Sentences with phrase «of digital animation»

Recalling both the shadow plays of early cinema pioneer Lotte Reiniger and expanded cinema works of the 1960s, Matreyek's work reimagines these approaches in the context of digital animation and multimedia theater.

Consisting primarily of digital animation, my work and subject matter mirrors the structure of the underlying technology used in its creation and the repetitive processes that seem central to the infrastructure of contemporary society.

The guests include both emerging talent and established pioneers in the fields of digital animation, motion arts, interactive artwork, and digital imaging.

It surrounds the visitor with eight - minute loops of digital animation, a journey past bulbous cloud shapes into a fantastic world of architecture and nature.

While Brown's paintings are emphatically handmade, the conjuring of protean form from an inchoate swarm gestures to very contemporary forms of digital animation.

Mackie has titled the exhibition Painting the Weights, a term used to label the process of establishing the physical make - up of an object within the field of digital animation.

Also evident is MacDonald's love for the materiality of traditional media, which are generally not part of her digital animation work.

Edo Superstar came around right when I was branching out into all sorts of digital animation methods, and I was TOTALLY SPICED (as I like to put it) to become a part of this project!

Continuing representation of a digital animation, advertising and entertainment company in a multi-district patent infringement action against multiple video game industry publishers and developers.

February 15, 2018 • In the age of digital animation, Nick Park and his team at Aardman are still animating with their actual digits; this lovingly made tale of a prehistoric soccer rivalry is full of charm.

Thanks to the advances and ever - increasing availability of digital animation technology, work is being created in a seemingly unlimited number of styles in all corners of the world, and far more is available online than you would ever have the time to watch.

Over the course of the evening they will discuss the history, techniques, challenges and future possibilities of digital animation.

In additional to the usual manner of digital animation, Yuh employs hand - drawn imagery (or an excellent facsimile) for many of the flashback scenes and a «stick puppet» style to present narrative background.

The series betrays the film's DYI legacy by using a great deal of digital animation for the fight scenes and gore.

Scientific American spoke to Padua about the importance of Ada Lovelace Day — celebrated every second Tuesday of October — and Padua's own experience as a woman working in the technological field of digital animation.

For his solo exhibition at May gallery & residency, Nicolas Sassoon will present a series of large scale video projections and sculptures derived from a recent body of digital animations titled Green Waves.

Kota Ezawa's diverse projects take the form of digital animations, slide projections, lightboxes, paper cut - outs, intaglio etchings, ink drawings and wood sculptures.

Not exact matches

In a world filled with digital 3D effects and computer animations, viewers of TV commercials are increasingly attracted by videos that don't rely on these effects.

With the Spaces app, people can interact with other Oculus Rift users inside a virtual playground where they can chat, draw 3D animations, and frolic with digital avatars that resemble cartoonish versions of their real selves.

If you are a Canadian company in need of ICT, digital animation and good programmers, head to Colombia!

For the first time, digital animation has been used as a research tool to examine how the effectiveness of a lizard's territorial display varies across ecological environments and conditions.

To celebrate the release of DreamWorks Animation's PENGUINS OF MADAGASCAR on Blu - ray, DVD and Digital HD from the 30th March, Boo Roo and Tigger Too have one copy of DreamWorks Animation's PENGUINS OF MADAGASCAR on Blu - ray to giveaway to one lucky readeof DreamWorks Animation's PENGUINS OF MADAGASCAR on Blu - ray, DVD and Digital HD from the 30th March, Boo Roo and Tigger Too have one copy of DreamWorks Animation's PENGUINS OF MADAGASCAR on Blu - ray to giveaway to one lucky readeOF MADAGASCAR on Blu - ray, DVD and Digital HD from the 30th March, Boo Roo and Tigger Too have one copy of DreamWorks Animation's PENGUINS OF MADAGASCAR on Blu - ray to giveaway to one lucky readeof DreamWorks Animation's PENGUINS OF MADAGASCAR on Blu - ray to giveaway to one lucky readeOF MADAGASCAR on Blu - ray to giveaway to one lucky reader.

Animation and Blue Ribbon Content, the digital studio of the Warner Bros..

The animation team, from head of character animation Tim Cheung to head of story Rejean Bourdages are leaders of digital artists that are at the apex of their craft and whose work establishes the state of the art.

The simple, hand - drawn animation contrasts beautifully with the slick digital work that comprises most of the movie, inserting realistic - looking talking rabbits into live - action scenes with Byrne and Gleeson.

