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Viewing: Blog Posts Tagged with: tech, Most Recent at Top [Help]
Results 1 - 25 of 108
1. How the ‘Storks’ Filmmakers Transformed A Pack of 100 Wolves Into…Anything

The scene-stealing transforming-wolves in "Storks" were both a creative and technical animation challenge.

The post How the ‘Storks’ Filmmakers Transformed A Pack of 100 Wolves Into…Anything appeared first on Cartoon Brew.

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2. Video: StyLit Presents An Exciting New Way To Stylize CG Animation

What if you could sketch a pattern or design on a piece of paper and have all the hand-drawn intricacies of your work instantly preserved in the texture of a 3D model? It may soon be possible.

The post Video: StyLit Presents An Exciting New Way To Stylize CG Animation appeared first on Cartoon Brew.

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3. Texture Painting, Glazing Brushes, Customizability Among New Features in Corel Painter 2017

Corel has added significant improvements to the 2017 edition of its digital paint software Painter.

The post Texture Painting, Glazing Brushes, Customizability Among New Features in Corel Painter 2017 appeared first on Cartoon Brew.

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4. SIGGRAPH 2016: An Animation and VFX Preview

SIGGRAPH can be overwhelming, so here’s an animation and VFX-focused look at what not to miss in Anaheim.

The post SIGGRAPH 2016: An Animation and VFX Preview appeared first on Cartoon Brew.

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5. How ‘The Simpsons’ Used Adobe Character Animator To Create A Live Episode

The producers of "The Simpsons" called on Adobe to help them bring Homer to life in real-time.

The post How ‘The Simpsons’ Used Adobe Character Animator To Create A Live Episode appeared first on Cartoon Brew.

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6. Fusion Compositing Software Is Now Free And Available On Macs

There’s never been a better time to composite your vfx/animation projects and do color grading -- for free.

The post Fusion Compositing Software Is Now Free And Available On Macs appeared first on Cartoon Brew.

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7. Cloud-Based Animation Platform Artella Launches Worldwide

Artella is a valuable new tool for animation projects where crews don't work in the same physical space.

The post Cloud-Based Animation Platform Artella Launches Worldwide appeared first on Cartoon Brew.

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8. FMX Report #2: What The VR Future Holds

As quickly as it began, FMX is over for another year. Perhaps more than at previous conferences, speakers were especially confident in discussing the current state of the animation, vfx, and digital content creation industries – including the state of virtual reality. Just as importantly, there was much discussion of the future, especially with the clear arrival of vr and interactive and immersive storytelling. Just what should filmmakers do with this new medium? Luckily, pretty much the world’s top vr filmmakers were there to weigh in.

VR capture tools, techniques for producing content, and headsets for displaying that content seem to be innovated upon almost weekly. We still don’t know quite yet what many of the virtual reality and augmented reality tech companies have in store for us (think: Magic Leap). But there are, of course, already many ways to experience vr and several studios have dived into vr content creation. The question is, how do you make that content compelling?

At FMX, an expert panel of vr and immersive filmmakers hosted by Google Spotlight Stories’ Kim Adams was on hand to discuss their relatively short but intense experiences in the field. One of those panelists was Jan Pinkava of Pixar fame (Geri’s Game, Ratatouille). Now creative director at Spotlight Stories (part of Google ATAP), Pinkava created an early interactive film for mobile devices in 2013 with Windy Day, while ATAP was still part of Motorola.

Pinkava’s film grew out of a mission at ATAP to create something emotional for the smartphone; the group recruited Pinkava, who brought aboard other Pixar veterans like Doug Sweetland and Mark Oftedal. “We wanted to do something with this power, something emotional,” Pinkava told a packed FMX audience. “Coming from Pixar, those films they make are emotional – so we thought, let’s make movies. We sat in a room and said, why don’t we make a movie and give the camera to the audience?”

After overseeing other films crafted in Google’s ongoing Spotlight series, Pinkava has formed his own views about what works in immersive and interactive films, whether they be 360 degree experiences or vr pieces that can be watched with either simple goggles or hard-wired headsets. Pinkava constantly asks, when considering vr proposals, ‘Is this the best way to watch this? Is every way I’m going to watch this a good way? As a director, how can you help that experience for the audience be a good one?’

