I did consider the possibilities of filming or character animation. After thorough research of many leukemia cases I learned that what I was exploring was universal. For instance, the two cases that inspired me are remarkably similar yet occurred worlds apart.
This is why I decided not to make any specific figures or characters but to keep it as abstract as possible. I eventually made up my mind to create a fantasy world mixed with both dark and brightness, a world intersecting between reality and afterlife. Also I chose this because most children in the same situation would expect more outdoor action. Another influence was some of the jewelry designs done by Josie Grove. She was quite an artist and one piece she did was a silver dragonfly necklace. When I showed her family some of my early art work Josie’s mum saw my work as dragonfly rebirths from water, which gave me some ideas using more dragonfly like insects.
IA: There's something magical, ethereal in this short. It's a very sad story but on the other hand I felt that you tried to give to your short a happy touch. Are you agreement with this?
YH: I have to say I never see this story as a sad one. I was moved by Josie’s courage much more than anything else. There are certainly many different emotions mixed here but what I wanted to express more than anything is eternal happiness and love. It is true that the extreme condition of both kids destined their fate but encouraged by the love from their family and friends they lit candles for themselves in the darkest moments. Their take on their own case was indeed selfless, brave and pure.
IA: What have you learned from the experience of creating this short?
YH: I am happy with the treatment and solution. Somehow I am surprised that an abstract piece could also trigger emotional reactions just like a slow build up in a film. Maybe this could be explored more thoroughly in a proper feature film.Technically, as I have spent a great amount of time generating a HD 3D world in Aftereffect, I believe even more firmly that there is no clear boundary between software and hardware.
IA: Can you tell us a little more about the creative process? How have you elaborated the different scenes, chosen the creatures and colors we can see in your short?
YH: I did the whole thing following an imaged documentary route. I pretended that I was a cameraman wandering around in Josie’s world, taking random shots. I did many different scenes, each one describing its’ own emotion. I didn’t process further into editing until I had enough shots.
The color theme was decided from the beginning. I wanted a heavy atmosphere yet I also wanted it to be filled with delightful twinkling lights. The red clouds are something related to the nature of the disease itself and when I progressed further the red colors actually worked well against black. Most importantly I needed something to deliver gold seeds to the scene and red then became a perfect choice as it matches both gold and black. The creatures are mostly originated from outdoor insects. I designed them also based on experience.
I remember when I was living at Kingston I used to get annoyed by groups of flies along the river. After I moved into town centre I started to miss country life as well as the flies. Therefore, for me I associated the insects to life outside the city and when I had to design a symbolic “outdoors” or “suburbia” the flies made good choice.
IA: What was the most important thing for you while working on this film?
YH: Errr… don’t know how to answer this yet…but I do want people feel happy for Josie.
IA: What has been the reaction of the public to your short?
YH: I haven’t yet shown to a mass audience as I just finished it this August. I did show it to some of my friends and many of them got a bit tearful after watching it, which is a wicked reaction in my point of view.
IA: What are the tools you used? How long did you work on this project?
YH: Photoshop and Aftereffect are two dominate tools I used on this project. There are also some elements and camera reference I worked out in 3D.
It spent roughly 3 months purely on animation and post but a year on the whole film including all the developing work and sound. Because I have a daily I had to use my free time to work on it.
IA: Are you working on a new project? Can you let us know more about it?
YH: I am planning something focused on the fur trade industry but nothing I can talk too much about at the moment. I also hope to get some music video projects in the future. (via)
WEB de Yibi Hu
Yibi is also an experienced and awarded broadcast designer and works full time at UK's leading broadcast design company Redbee Media in London. Prior to working at Redbee Media he worked for BSkyB in London and SHMDS in Shanghai. As a broadcast designer Yibi has created many title sequences, content and on air idents on BBC Sport, BSkyB Sport, Shell, BBC Prime, UKTV, RTE, BBC World Wide and BAFTA among many others. (via)
Josie's Lalaland
IT'S ART: Could you tell me a little more about the history of Josie's Lalaland?
