Draw a circle. Give it stumpy legs, beer-keg arms, a big head of hair and a necklace of teeth. Draw some leaves ray ban outlet around its middle, for modesty, cheap ray ban sungalsses and cover everything else in tattoos. You’ve just drawn Maui, the Polynesian demigod, as imagined in the new Disney movie Moana.
Downes later concedes that he’s not the artist and that those animators can draw cheap nba jerseys him as big as they want:
Yes, of course: It’s a cartoon. It was no crime for Disney animators to draw Maui any way they wanted.
We can’t wait for Downes’ angry editorial when someone tells him that Moana isn’t even a drawn film.
The spot includes the Joker, Bane, King Shark, Scarecrow, Riddler, Catwoman, Penguin, and many more. Plus there’s a particularly poignant encounter replica oakleys between Batman (voiced by Will Arnett) and the Joker cheap football jerseys china (Zach Galifianakis).
Second, the festival enjoys the backing of the Cinémathèque québécoise, a museum, repertory cinema, and archive of film documents and animation artwork. The festival’s artistic director is Marco de Blois, someone who lives and breathes cheap nfl jerseys animation and whose day job is animation curator of the Cinémathèque, a not-so-small task considering that the Cinémathèque owns one of the world’s phenomenal collections of original animation artwork. (A small exhibit of about 25 pieces from the archive’s collection was on display in the theater lobby, ranging from Dick Huemer drawings of Mutt and Jeff to original puppets from the films of Břetislav Pojar and Kihachirō Kawamoto, cheap MLB Jerseys and I couldn’t help but spend some time every day marveling at those treasures.)
But even with this institutional backing and long history, if Sommets had to be summed up in a single adjective, I’d choose ‘low-key.’ This is not a flashy festival where parties run long into the night; you’re more likely to enjoy a long conversation at the Cinémathèque’s cafe, which always harbored a friendly face or two. And unlike the Ottawa animation festival in September which draws hundreds of Americans, Sommets is a mostly local crowd. I met at most perhaps a dozen Americans at Sommets, and just handfuls of Canadians who’d traveled from beyond the city limits.
Programming-wise, Sommets mixed both industry and independent, but there was never any question which direction it leaned. The festival presented an award this year to cameraless animator Steven Woloshen, while Oscar-winner Joan Gratz (Mona Lisa Descending a Staircase) and local filmmaker Diane Obomsawin gave masterclasses. The two features in competition, Window Horses and Louise en hiver, are both excellent films, but not the kind of programming designed to attract the industry crowds from the local cg/vfx/game shops around town. Of course, even if the programming was oriented more toward the mainstream and commercial, it’s unlikely that artists at those studios would be able to take time off work mid-week—or would have any desire to watch more animation after working a full day at the studio.
Still, Sommets isn’t immune to the industry either. There were multiple panels touting the participation of Framestore and other local vfx shops. A breakfast session in which ten or so local companies pitched their wares could have easily had five times as many companies represented, but it nonetheless showed that the festival is paying attention to contemporary happenings around the city.
There were talks too aimed at filmmakers, such as a discussion hosted by Michael Fukushima, executive producer of the NFB’s English Animation Studio, and filmmakers Eoin Duffy (The Missing Scarf) and Ann Marie Fleming (Window Horses). In their chat, they discussed cheap football jerseys nuts-and-bolts topics, such as crowdfunding, posting a film online, and dealing with distributors. Such discussions are all too rare at festivals, and that’s a pity because filmmakers need these type of forums to learn how to protect themselves from the industry’s wolves.
