I love [email protected]'s. I know, I know. They're basically overpriced Lego characters. But they're cool. Some day I'll create a short with these guys. But for now, here's something I knocked up in Maya 2017 and rendered with Arnold.
Well, the festival is a wrap and the winners are in. Big night for Daniel Sousa from the USA who scooped 3 awards for his short Ferel. Really pleased to see Chris Landreth won best short overall for Subconscious Password, although I’m disappointed I didn’t manage to see it. Never mind, I’m sure I’ll get another chance sooner or later! Here are the winners, along with images from their films where I could find them… The Cristal for best feature Rio 2096, A Story of Love and Fury Directed by Luiz Bolognesi (Brazil) The Cristal for best short Subconscious Password Directed by Chris Landreth (Canada) The Cristal for best TV production Room on the Broom Directed by Jean Lachaeur and Max Lang
I’m absolutely devastated that I missed Bill Plympton’s talk on Cheatin’ this morning. This was due to excess alcohol consumption last night. Poor form on my part. On a more positive note, I did manage to drag myself out of bed in the afternoon and saw a couple of feature films. First up was Legends of Oz: Dorothy’s Return, which is playing in competition this year. This movie had some really great voice talent (Patric Stewart, Dan Akroyd, Hugh Dancy), so I figured it would be at the very least a half decent movie. Unfortunately I was wrong… I almost fell asleep twice during Legends of Oz. It was really boring. Here’s the deal – the Scarecrow, Tin Man and the Lion suck
Unfortunately I have nothing to report for today. I didn’t make it to a single screening. I had a ticket for a talk on Epic but was turned away because the venue was full (the organisation has not been great this year). And I missed out on the Nickelodeon party at the bowling alley (only myself to blame for that one… I grew tired of waiting for a taxi). Hopefully I’ll have better luck tomorrow!
Another 3D film, another pair of temperamental 3D glasses!? Are you fucking kidding me?! OK… take a breath. And let’s move on… Dispicable Me 2 was made in France, and there was a definite buzz in the theatre that I haven’t seen in any other screening. Producers Janet Healy and Christopher Meledandri were there along with directors Pierre Coffin and Chris Renaud to introduce the movie. I really want to say such nice things about Despicable Me 2. I love the characters. I love the premise. I want to tell you to rush out and buy advance tickets for it now. Sadly I can’t. It pains me to say this, but the script just wasn’t up to scratch on this one. ![Despicable
The big event of today (and arguably of the festival) was the world premiere of the unseen Mickey Mouse short Get A Horse. Disney sure had some fun with the marketing on this one. I’m not sure how much I can say about the movie. It is rumoured to be showing before Frozen later this year and I really don’t want to spoil it for anyone. What I will say is that the Disney team have done a phenomenal job of merging old and new animation techniques into something that will surprise everyone. ![Get a Horse](http://www.paulyounghusband.com/wp-content/uploads/2013/06/get-a-horse-2-1024x576.jpg)Get a Horse I didn’t get a chance to see any of the competition shorts today, but
Today was all about The Blue Umbrellla and Monsters University, the two films that kicked off the festival. My experience of these movies was hampered by that fact I was given a tempremental pair of 3D glasses. With every slight move of my head the movie went out of focus, which needless to say was pretty annoying (I’m also starting to wonder if the 3D novelty is perhaps starting to wear off). Putting aside the frustrating 3D experience, I can say with some certainty that while Monsters University was a solid movie, it didn’t blow me away. The problem with Pixar movies is that they have set the bar so high for themselves, that anything less than spectacular is really disappointing. Don’t get
I never thought I’d see a photoreal movie coming out of Pixar. So when I saw the above image from The Blue Umbrella I was surprised to say the least. The new short, which is set to be shown alongside Monsters University when it releases this summer, has a photorealistic look far from anything Pixar has produced in the past. Those who have seen the movie have claimed that audiences will swear it is a mix of live action and 3D animation. It isn’t. There’s a brief clip on Youtube posted by the Washington Street Journal – it doesn’t give too much away but we can clearly see that this is a photoreal world with some magical Pixar animation thrown into the mix.
Here are a selection of videos showing various sequences from TRON: Legacy that contain holographic effects, with a breakdown of the different elements involved. The videos were put online by Bradley Munkowitz, who was head of the team at Digital Domain that was responsible for all of the holographic and UI elements in the movie. If you are interested in learning more about how these effects were created Josh Nimoy has a fascinating breakdown on his website, as does Munkowitz himself. Rectifier Globe Fireworks Solar Sailor Portal Climax
Whoa! The internet is in uproar over Adobe’s decision to move all of its software to a cloud based service. For those who missed this bombshell, it means that you will no longer be able to purchase Adobe software in the traditional sense. Instead, you will need to sign up for Creative Cloud which, for a monthly fee, will give you access to one or all Adobe apps. Users have taken to their blogs en masse to complain about the new model. Heck, there’s even a petition that is nearing 15,000 signatures. But personally I feel this is a step in the right direction for Adobe… the problem is that they have gotten a couple of things badly wrong. One or All? Based
Autodesk recently uploaded their NAB 2013 VFX Reel to Youtube, along with a selection of other cool videos from the show. The reel can be found below, and as always, it is definitely worth a watch!