Yibi Hu: I first heard about a 14-year-old girl who was a blood cancer patient from one of my friends over in Asia. After 4 years of life in a hospital she stopped treatment and I was deeply moved by the girl's courage.I began to research children who are in the same situation as her and one day I read the story of Josie Grove in the newspaper. Josie was 16-years old and had been a leukemia patient for many years. She had two bone marrow transplants and a course of anti-cancer drugs, all of which were unsuccessful in beating Josie's cancer. When Josie was told that her condition was terminal she decided not to undertake any further treatment and went home to reunite with her family and enjoy a normal teenage life for her last 3 months. Not only because of similarity of two stories, but also the courage of these two different young individuals, I was inspired to create something that would capture such a spirit.
IA: Why have you chosen to relate this story using to video and C.G.?
YH: First, being a visual designer I naturally chose a visually rich route as my priority and CGI was an off the shelf solution.
IA: I really think you've achieved a very emotional short film. When watching it for the first time I experienced a lot of feelings, not only because of the story but also because of your artistic choices. Can you speak of these choices?
YH: I did consider the possibilities of filming or character animation. After thorough research of many leukemia cases I learned that what I was exploring was universal. For instance, the two cases that inspired me are remarkably similar yet occurred worlds apart.
This is why I decided not to make any specific figures or characters but to keep it as abstract as possible. I eventually made up my mind to create a fantasy world mixed with both dark and brightness, a world intersecting between reality and afterlife. Also I chose this because most children in the same situation would expect more outdoor action. Another influence was some of the jewelry designs done by Josie Grove. She was quite an artist and one piece she did was a silver dragonfly necklace. When I showed her family some of my early art work Josie’s mum saw my work as dragonfly rebirths from water, which gave me some ideas using more dragonfly like insects.
IA: There's something magical, ethereal in this short. It's a very sad story but on the other hand I felt that you tried to give to your short a happy touch. Are you agreement with this?
YH: I have to say I never see this story as a sad one. I was moved by Josie’s courage much more than anything else. There are certainly many different emotions mixed here but what I wanted to express more than anything is eternal happiness and love. It is true that the extreme condition of both kids destined their fate but encouraged by the love from their family and friends they lit candles for themselves in the darkest moments. Their take on their own case was indeed selfless, brave and pure.
IA: What have you learned from the experience of creating this short?
YH: I am happy with the treatment and solution. Somehow I am surprised that an abstract piece could also trigger emotional reactions just like a slow build up in a film. Maybe this could be explored more thoroughly in a proper feature film.Technically, as I have spent a great amount of time generating a HD 3D world in Aftereffect, I believe even more firmly that there is no clear boundary between software and hardware.
IA: Can you tell us a little more about the creative process? How have you elaborated the different scenes, chosen the creatures and colors we can see in your short?
YH: I did the whole thing following an imaged documentary route. I pretended that I was a cameraman wandering around in Josie’s world, taking random shots. I did many different scenes, each one describing its’ own emotion. I didn’t process further into editing until I had enough shots.
The color theme was decided from the beginning. I wanted a heavy atmosphere yet I also wanted it to be filled with delightful twinkling lights. The red clouds are something related to the nature of the disease itself and when I progressed further the red colors actually worked well against black. Most importantly I needed something to deliver gold seeds to the scene and red then became a perfect choice as it matches both gold and black. The creatures are mostly originated from outdoor insects. I designed them also based on experience.
I remember when I was living at Kingston I used to get annoyed by groups of flies along the river. After I moved into town centre I started to miss country life as well as the flies. Therefore, for me I associated the insects to life outside the city and when I had to design a symbolic “outdoors” or “suburbia” the flies made good choice.
IA: What was the most important thing for you while working on this film?
YH: Errr… don’t know how to answer this yet…but I do want people feel happy for Josie.
IA: What has been the reaction of the public to your short?
YH: I haven’t yet shown to a mass audience as I just finished it this August. I did show it to some of my friends and many of them got a bit tearful after watching it, which is a wicked reaction in my point of view.
IA: What are the tools you used? How long did you work on this project?
YH: Photoshop and Aftereffect are two dominate tools I used on this project. There are also some elements and camera reference I worked out in 3D.
It spent roughly 3 months purely on animation and post but a year on the whole film including all the developing work and sound. Because I have a daily I had to use my free time to work on it.
IA: Are you working on a new project? Can you let us know more about it?
