Sentences with phrase «body animations in»
Naughty Dog's [reference is to capture the actors» face and body animations in the same take, while also insisting that actors in the same scene are all recorded together.
https://www.mcvuk.com/ Not exact matches
Delivering the Sermon: Voice, Body, and Animation in Proclamation by Teresa L. Fry Brown (a couple others that I haven't read yet but have heard great things about from this author are: Can a Sistah Get a Little Help?
Benefits of Extended Rear - Facing Seats: I like the information and the animations in this video showing the way a child's body moves in a collision depending on the direction of their car seat.
It's far from the best you've seen, as the flash app lets you choose from a male or female Who body, and then decorate it with different body types, hair, hair, clothing color and accessories, place it in a scene and then have it perform one of three animations.
The colors and drawings employ the flat design of a handsomely decorated book, and the children have the huge eyes, disproportionately large heads and small bodies you sometimes see in Japanese animation.
An auspicious directorial debut by DreamWorkers Andrew Adamson and Vicky Jenson, working with a nicely barbed script from a team headed by Ted Elliott and Terry Rossio, Shrek is a happy display of whizzy advances in computer animation (developed at PDI / DreamWorks) that allow faces and bodies to move and light to play on textures realistically.
But even then, the film remains a consistent visual treat (the computer animation is more inspired in this section, with the grown - ups depicted as a colorless, zombified mass of tall, narrow bodies) and always echoes Saint - Exupery's core theme of looking at the world through the hopeful, uncorrupted eyes of a child, where sometimes what appears to be a hat may in fact be a boa constrictor with an elephant inside.
There are only a few character animations in the game (Uncharted Golden abyss: drakes face has more animations than jills whole body.)
Along the way there's wonderful bits of inventive animation with the stop - motion techniques, particularly in a montage of food preparation and anytime bodies of water are around.
FIRST PLACE / NARRATIVE The Peculiar Abilities of Mr. Mahler, Paul Philipp, director FIRST PLACE / ANIMATION Negative Space, Max Porter & Ru Kuwahata, co-directors FIRST PLACE / NONFICTION Breaking the Cycle, Josephine Jackson & Vincent Augusto, co-directors FIRST PLACE / EXPERIMENTAL Gray Umbrella, Mohammad Poustindouz, director STUDENT AWARD It's Just a Gun, Brian Robau, director TEXAS AWARD Bodies of Water, David Lykes Keenan, director Jury Prize — Guan Xi, Dora Wu, director Jury Prize — The Driver is Red, Randall Christopher, director Jury Prize — The Modern Lives, Bill Plympton, director Performance Award — Michael Laskin, A Real Adventure Cinematography Award — Wasteland, Jakub Michnikowski, director Honorable Mention, Narrative — Counterfeit Kunkoo, Reema Sengupta, director Honorable Mention, Narrative — Mrs McCutcheon, John Sheedy, director Honorable Mention, Narrative — Hope Dies Last, Ben Price, director Honorable Mention, Narrative — Passion Gap, Matt Portman & Jason Donald, co-directors Honorable Mention, Narrative — Seven, James Morgan, director Honorable Mention, Nonfiction — Hunger for Truth: The Rhea Clyman Story, Andrew Tkach, director Honorable Mention, Nonfiction — Uncle Jessie White - Portrait of a Delta Blues Man in Detroit, Stashu Kybartas, director Honorable Mention, Experimental — Strangers, Eve Duhamel, director Honorable Mention, Student Film — The Chocolate Soldier, Jackson Smith, director Honorable Mention, Texas — Underneath, Christopher Grissom, director Honorable Mention, Texas — Aberration, Andy Pollack, director
Serious game authoring tools such as ITyStudio, with its built - in animations, enable you to insert body language notions in your training simulations.
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At times in Heavy Rain, you notice the characters» face and body movement would be slightly off and disconcerting, so the full performance capture — what they used in Avatar — would create a more realistic animation for the characters.»
Pros: + Graphics and animations run extremely well on PS4 and PS4 Pro + A Walk in the Park DLC adds an admirable 6 - 7 hour experience + Sci - fi labyrinthine dungeons offer amazing take on the Souls-esque franchises + Body part selection changes combat pacing and how players will approach each encounter
All of the objects in the environment look blocky and most have lagged edges, and the character animations look like they come from the days of the original Xbox and PlayStation 2 (think black space between neck and body when the head moves in a certain direction).
In any animation, the voice actors are always supposed to be recorded first, then the animators animate the characters (both lips and body language) to match the voices.
All our actors did an amazing job, but their performances were captured in two parts: first we filmed all body animations, then we recorded voice and facial animations in a sound booth, hoping everything would synch together.