I’m keen to get my hands on the full collection of Pixar screenplays, but they are pretty hard to come by online. There are a few transcripts around, but I’m looking for the original screenplays (or shooting scripts). So far I’ve managed to source the following, all downloadable in PDF format. If anyone can add to this please do get in touch and I will update this post! Ratatouille Toy Story Toy Story 2(large file, not great quality!) Toy Story 3 Up Wall-E
The first trailer for Ender’s Game has been released. I’m really not sure about Harrison Ford, but other than that it looks every bit as good as I expected!
I hate Amazon. Every time I get into the swing of writing anything that might be halfway decent, I get an email from them about an amazing new book recommendation they have for me. It’s usually a book on writing or creativity. I buy a lot of that stuff. After reading the synopsis and a couple of reviews I start to think that this might be the book that changes everything. I must put whatever I’m doing on hold until I’ve read it. My writing, in fact, my entire outlook on life will surely improve as a result. Of course disappointment looms. It’s usually the same old shit rehashed by a different author. And now I’ve lost my momentum. Will I
Check out this beautiful piece of animation from Ryan Woodward. I can’t think of another animated short I’ve seen that is so so simple and elegant. For more of Ryan’s work you check out his website or this great behind the scenes video on Vimeo.
I was looking through the official selection for the Annecy Festival and noticed that Chris Landreth’s latest film Subconscious Password will be screening. I’ve been a fan of Landreth since 1998, when I saw a 3D animated short he directed called Bingo. At the time, he was working for Alias|Wavefront and the film was designed to show off the power of their new software Maya (it certainly caused a stir at the time, and for those not in the know, Maya went on to be snapped up by Autodesk and pretty much became industry standard). Landreth’s other films include The End, which pre-dates Bingo and was nominated for an Oscar in 1995, and the more recent Ryan, which picked up the Oscar
Monsters University If someone asked me to name my favourite Pixar movie of all time, I couldn’t pick just one. I might be able to name my top 5. But just one? Not a chance. However I can put my hand on my heart and say that I’ve seen Monsters Inc. more times than any other, and I’m still nowhere near bored of it. So when I heard Pixar was working on their first ever prequel, and that it would be a prequel to Monsters Inc., I was super-excited. I can say with certaintly that I won’t be missing Monsters University when it is released this summer, and I strongly suggest you don’t either! UK release on July 12th USA release
Discreet Logic’s paint* 2.0 was previously known as ILLUMINAIRE Paint in version 1. Then Discreet Logic took ILLUMINAIRE, chopped it up and repackaged it as separate products: paint* and effect. As the painting tool of Discreet’s New Media product range (New Media is the group of products into which paint and effect* belong) , paint* has been described as Photoshop for digital video. But as we found out, paint* 2.0 is a lot, lot more… Interface The product interface is a cross between Lightwave and Photoshop. Some buttons/tools are clearly labeled with text, and others with symbols. It’s almost like someone started designing the package with text buttons and half way through decided to use symbols. However, this is not necessarily
Sandra Bullock and Nicole Kidman star in Griffin Dunne’s new movie, Practical Magic. But the real magic of the movie wasn’t Sandra’s good looks, or Nicole’s sexy smile, the real magic came from Cinesite Hollywood and their team of talented digital effects artists. Scott Dougherty, Cinesite’s visual effects producer for the movie talked with us about how the company worked their wonders. Hi Scott, and thanks for talking with us. My pleasure. Can you give me a little background on yourself; how did you get into this industry? I originally wanted to get involved in production design work, so I moved to LA and started working as an art department production assistant. I did that for a couple of movies, and
Armageddon is, without a doubt, one of the most talked about summer movies. Love it or hate it, you have to admit that the film’s visual effects were quite spectacular. The story is arguably not very original. An asteroid on a collision course with Earth has been the subject of many a TV show, novel, or in this case a feature film. Many comparisons has been made with Deep Impact, but in terms of both story and visual effects the two films are like chalk and cheese. Michael Bay, the Armageddon’s director, is well known as one of the film industry’s finest filmmakers. His reputation springs from movies like Bad Boys, and The Rock – two films which clearly establish his style as intensely