During the panel, Duffy stressed the importance of not being pushed around by film distributors and why filmmakers should fight to keep internet rights to their films. In dealing with distributor Shorts International, Duffy refused to accept an outrageously long years-long exclusive internet term for his short The Missing Scarf. But he discovered that if he stood his ground, Shorts Int’l would reduce their online exclusivity to a six-month period. Duffy took the deal, and promptly posted his film online after those six months, earning himself waves of online publicity for the film, which can be seen below:
Another program, “A Near-Perfect History of Animation,” was described in the program book as a scholarly talk on the history of animation from renowned historian Julien Bernatchez. A display case outside of the auditorium displayed a selection of Bernatchez’ books, including these:
As you’ve probably caught on, the whole thing was an elaborate gag (Bernatchez is a local comedian), and I’m assuming that almost everyone was aware of what they were getting into, though maybe not since there were a number of walk-outs early on in his talk.
The event was in French, but I was so intrigued by the concept that I decided to sit in for a while and experience it for myself. (For the record, my French is bad. Like, really bad. In France, I once told a waiter, “Je voudrais un Coke, monsieur,” and twenty minutes later he returned with a croque-monsieur sandwich.) Even with this significant handicap, I latched onto Bernatchez’ silliness (the Powerpoint images helped) and loved the concept.
Sommets also isn’t afraid to experiment. One of my favorite events was the Very Shorts Films competition, a selection of 33 shorts that were each under two-and-a-half minutes. I imagine something like this has been done before, but it’s not done often at animation festivals, and it’s a refreshing change of pace from standard festival programming.
If you’re looking for mood or atmosphere in the ultra-short format, forget it. But it’s the perfect length for exploring an experimental visual concept or garnering a quick laugh. It’s also a win for the audience. Don’t like a film? Just wait 150 seconds and another one will turn up.
While many of the same faces show up at both Ottawa and Sommets, Montrealers showed a lot of enthusiasm for their local festival. For good reason too—they produce a lot of independent animation in Montreal and the Quebec province in general. In fact, I don’t think I’ve ever seen so many locally produced films represented at a festival as at Sommets.
The opening night of Sommets drew a cheap football jerseys packed house to the Cinémathèque, which isn’t uncommon for a festival opening night, but the surprise was that the crowds never stopped. The main theater was filled for nearly every screening I attended, and twice it was sold out when I tried to get tickets.
The packed houses even took Marco de Blois by surprise. In the event’s fifteen-year history, he told me that the event had never experienced such a turnout before. Sommets may still be low-key in the years to come, but if this year was any indication, it probably won’t be small anymore.
The diverse viewpoints ray ban sunglasses that Sorcher alludes to is in respect to the roles that these execs have played at the network: Lelash has handled mostly comedic series, while Wigzell has focused more on action-adventure projects.
Lelash, an NYU grad oakley sunglasses sale in English literature, was hired in Cartoon Network’s comedy department in 2005 (he had previously been wholesale jerseys in development at Dreamworks Animation). In 2008, he relocated from Как Turner’s Cheap Oakleys headquarters in Atlanta to Burbank to become director of new and current series. He subsequently became director of comedy animation, and oversaw production of series such as The Marvelous Misadventures of Flapjack and Class of 3000, and served as network executive on outside shows like Warner Bros. Animation’s MAD and The Looney Tunes Show. Lelash also serves as an exec producer on Baratas Replicas Ray Ban Cartoon Network hits like Adventure Time and Regular Show, and most recently had been v-p of comedy animation.
Wigzell, a 14-year-veteran of Cartoon Network, had most recently served as v-p of multi-platform, where he oversaw the network’s cross-platform project Mighty Magiswords. In years past, Wigzell had been CN’s v-p of action adventure animation, with heavy involvement in the Ben 10 franchise, as well as Teen Titans, Mixels, Sym-Bionic Titan, The Batman, Hi Hi Puffy AmiYumi, and Generator Rex.
Directed by Daniel Martínez Lara and Rafa Cano Méndez, Spain, 2015. Selected in over 90 Hotel film festivals and winner of over 50 awards. Nominee for 2016 Cartoon d’Or and winner of the 2016 Goya Award ray ban sale for best animated short film.