YH: I am planning something focused on the fur trade industry but nothing I can talk too much about at the moment. I also hope to get some music video projects in the future. (via)
WEB de Yibi Hu
Andrew Chesworth
MAKE created this wildly ambitious and entertaining opening sequence for the Minneapolis AICP (Association of Independent Commercial Producers).
The project debuted on September 6, 2007, and was created in its entirety in about two months. What’s particularly amazing about this project is that MAKE was able to sustain a narrative for the entire five minutes. Actually, it’s more like several mini-narratives wrapped up in one larger narrative. The team obviously spent as much time concepting and writing as they did on the execution. I also really enjoy the way that sponsors are displayed. Because they consistently appear as tickets, we come to expect them throughout the piece, a strategy that I think works well. They aren’t too obtrusive, but they’re still highly visible. We got a little inside info on the project from Andrew Chesworth and our very own Babe. (via)
AICP Intro 2007 Minneapolis (2007)
This project debuted on September 6, 2007, and was created in its entirety in about two months. It was derived from original characters and a story I had created in 2006, and was originally conceived as my follow-up short film to "Mortimer & Bracket". (via)
Mortimer & Bracket (2007)
This was my senior thesis project at MCAD. I spent over 16 months working on it, in addition to my other projects, classes, and my internship at Make, LLC (which became my full time job right after school.) I finished the project just a few months ago, before my graduation in May of 2007. A lot of sweat, blood and love went into "Mortimer & Bracket", and I hope you enjoy their story! (via)
WEB de Andrew
The project debuted on September 6, 2007, and was created in its entirety in about two months. What’s particularly amazing about this project is that MAKE was able to sustain a narrative for the entire five minutes. Actually, it’s more like several mini-narratives wrapped up in one larger narrative. The team obviously spent as much time concepting and writing as they did on the execution. I also really enjoy the way that sponsors are displayed. Because they consistently appear as tickets, we come to expect them throughout the piece, a strategy that I think works well. They aren’t too obtrusive, but they’re still highly visible. We got a little inside info on the project from Andrew Chesworth and our very own Babe. (via)
AICP Intro 2007 Minneapolis (2007)
This project debuted on September 6, 2007, and was created in its entirety in about two months. It was derived from original characters and a story I had created in 2006, and was originally conceived as my follow-up short film to "Mortimer & Bracket". (via)
Mortimer & Bracket (2007)
This was my senior thesis project at MCAD. I spent over 16 months working on it, in addition to my other projects, classes, and my internship at Make, LLC (which became my full time job right after school.) I finished the project just a few months ago, before my graduation in May of 2007. A lot of sweat, blood and love went into "Mortimer & Bracket", and I hope you enjoy their story! (via)
WEB de Andrew
Josh Staub
Josh Staub has been quietly assembling The Mantis Parable for a few months now, and I've been privileged to have received almost daily updates on his progress. The renderings are always beautiful and well detailed, but what do you expect from Cyan's Art Director?
But one of the things that excites me most about his project is that Josh is very story-oriented. He builds story into the props and environment, into the characters, into everything. The Mantis Parable is built around a very strong theme, and he's put as much detail and hard work into his story structure as he has into the visuals. I know that when he's done, this film will be worth watching.
Josh has a really nice Mantis Parable website, complete with a journal and a respectable and growing Making Of section -- I know he has plenty of design and production material to show. He loves talking about this project, so visit his site, sign his guestbook, send him a question via email.
La parabola de la mantis (2005)
"The Mantis Parable is a wonderful exercise for me because it's new and different than what I've been doing as a Game Creator/ Designer/ Artist for 10 years now, and yet similar enough that I can apply the techniques I've cultivated at work to creating a short film. At least that's the idea.
I obsess over movies and books because emotionally I'm a sucker for a good story, and while I love my day job at Cyan Worlds (and am truly passionate about our newest project Uru: Ages Beyond Myst) there is a certain frustration with trying to tell a story in that medium. In a game (even at Cyan where thankfully story and visual quality is king), the creator is ultimately at the mercy of the player, hoping they take the appropriate steps to reveal the story in a sensible manner. Any "mis-steps" by the player, and he/she may miss out on the "optimum experience" the creator intended. With this lack of control, story is instead visually conveyed via every piece of architecture, every ancient carving translated, every insignia on a lamp post. There is no singular storyteller because the WORLD is the storyteller. While incredibly challenging and satisfying, occasionally I find myself akin to a frustrated writer shackled inches away from a piece of paper and a pen. I suppose those frustrations are at least in part a driving force behind my attempt to create something for a linear medium.