Camera (color, widescreen, HD, 3D), Pablo Plaisted; live action camera, Barry Peterson; editors, David Burrows, Chris McKay; music, Mark Mothersbaugh; production designer, Gran Freckelton; live action art directors, Jay Pelissier, Sue Chan; live action set decorator, Danielle Berman; sound (Dolby Digital / Datasat), Brannon Brown; supervising sound editor / designer, Wayne Pashley; re-recording mixers, Phil Heywood, Pashley, Greg Fitzgerald; animation supervisor, McKay; feature animation, Animal Logic; head of animation, Rob Coleman; FX supervisor, Carsten Kolve; special effects supervisor, Jimmy Lorimer; 3D conversion, Legend 3D; associate producers, Amber Naismith, Will Allegra; assistant director, Steve Day; casting, Mary Hidalgo.

For all the grace of the animation and visual splendor, the stilted script and emotionless «performances» give this digital artifact a distinctly stiff, wooden flavor.

As it stands, «Spirit» provides neither the profound human touch of the great Disney animation of the past, nor the dazzling, high - tech fun of present - day digital cartooning.

* Computer - animation always looks good on the format, but this direct - to - digital port would've left the home versions of this year's other CG extravaganzas (Open Season, The Ant Bully, et al) in the dust were it not for the superfluous — and conspicuous, given the preponderance of black - on - white — application of edge - enhancement.

Sony Pictures Animation is an operating unit of Sony Pictures Digital Productions.

We find notes from director Peter Jackson, extras wrangler Josie Leckie, director of photography Andrew Lesnie, camera operator Richard Bluck, armour weapons standby John Harding, greens master Brian Massey, co-producer Rick Porras, designer / sculptor Daniel Falconer, senior machinist / engineer Dominic Taylor, animation supervisor Randall William Cook, stunt performer Steve Reinsfield, extras casting Miranda Rivers and Victoria Cole, painter Brett Larsen, carpenters Geoff Goss and Ross Hoby, supervising unit location manager Richard Sharkey, 2nd AD Marc Ashton, stunt performers Mana Davis and Sala Baker, 2nd unit director Geoff Murphy, boom operators Eoin Cox and Corrin Ellingford, on set art director Simon Bright, camera operator Peter McCaffrey, motion control operator Henk Prins, previsualisation supervisor Christian Rivers, digital surveyor Nick Booth, stable foreman Lee Somervell, gaffer David Brown, set finishing supervisor Kerry Dunn, on set art director Joe Bleakley, effects technician Peter Zivkovic, on set prosthetics makeup Tami Lane, 3rd AD Chris Husson, Weta Workshop's Richard Taylor, effects technicians Darryl Richards and Scott Harens, stunt rigger Paul Shapcott, New Zealand stunt coordinator Kirk Maxwell, swordmaster Bob Anderson, medic and safety officer Andy Buckley, supervising art director Dan Hennah, conceptual artist Alan Lee, Gimli scale double Brett Beattie, and actors Dominic Monaghan, Billy Boyd, Andy Serkis, Bernard Hill, Brad Dourif, Elijah Wood, Orlando Bloom, Sean Astin, Miranda Otto, and Viggo Mortensen.

This remake of Disney's 1991 classic is remarkably faithful, using present - day digital animation effects to give the story a photo - realistic sheen.

And since there is no point expecting any surprises in this completely predictable and frequently tedious outing, let's just say the dragon fulfils his dramatic function in grand style thanks to some truly inspired digital animation and the voice talents of Cumberbatch.

«One Brick at a Time: Making The LEGO Batman Movie» (16:10) details the creative processes of the film, from turning real Legos into digital animation to the voice cast bringing the characters to life.

But, in an age when CGI and digital technology are taking over the realm of animated filmmaking, I'm willing to give Burton a pass for that needless 21st - century enhancement to his otherwise moving and funny film, and his terrifically old - school approach to animation.

There's no real reason for this live action / animation hybrid version of the classic cartoon besides the fact that digital effects allowed them to do it.

Lucas and fellow technology pioneers James Cameron, the maker of «Avatar», and DreamWorks Animation boss Jeffrey Katzenberg pointed out that digital film - making was only in its infancy but would bring vast improvements to how movies were made and seen.

Although rendered with predictable polish by the digital artists at Lucasfilm Animation Singapore and Industrial Light & Magic, the picture seems to unfold not in a coherently realized fantasy world, but rather at some sort of grotesque interspecies convention where Lucas and his collaborators have taken every conceivable character type that came to mind — goblins, imps, talking mushrooms, etc. — and plopped them down in front of the same meticulously detailed forest backdrop.

The coloring is very vibrant and any shortcoming in the visuals department would appear a result of simplistic animation and not the terrific digital presentation.

Each segment has its own distinct, handmade style, making the whole film an implicit and comprehensive rebuke to the bland uniformity of so much of today's digital animation.