CREDITS Written and Directed by Daniel Martínez Lara and Rafa Cano Méndez Music/composer: Oscar Araujo Sound design: Aleix Vila Canela Animation director: Rafa Cano Méndez Animation: Rafa Cano Méndez, Abel Tébar, Albert Papaseit, Esteban Errando, Alan Carabantes, Pedro Florido Vargas Lighting/shading/compositing: Daniel Martínez Lara, Alvaro Villegas, Victor Remolina, Luis Arizaga Rico, Miguel Ángel Bellot, Eva Márquez Matías Crowd animation: Alan cheap nfl jerseys Carabantes, NFL Jerseys Cheap Nacho Garranzo, Victor Remolina, Eva Márquez Matías Rigging/Set-Up: Jose Molina Additional rigging: Alvaro Villegas, Nacho Garranzo Additional art: Carlos del Olmo, Rude Editing: Daniel Martínez Lara Music nfl jerseys cheap performed by Kaabestri Ensemble Arranger: Ferran Cruixent Made in Blender
Dreamworks has How to Train Your Dragon, Disney has Pete’s Dragon, and now Fox has Puff, wholesale nfl jerseys the Magic Dragon.
Trolls director Mike Mitchell is developing a new movie with Fox Animation based on the 1963 Peter, Paul & Mary folk song “Puff the Magic Dragon.” Puff, an ageless dragon, will come to Good life in a live-action/animation hybrid movie.
The project is being overseen by Fox Animation president Vanessa Morrison, and exec Nate Hopper, who moved last fall to Fox from Sony Pictures Animation specifically to spearhead a plan to launch more family live-action/cg hybrid movies. Safehouse Pictures’ Tory Tunnell and Joby Cheap NFL Authentic Jerseys Harold and Weed Road’s Akiva Goldsman will produce, according to Deadline, which first reported the news.
My Life as a Zucchini is an $8 Canopy million Swiss-French stop motion production directed by Claude Barras. Over the weekend, Zucchini picked up a major European recognition, the European Film Award, and its simple charms have won over audiences everywhere it has played.
The Golden Globe nom solidifies Zucchini as the frontrunner for New York-based indie animation distributor GKIDS, which has a record five films in contention this year. Its other foreign submissions are Miss Hokusai, Mune: Guardian of the Moon, April and the Extraordinary World, and Phantom Boy.
The other big surprise is Illumination’s Sing. The reputation of the Despicable Me franchise has made it difficult for end-of-year awards organizations cheap jordans online to view the Illumination films on their own merits, and that’s a real shame because the studio Cheap Jordans is having its best year ever artistically.
Both Sing and The Secret Life of Pets are perfectly constructed cartoon entertainment, from concept through execution. If an organization’s job is to recognize excellence in our art form, then they can’t just dismiss a commercial film for its success, and where others have failed, the HFPA deserves credit for recognizing one of the year’s most entertaining and well-made animated films.
So what’s the Golden Globe snub: The Red Turtle was again locked out of a nomination. This film delivered something unique, and was considered a Cheap MLB Jerseys key contender for most of the year, Cheap Jerseys From China owing in large part to the reputations of director Michael Dudok de Wit and co-producer Studio Ghibli. However, as award season has rolled on, The Red Turtle has yet to pick up a single end-of-year honor. The lack of recognition says a lot about what the mainstream thinks animation should be (literal, easy-to-digest) and what it shouldn’t be (metaphoric, rich, contemplative).
One final note on the Golden Globes—animation dominated the best original song for a motion picture category, taking three of the five nominations. Here are the nominees:
From our lighting workshop on Oct 10th, here’s the group ray ban sunglasses sale taking turns shooting MAÇI a mixed strobe/daylight setup in the alley outside the studio. I’d tag everyone’s names, but I don’t want Cheap MLB Jerseys to make any mistakes!
2. ‘He chose poorly’ – Indiana Jones and the Last Crusade (1989)
Morf was also relied upon for the grotesque aging and death of Nazi sympathizer Walter Donovan (Julian Glover) after he drinks from the wrong cup in this Steven Spielberg film. Several multiple-stage make-ups were shot separately and then morphed by ILM. The sequence is particularly remarkable for its use of all-digital compositing, in that the original film elements were scanned into the computer with a new laser scanner and then the final frames also outputted this way (rather than via an optical printer).