Stylistically, my career has been centered around creating things that look very realistic in nature. This is due to the sense of "immersion" we attempt to provide the player through the environments they freely explore. This "immersive" sensation is achieved when the worlds we create are realistic and therefore familiar enough to make sense, but foreign and beautiful enough to intrigue and entice. This attention to detail is what I know and trust, and ultimately believe can be used to enrich the delivery of a linearly-told story.
The visuals in The Mantis Parable are a step towards simplification for me due to my humble computer system, my lack of spare time, and my desire to actually finish the project. In addition, it is carried out through insects who don't speak, and who provide few physical tools with which to communicate and reveal emotion. I've taken certain liberties with these "actors" (in case you're wondering, real insects don't have eyelids) because again, my goal is not to create something photo-realistic, but something where the details simply enhance the depth of the story I'm trying to tell.
The Mantis Parable website is another example of this simplistic approach. It contains a production journal I update every couple of days with my progress (or lack thereof), and a "making-of" section updated every week or so. Its design is purposefully clean and simple which allows me to update it easily (and therefore often) and to showcase the work above all else. I hope you enjoy it.
Thanks again to Steve Ogden for putting this site together. It's a privilege to have The Mantis Parable featured alongside such visionary and ambitious works." (via)
WEB de Josh Staub
But one of the things that excites me most about his project is that Josh is very story-oriented. He builds story into the props and environment, into the characters, into everything. The Mantis Parable is built around a very strong theme, and he's put as much detail and hard work into his story structure as he has into the visuals. I know that when he's done, this film will be worth watching.
Josh has a really nice Mantis Parable website, complete with a journal and a respectable and growing Making Of section -- I know he has plenty of design and production material to show. He loves talking about this project, so visit his site, sign his guestbook, send him a question via email.
La parabola de la mantis (2005)
"The Mantis Parable is a wonderful exercise for me because it's new and different than what I've been doing as a Game Creator/ Designer/ Artist for 10 years now, and yet similar enough that I can apply the techniques I've cultivated at work to creating a short film. At least that's the idea.
I obsess over movies and books because emotionally I'm a sucker for a good story, and while I love my day job at Cyan Worlds (and am truly passionate about our newest project Uru: Ages Beyond Myst) there is a certain frustration with trying to tell a story in that medium. In a game (even at Cyan where thankfully story and visual quality is king), the creator is ultimately at the mercy of the player, hoping they take the appropriate steps to reveal the story in a sensible manner. Any "mis-steps" by the player, and he/she may miss out on the "optimum experience" the creator intended. With this lack of control, story is instead visually conveyed via every piece of architecture, every ancient carving translated, every insignia on a lamp post. There is no singular storyteller because the WORLD is the storyteller. While incredibly challenging and satisfying, occasionally I find myself akin to a frustrated writer shackled inches away from a piece of paper and a pen. I suppose those frustrations are at least in part a driving force behind my attempt to create something for a linear medium.
Stylistically, my career has been centered around creating things that look very realistic in nature. This is due to the sense of "immersion" we attempt to provide the player through the environments they freely explore. This "immersive" sensation is achieved when the worlds we create are realistic and therefore familiar enough to make sense, but foreign and beautiful enough to intrigue and entice. This attention to detail is what I know and trust, and ultimately believe can be used to enrich the delivery of a linearly-told story.
The visuals in The Mantis Parable are a step towards simplification for me due to my humble computer system, my lack of spare time, and my desire to actually finish the project. In addition, it is carried out through insects who don't speak, and who provide few physical tools with which to communicate and reveal emotion. I've taken certain liberties with these "actors" (in case you're wondering, real insects don't have eyelids) because again, my goal is not to create something photo-realistic, but something where the details simply enhance the depth of the story I'm trying to tell.