In order to celebrate this week's release of «Kung Fu Panda 3» (which is amazing BTW), Dreamworks Animation is re-releasing the first two «Kung Fu Panda» films with over 80 minutes of new bonus content including an all - new 22 minute animated adventure, «Secret of the Scroll,» and an exclusive sneak peek of DreamWorks Animation Kung Fu Panda 3 as well as Digital HD copies of each film.

Directed by Makoto Shinkai in high - end 2D animation with digital flourishes, it's as moving in its way as My Life As a Zucchini, though it has much grander aspirations than simply depicting a slice of life.

Though expanded and sometimes reinterpreted, this «live - action» Beauty (which relies extensively on digital effects and animation) is every bit as much of an appealing crowdpleaser as the source film.

Disney takes on the legend of Rapunzel, adding CG animation (and Disney Digital 3 - D, of course)-- as well as a voice cast that includes Mandy Moore, Zachary Levi, and Donna Murphy.

From the style of animation (which combined old school cell animation with new digital technology) to the nonsense plots that would often run for fifteen minutes or less, it's a formula that...

Camera (Technicolor, Panavision widescreen, Arri Alexa digital), Trent Opaloch; editors, Jeffrey Ford, Matthew Schmidt; music, Henry Jackman; music supervisor, Dave Jordan; production designer, Owen Paterson; supervising art director, Greg Berry; art directors, David E. Scott, Greg Hooper; set decorator, Ronald R. Reiss; costume designer, Judianna Makovsky; sound (Dolby Atmos / Dolby Digital), Manfred Banach; supervising sound editors, Shannon Mills, Daniel Laurie; sound designers, David C. Hughes, Nia Hansen; re-recording mixers, Tom Johnson, Juan Peralta; visual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halledigital), Trent Opaloch; editors, Jeffrey Ford, Matthew Schmidt; music, Henry Jackman; music supervisor, Dave Jordan; production designer, Owen Paterson; supervising art director, Greg Berry; art directors, David E. Scott, Greg Hooper; set decorator, Ronald R. Reiss; costume designer, Judianna Makovsky; sound (Dolby Atmos / Dolby Digital), Manfred Banach; supervising sound editors, Shannon Mills, Daniel Laurie; sound designers, David C. Hughes, Nia Hansen; re-recording mixers, Tom Johnson, Juan Peralta; visual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah HalleDigital), Manfred Banach; supervising sound editors, Shannon Mills, Daniel Laurie; sound designers, David C. Hughes, Nia Hansen; re-recording mixers, Tom Johnson, Juan Peralta; visual effects supervisor, Dan Deleeuw; head of visual development, Ryan Meinerding; visual effects and animation, Industrial Light & Magic, Method Studios; visual effects, Trixter Film, Rise Visual Effects Studios, Double Negative, Luma Pictures, Lola VFX, Cinesite, Cantina, Sarofsky, Animal Logic, Crafty Apes, Image Engine Design, Technicolor VFX, Capital T, Exceptional Minds; stunt coordinator, Spiro Razatos; stunt and fight coordinator, Sam Hargrave; supervising stunt coordinators, Doug Coleman, Mickey Giacomazzi; 3D stereoscopic supervisor, Evan Jacobs; 3D stereoscopic producer, Jon Goldsmith; 3D conversion, Stereo D, Prime Focus; associate producers, Trinh Tran, Ari Costa; assistant director, Lars P. Winther; second unit directors, Razatos, David Leitch, Chad Stahelski, Darrin Prescott; casting, Sarah Halley Finn.

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In addition to movie clips and material from the set, we hear comments from Jackson, actors Wood, Astin, McKellen, Brad Dourif, Lee, Hill, Urban, Mortensen, Rhys - Davies, Otto, Monaghan, Boyd, Serkis, visual effects supervisor Richard Taylor, supervising sound editor / co-sound designer Ethan Van Der Ryn, producer Barrie Osborne, supervising art director Hennah, conceptual artists Alan Lee and John Howe, digital model supervisor Matt Aitken, director of animation Randy Cook, visual effects supervisor Joe Letteri, creature supervisor Eric Saindon, executive producer Mark Ordesky, stuntman Sala Baker, creature facial lead animator Bay Raitt, and co-producer Rick Porras.

His idea was to update the «story room» of the old animation studio days into a new digital story room, which they call «the bullpen.»

From the humans behind the Despicable Me franchise, follow the animation's epic journey of an unlikely duo in The Secret Life of Pets, available on 4K Ultra HD ™, 3D Blu - ray ™, Blu - ray ™, DVD and Digital from December 7, 2016.