The methods used by developers Quantic Dream track facial, voice and body animations simultaneously to create a true performance from the actors, and result in the most realistic and emotionally charged and gameplay experience to date.
Using voice detection, Red Storm's positional tracking technology and animations based on voice inflection analysis, players» real - life actions and body language will be reflected through their VR character in - game.
Alastair Duncan returns to voice Celebrimbor who Talion shares a body with having previously voiced Alfred Pennyworth in various Batman animations and various characters in Tomb Raider games and the Mass Effect trilogy.
M.A.S.S — Motion Animation Stability Studio — simulates body contact with «animations that flow seamlessly in play.»
Main story cut scenes tend to be very well done and across the board these are the most natural body animations I've seen in an Assassin's Creed title.
In Persona Non Granted, Rawls draws parallels between the laborious construction of stop - motion images and the choreographic work of animating bodies by juxtaposing video documentation of the filmmaking process with completed animation sequences of his choreography.
In one scene, a scantily - clad Japanese animation figurine stands with her back turned towards us, thigh - deep in murky fish - tank water littered with debris as a mouse struggles not to drown, scampering over the figurine's strangely small and motionless body to reach safety on her heaIn one scene, a scantily - clad Japanese animation figurine stands with her back turned towards us, thigh - deep in murky fish - tank water littered with debris as a mouse struggles not to drown, scampering over the figurine's strangely small and motionless body to reach safety on her heain murky fish - tank water littered with debris as a mouse struggles not to drown, scampering over the figurine's strangely small and motionless body to reach safety on her head.
It is, however, many other things: an exhibition of conceptual sprawl that skips around from the historical avant - garde to the internet and in between, skimming across animation, digitization, synesthesia, and interactions between the body and
Shaatnez is Alma Alloro's first solo exhibition in Berlin, presenting two distinctive bodies of works from recent years: an installation of textile works and animations, and a series of new drawings.
NG: Do your News Animations also serve as a «sounding center» and as you mention, gestures in finding a body's center through dancing?
The new body of work represents a shift in his practice, away from intimate projections characteristic to Olivier, in favour of larger scale works closer to the language of painting than that of animation.
This body of work was made in response to Alfred's month long trip to Japan to research a project for Japan Railways to create animations in relation to the Niigata area for the Genbi Shinkansen, a high - speed railway service.
The work manifests in range of different media — sculpture, drawings, paintings, installations, printed matter and animations; and projects across multiple media bridge these otherwise distinct bodies of work into a larger comprehensive whole.»
The exhibition is composed of an entirely new body of work in animation, sculpture, and drawing, highlighting new directions in her creative process.
The artist's long - standing interest in Japanese nihonga painting and the contemporary practices of manga and animation are highlighted in this important body of work.
Focal points of the booth will be the presentation of The Lovers by Marina Abramović, a body of work she created after walking the Great Wall of China in 1988; Embajada Rusa, a new sculpture by Los Carpinteros constructed from LEGO ® bricks, playfully reimagining the architecture of the Russian Embassy in Cuba; a group of new paintings by Hugo McCloud; and The Time Vivarium, a stop - animation film by Sun Xun, created for his debut exhibition at the gallery in 2015.
No 20 proudly presents ECHOES a solo exhibition by Ian Emes — the Pink Floyd animator — that explores a body of work spanning over four decades including hand - drawn animation artwork produced in the 70s and 80s, personal drawings and paintings from then until now, and a multi-screen contemporary installation.
Meineche Hansen works with materials such as woodcut, sculpture and computer - generated images and virtual reality animation, and focusses on the complexity of the body in industries such as the pharmaceutics, pornography and technology.
In Untitled (2014 - 15), Laric culls animations from around the world to create a rhythmic, morphing flow of graphic bodies.
In discussing their proposal for «The Dissolve» with Santa Fe media on October 16, the curatorial pair unveiled a list of 26 artists and 4 historical animations that reflect, said Lewis, «a desire to stay connected to the body, the organic;» «a vernacular or homespun aesthetic;» and a deliberate interpretation of art history that considers early 20th - century technological breakouts that contemporary artists are referencing and reinventing.
In this three - dimensional video animation of a two - dimensional photograph, Elvis's body has been digitally reconstructed in the round, built from hundreds of fragments of original photographs of the staIn this three - dimensional video animation of a two - dimensional photograph, Elvis's body has been digitally reconstructed in the round, built from hundreds of fragments of original photographs of the stain the round, built from hundreds of fragments of original photographs of the star.
Her body of work includes pencil drawings, photographic prints, experiments in sound and animation, installations and porcelain works.
His recent body of work has predominantly been created on the iPhone, in the form of animations and digital studies which then he translates into acrylic on canvas or 3D printing pen on board.