The Mantis Parable website is another example of this simplistic approach. It contains a production journal I update every couple of days with my progress (or lack thereof), and a "making-of" section updated every week or so. Its design is purposefully clean and simple which allows me to update it easily (and therefore often) and to showcase the work above all else. I hope you enjoy it.
Thanks again to Steve Ogden for putting this site together. It's a privilege to have The Mantis Parable featured alongside such visionary and ambitious works." (via)
WEB de Josh Staub
Veljko Popović
She Who Measures (2008)
Are we truly free? Are our desires truly our own or merely imposed products of the society we live in? The question this film is asking is this: are we slaves to the culture and society we were born in or is there a way to escape after all?
Veljko Popović was born in 1979 in Split, Croatia. He graduated in 2003 from the Academy of Fine Arts in Zagreb, Department of Painting. In 1998 he started working professionally with computer graphics, and since 2003 has been working with Lemonade Productions on development of computer games. He is a co-founder of Lemonade3d, studio for 2D and 3D graphics and animation. He is an Assistant Professor at the Arts Academy in Split, Croatia.
WHAT IS KENGES?
Kenges is animation studio that specialises in 2D/3D computer animation and special digital effects. Besides working on commercial projects for various clients (TV commercials, video clips, theatre and TV projects), thanks to a not-so-common agreement of the complete producers/authors crew, KENGES produces short experimental and animated films, since its very beginnings (1997). And that makes us rather special compared to other Croatian production studios.
The equipment we're working on is adequate and sufficient for what we're doing - we're stubborn enough believing that the creativity of artist, director and/or animator is always above technical exhibition. That's why there's no need to list inventory of our hardware and software. We like to think that our crew and various professional associates - directors, animators, designers and musicians are our most precious equipment.
Films that we have produced, international awards and projects we're currently working on, are our best reference.
Od course, our front (as well as back) doors are open to enyone who offers or is need of ingenious scenarios, storyboards, and visual solutions for films, commercials and video clips.
http://www.kenges.hr/
Mark Osborne
"More"(1999)The Academy-Award nominated animated short-film by Mark Osborne tells the story of a lonely inventor, whose colorless existence is brightened only by dreams of the carefree bliss of his youth.
By day, he is trapped in a dehumanizing job in a joyless world. But by night, he tinkers away on a visionary invention, desperate to translate his inspiration into something meaningful.
When his invention is complete, it will change the way people see the world. But he will find that success comes at a high price, as it changes himself, as well. (via)
By day, he is trapped in a dehumanizing job in a joyless world. But by night, he tinkers away on a visionary invention, desperate to translate his inspiration into something meaningful.
When his invention is complete, it will change the way people see the world. But he will find that success comes at a high price, as it changes himself, as well. (via)
"Kung Fu Panda" (2008)Mark Osborne is an Academy Award nominated director and Guggenheim Fellow (2004). He got his start by studying Foundation Art at Pratt Institute in New York before receiving his Bachelor of Fine Arts Degree in Experimental Animation from the California Institute of the Arts in June 1992.
His more well-known work to date, More a stop motion short film, has screened in over 150 film festivals worldwide. It was the first IMAX animation film to ever be nominated for an Academy Award (1999). Best Short Film at the Sundance Film Festival (1999), The SXSW Best Animated Short (1999), the ResFest Grand Prize (1999), the Critics Week selection for CANNES (1999) and others.
Osborne has also directed a majority of the live-action material for the popular animated TV series Spongebob Squarepants as well as all of the live action sequences for the feature film released in November of 2005. He was classmates with the television show's creator Stephen Hillenburg, back as a student at CalArts
For a while, he supported himself by teaching stop-motion at his Alta Matter, CalArts. He later left to pursue his professional aspirations, and his post was taken over by Mike Johnson, the co-director of Corpse Bride.
He is currently working on a new personal short film project titled "The Better Half," while simultaneously co-directing a feature length animated film, Kung Fu Panda for DreamWorks. (via)
"Kung Fu Panda" (2008)
Extenso artículo acerca de Kun Fu Panda en LA BUTACA
-SUPINFOCOM 2
Abro otra entrada para dar cabida a la incesante llegada de magníficas animaciones de los alumnos de esta escuela francesa.
Gary from Gary on Vimeo.