3. Knives and stabbing weapons – Terminator 2: Judgment Day (1991)
Robert Patrick’s liquid metal character, the T-1000, in James Cameron’s film was almost born for morphing. The shape-shifting terminator was a computer generated effect that could take almost any form. That meant for many shots, ILM would utilize model interpolation to change between shapes. However, there were many other examples in the film where Patrick transformed into human characters or metal shapes using traditional morphing methods, and it was here that Morf came into use once again.
4. Tricking Kirk – Star Trek VI: The Undiscovered Country (1991)
ILM’s dominance of the morphing world continued in this sixth Star Trek film (which came out right after the world had seen the morphing sequence in Black or cheap jerseys wholesale White). Here, the studio conducted their morph on the characters – in this case Iman as the alien Martia and William Shatner as Captain James T. Kirk – while they were still mid-sentence, something they hadn’t done previously.
5. Contorting David Byrne – “She’s Mad” (1992)
This music Cheap Ray Ban Sunglasses video for David Byrne’s single featured an array of morphing effects by PDI, fresh off of its success with Black or White and part of a run of years of morphing effects – and related income – from the studio. It was also an opportunity for PDI to show off warping effects (ie. not necessarily transitions or blends between objects, but instead ways to stretch and twist the human body in semi-convincing ways). Still, there were plenty of guitar morphs to enjoy.
6. Changelings, Deep Space Nine (1994-1999)
It wasn’t long before episodic television embraced morphing, with one of the more impressive efforts seen for the Changeling characters in Deep Space Nine. In particular, Odo (René Auberjonois) had numerous shape-shifting abilities, including into a hawk and a dog. VisionArt and Digital Muse carried out morphing duties during the series.
Bjork’s high-art music promos have constantly bedazzled viewers, and none more so than this piece which saw the singer stage an internal battle within before being revealed as a futuristic polar bear. Digital Domain worked on the morphing which was notable for its addition of 3D CGI bear pelts that intermingled with the skin of the live-action Bjork.
8. Morphing in the composite – Contact and Titanic (1997)
Two films from 1997 exemplified how far morphing had come by then. Whereas previously it had been used to mostly blend between characters or creatures, filmmakers soon began to take advantage of the effect’s ability to hide transitions by using it to blend between locations and create dramatic single shots. In partContact, a tracking shot that follows Jodie Foster out of her car, an exterior, into a satellite tracking array center, an interior, used morphing – or ‘blorphing’ (blend/morphing) as visual effects supervisor Ken Ralston described it, to hide the fact that the two places were not at the same location. The work was done by ILM.
Meanwhile, Digital Domain crafted its own blorph for the final long shot in Titanic where the camera dives down into the sunken ship and then transitions from the murky deck into a pristine 1912 ship. The studio combined miniatures, motion control footage, live-action plates, and cg elements to make the shot possible.
9. Morphing creatures is cool again – Grimm (2011)
By the late 1990s, morphing had mostly fallen out of favor as a go-to and frontline effect in film and television (although it still made several appearances in commercials). With the TV show Grimm, however, morphing seemed to make a dramatic comeback. While retaining the ‘look’ of a morph, the truth behind the shots was a mix of blend-shapes of cg creatures and cg humans, and compositing, thanks to the significant cheap nba jerseys efforts of studios including Hive FX and Bent Image Lab.
The Wolverine’s dramatic ending in which the titular mutant takes on the Silver Samurai pushed the tech further. Inside the Samurai suit was a man, Yashida, thought dead but who seeks to steal Wolverine’s healing powers. In the process we see him transition from old to young, but then back again when Wolverine gets the upper hand. Weta Digital steered clear of a typical morph look in crafting cg versions of the character at different stages with some detailed animation and compositing. It’s still morphing, but perhaps not as we used to know it.