Solo Exhibitions 2016 «Drunk Brown House», Serpentine Sackler Gallery, London 2016 «Eucalyptus, Let us in», Greene Naftali, New York 2014 «Orchids, or a hemispherical bottom», Johann König, Berlin 2014 «Parrot Problems», Fridericianum, Kassel 2014 «Oreo St. James», Sadie Coles HQ, London 2013 «No borders in a wok that can't be crossed», CCS Bard, New York 2012 «Plank Salad», Chisenhale Gallery, London 2012 «Evian Disease», Palais de Tokyo, Paris 2012 «Almost the exact shape of Florida», Kunsthalle Zurich, Zurich 2011 «Park Nights», Serpentine Gallery, London 2011 «Fruits, Flowers, and Clouds» (with T293), Museum of Applied Arts, Vienna 2011 «Take a stick and make it sharp», Johann König, Berlin 2010 «I like my heroes marble chested», Carl Kostyál, London 2010 «Wicked patterns», T293, Naples Group exhibitions 2018 «Faithless Pictures», The National Museum of Art, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Toulose 2017 «made on the table», Sadie Coles HQ, London 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, London 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20th Biennale of Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?»
First, he (or she) is likely to be working in one of the contemporary visual arts, such as: installation, assemblage, conceptual art, video, animation, film, glass - making, performance, happenings, graffiti, body art, land art, and so on.
Mostre Personali 2016 «Drunk Brown House», Serpentine Sackler Gallery, Londra 2016 «Eucalyptus, Let us in», Greene Naftali, New York 2014 «Orchids, or a hemispherical bottom», Johann König, Berlino 2014 «Parrot Problems», Fridericianum, Kassel 2014 «Oreo St. James», Sadie Coles HQ, Londra 2013 «No borders in a wok that can't be crossed», CCS Bard, New York 2012 «Plank Salad», Chisenhale Gallery, Londra 2012 «Evian Disease», Palais de Tokyo, Parigi 2012 «Almost the exact shape of Florida», Kunsthalle Zurich, Zurigo 2011 «Park Nights», Serpentine Gallery, Londra 2011 «Fruits, Flowers, and Clouds» (con T293), Museum of Applied Arts, Vienna 2011 «Take a stick and make it sharp», Johann König, Berlino 2010 «I like my heroes marble chested», Carl Kostyál, Londra 2010 «Wicked patterns», T293, Napoli Mostre Collettive 2018 «Faithless Pictures», The National Museum of Art, Architecture and Design, Oslo 2018 «The Body Electric», The Walker Art Centre, Minneapolis 2017 «Suspended Animation», Les Abattoirs, Tolosa 2017 «made on the table», Sadie Coles HQ, Londra 2017 EuroVisions: COntemporary ARt from the Goldberg Collection, NAS gallery, Sidney, Australia (touring exhibition in Australia to 2019) 2017 «Second Nature», K11 Art Foundation, Hong Kong 2016 «The Hepworth Prize for Sculpture», The Hepworth Wakefield 2016 «NO MAN»S LAND: Women Artists from the Rubell Family Collection», National Museum of Women in the Arts, Washington 2016 «Turner Prize 2016», Tate Britain, Londra 2016 «OVERPOP: New Art from Yuz Collection and Beyond», Yuz Museum, Shanghai 2016 «The future is already here — it's just not evenly distributed», 20a Biennale di Sydney 2016 «THE NEW HUMAN: Knock, Knock, is Anyone Home?»
Drawn from the artist's residency in Shanghai last year (review: Residency Artist Joshua Nathanson in Shanghai), a new body of works including five large - scaled paintings, a hand - painted mural, a video animation, and a towering 3D - designed sculpture will be exhibited in the gallery, representing a continuation and a twist in the artist's practice — a «scope creep» of his concerns within painting to new surfaces, dimensions, and geographies.
Here, as in a dream, running is strange... closer to flying: bodies appear buoyant, as if in a state of suspended animation.»
Opposite the «Thinker» reflected in CGI animation with 12:1 surround sound installation, the experience of being without body and only thought is made aural and visual through the sound filling the space and the gigantic projection where the viewer may position themselves in near darkness.
South African artist William Kentridge (born 1955) has produced a body of work in which he traverses the boundaries of traditional media such as drawing, etching and stop - motion animation.
Here is an animation of the Poincaré 3 body problem which first demonstrated chaotic motion in orbiting bodies.
This short clay animation piece by Elizabeth Press of StreetFilms simply and brilliantly illustrates the effect of the chicane on vehicle traffic, and its ability to expand space for pedestrians and landscaping.Traffic calming is a body of design techniques used to moderate motor vehicle traffic in order to improve the quality of adjacent areas.