"Gary" 2009 (web)
“Musicotherapie” (2007) es un cortometraje de animación de Amaël Isnard, Manuel Javelle y Clément Picon.
http://www.musicotherapie-lefilm.com/
"Camera obscura" 2007 Dirigida por Matthieu Buchalski, Jean-Michel Drechsler, Thierry Onillon.
"Rendez vous dans mon sandwich" 2007 Dirigida por Nicolas Domérégo, Julien David y Catarina Romano
"La legende de la pierre qui tourne" 2006 Dirigida por Melanie Climent, Elodie Fraysse y Emilie Frezet.
Gary from Gary on Vimeo.
"Gary" 2009 (web)
“Musicotherapie” (2007) es un cortometraje de animación de Amaël Isnard, Manuel Javelle y Clément Picon.
http://www.musicotherapie-lefilm.com/
"Camera obscura" 2007 Dirigida por Matthieu Buchalski, Jean-Michel Drechsler, Thierry Onillon.
"Rendez vous dans mon sandwich" 2007 Dirigida por Nicolas Domérégo, Julien David y Catarina Romano
"La legende de la pierre qui tourne" 2006 Dirigida por Melanie Climent, Elodie Fraysse y Emilie Frezet.
Luis Cook
Following a degree in Graphic design, Luis has worked as an Art Teacher, Photographer, Art Director and Illustrator.
In 1992 he returned to study an MA in Animation at the Royal College of Art.
After a stint at the BBC, he joined Aardman Animations in 1994. Since then, Luis has directed many commercials, promos and idents. His creative work has been awarded D&AD, British Animation Awards, Royal Television Awards and a BAFTA.
The Pearce Sisters is his first non-commercial film for Aardman. (via)
"The Pearce Sisters"
Información detallada de esta producción el su propia WEB.
In 1992 he returned to study an MA in Animation at the Royal College of Art.
After a stint at the BBC, he joined Aardman Animations in 1994. Since then, Luis has directed many commercials, promos and idents. His creative work has been awarded D&AD, British Animation Awards, Royal Television Awards and a BAFTA.
The Pearce Sisters is his first non-commercial film for Aardman. (via)
"The Pearce Sisters"
Información detallada de esta producción el su propia WEB.
Darren Price
Basado en una historia real, Potapych es un genial corto de animación que cuenta la historia de un oso al que le gustaba el vodka. Es obra de Darren Price, un australiano trabajando en Londres para Nexus Productions, y fue comisionado por Channel 4 tras ser seleccionado por el equipo de Mesh, una iniciativa de dicho canal para descubrir talentos de la animación por ordenador.(via)
"Potapych, The Bear who loved vodka" (2006)
WEB de Darren
"Potapych, The Bear who loved vodka" (2006)
WEB de Darren
Sylvain Tardiveau
Sylvain Tardiveau tiene 31 años (2006) y vive en París. Ha trabajado 12 años en el mundo de la imagen. Tras experimentar en el campo del diseño y la publicidad, hizo de la animación su pasión hace 5 años. Desde que terminó sus estudios en la Escuela Les Gobelins, trabaja como artista 3D/2D, director y animador. (via)
"BA YIDI" (2006)
www.slycoart.com web de Tardiveau.
"BA YIDI" (2006)
www.slycoart.com web de Tardiveau.
Andrew Silke
It is easy to forget that Andrew Silke´s animated creations are little more than conglomerations of pixels.
They endure their wacky misadventures with dignity and good humour and provide every indication that they actually do think and move for themselves. 'Creating a believable personality is the holy grail of animation,' Silke explains, and such a feat requires fluency in a range of different skills.
First, Silke harnesses the potential of computer-aided 3D animation to graphically sculpt a character so that it becomes a kind of puppet, and then orchestrates its motion, gestures and expressions, gives it a voice and dialogue, overlays music and sounds, and of course hangs the lot on a good story. But even then to create that mystical spark of life requires a certain mastery beyond a mere accumulation of elements.
For Silke, 3D animation was a matter of love at first sight when he stumbled upon it by chance while studying multimedia at Queensland University of Technology. He co-created a short film, Cane Toad, in 2002 which was screened in a number of festivals and went on to win a swag of awards. He has also worked on animated blockbusters such as Happy Feet. In addition to his animation practice, Silke actively shares his knowledge through authoring free online animation tutorials, which he hopes will help demystify the process and enrich the discipline through encouraging new talent.
(via)
"Cane toad" (2002) Andrew Silke y David Clayton
andrewsilke.com
They endure their wacky misadventures with dignity and good humour and provide every indication that they actually do think and move for themselves. 'Creating a believable personality is the holy grail of animation,' Silke explains, and such a feat requires fluency in a range of different skills.
First, Silke harnesses the potential of computer-aided 3D animation to graphically sculpt a character so that it becomes a kind of puppet, and then orchestrates its motion, gestures and expressions, gives it a voice and dialogue, overlays music and sounds, and of course hangs the lot on a good story. But even then to create that mystical spark of life requires a certain mastery beyond a mere accumulation of elements.
For Silke, 3D animation was a matter of love at first sight when he stumbled upon it by chance while studying multimedia at Queensland University of Technology. He co-created a short film, Cane Toad, in 2002 which was screened in a number of festivals and went on to win a swag of awards. He has also worked on animated blockbusters such as Happy Feet. In addition to his animation practice, Silke actively shares his knowledge through authoring free online animation tutorials, which he hopes will help demystify the process and enrich the discipline through encouraging new talent.
(via)
"Cane toad" (2002) Andrew Silke y David Clayton
andrewsilke.com
Satoshi Tomioka
Satoshi Tomioka’s work is defined by his inimitable style, which has attracted widespread interest in both Japan and Europe. A graduate of Tokyo’s University of Technology, Tomioka’s career started at Dream Pictures Studio. It was the daily commute on crowded Tokyo trains that inspired him to turn his hand to directing and resulted in the creation of 'Sink', his first film, shortly followed by 'Coin Laundry'. In 2002 Tomioka was commissioned by Wieden & Kennedy to direct his first commercial 'OK factory' for Honda. Later that year Tomioka established 'Kanaban Graphics', his Tokyo based studio which today employs a team of six. (via)
"Justice Runners"
KANABAN GRAPHICS: Grupo japonés que trabaja en animación producida con gráficos por ordenador. Bajo la dirección de Satoshi Tomioka (1972), que anteriormente ya había realizado trabajos en el estudio Dream Pictures , crean películas 3D que se muestran en una gran diversidad de medios como: programas de TV, películas comerciales, vídeos musícales y juegos de ordenador. El grupo se compone de 12 freelancers , que realizan la planificación y la dirección de todos sus trabajos. La mayoría de las obras han sido dirigidas por Satoshi Tomioka aunque actualmente también otros miembros del grupo están trabajando en la dirección de animaciones. Entre las últimas compañías para las que han trabajado se encuentran: TV Asahi Music y LSD ( Logical Solution & D ). (via)
"KANSAI ODEN"
"Exit: Hotel Invaders"
USAVICH vol.1-vol.5
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USAVICH vol.11-vol.15
USAVICH vol.16-vol.20
USAVICH vol.21-vol.23
USAVICH vol.24
USAVICH vol.25
kanaban.com
nexuslondon.com
"Justice Runners"
KANABAN GRAPHICS: Grupo japonés que trabaja en animación producida con gráficos por ordenador. Bajo la dirección de Satoshi Tomioka (1972), que anteriormente ya había realizado trabajos en el estudio Dream Pictures , crean películas 3D que se muestran en una gran diversidad de medios como: programas de TV, películas comerciales, vídeos musícales y juegos de ordenador. El grupo se compone de 12 freelancers , que realizan la planificación y la dirección de todos sus trabajos. La mayoría de las obras han sido dirigidas por Satoshi Tomioka aunque actualmente también otros miembros del grupo están trabajando en la dirección de animaciones. Entre las últimas compañías para las que han trabajado se encuentran: TV Asahi Music y LSD ( Logical Solution & D ). (via)
"KANSAI ODEN"
"Exit: Hotel Invaders"
USAVICH vol.1-vol.5
USAVICH vol.6-vol.10
USAVICH vol.11-vol.15
USAVICH vol.16-vol.20
USAVICH vol.21-vol.23
USAVICH vol.24
USAVICH vol.25
kanaban.com
nexuslondon.com
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