Two other filmmakers on the panel with experience in Google Spotlight Stories were Tim Ruffle and Jason Fletcher-Bartholomew from Aardman Animations. They collaborated on the 360-degree Special Delivery. Writing Special Delivery required a re-think of the traditional short film script. “In our heads we initially wrote a linear script,” said Fletcher-Bartholomew. “We would write in background gags, but we should have concentrated on the main chase. So getting out of that linear mindset was actually quite hard for a number of weeks. Even our storyboard was very linear, but in end we cut it up on different walls. If anyone looked at it they would have thought we were mad. We went back to cardboard cutouts and moving back to theater-like sets.”

Another challenge faced on this Aardman short, the duo shared, was how to lead the viewer around in the story and not have them get lost in the 360 world. “I found it more like choreographing a play than writing a play,” said Ruffle. “We made sure there were elements of our sets that made particular characters visible. It’s a bit like video game language. People just seem to understand to look in certain directions because something is happening over ‘there.’”

This requirement to consider new ways of choreographing the action in an immersive film was a view also shared by Nexus’ co-founder and executive creative director Chris O’Reilly. Nexus is making a new Google Spotlight Story called Rain or Shine (some clips were shown here at FMX). “Directors come in with filmmaking tools, but they all need re-thinking in vr,” said O’Reilly. “We were thinking about how to control spaces. We talked to games companies. We even talked to architects who have experience in cajoling people through airports.”

Aardman and Nexus’ experience also highlights one important aspect of vr right now: it’s new. Which means everyone is experimenting. Jacquie Barnbrook, a producer with The VR Company, which is in the process of making the much-anticipated The Martian VR experience, says part of the joy and frustration of vr filmmaking right now is just getting through it. “The director of The Martian VR, Robert Stromberg, says we’re building the plane as we’re flying it – we may die,” Barnbrook related. “Shooting in vr is the most weird and awkward experience you can imagine. Things like our cameras are not yet able to sustain shooting for more than six minutes. We were putting cups of ice on the cameras to cool them down!”

For Mirada Studios’ Andy Cochrane, who has worked on everything from a Google Shop VR Tour to The Strain VR, the result of this new wave of interactive filmmaking actually provides the opportunity to serve in multiple roles. “I’m a technical supervisor, a director, a visual effects supervisor. We settled on ‘digital and interactive director’ because it seemed to be descriptive of something.”

And Cochrane suggests that this new vr/interactive storytelling world – which is heavily concentrated right now on the west coast of the U.S – just happens to come at a time when the visual effects industry on that side of the country has been partially decimated by subsidies and other benefits being offered elsewhere. That, says Cochrane, represents an opportunity to visual effects artists who once worked in Los Angeles and are highly suited to technical and artistic aspects of virtual reality. Indeed, effects artists have for years been dealing with stitching plates, making 3D scenes and characters, and solving complex lighting issues, in helping to tell compelling stories.

The future does look bright in vr and immersive and interactive entertainment, even if we don’t quite know just what it ‘is’ yet. Certainly, vr content providers are doing everything they can to, as Jan Pinkava observes, “put tools out there for their collaborators — filmmakers — to make the things they know how to do. The whole purpose is then to make all this available to you, the audience.”

The post FMX Report #2: What The VR Future Holds appeared first on Cartoon Brew.

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9. FMX Report #1: This Year Is All About VR

Cartoon Brew reports from Germany's digital art conference FMX.

The post FMX Report #1: This Year Is All About VR appeared first on Cartoon Brew.

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10. The life and work of Buckminster Fuller: a timeline

A self-professed "comprehensive anticipatory design scientist," the inventor Buckminster Fuller (1895-1983) was undoubtedly a visionary. Fuller's creations often bordered on the realm of science fiction, ranging from the freestanding geodesic dome to the three-wheel Dymaxion car.

The post The life and work of Buckminster Fuller: a timeline appeared first on OUPblog.

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11. Here’s Where To Download OpenToonz, Studio Ghibli’s Free Animation Software

Get the software program used to make Studio Ghibli films, "Steven Universe," and "Futurama" for free.

The post Here’s Where To Download OpenToonz, Studio Ghibli’s Free Animation Software appeared first on Cartoon Brew.

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12. Toonz Software Used by Studio Ghibli and ‘Futurama’ Being Made Free and Open Source

A complete and total gamechanger for the animation industry moving forward.

The post Toonz Software Used by Studio Ghibli and ‘Futurama’ Being Made Free and Open Source appeared first on Cartoon Brew.

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13. ILM, Laika, DreamWorks, Imageworks, and Rhythm & Hues Among Sci-Tech Academy Award Recipients

This year's Sci-Tech Academy Awards remind us that technological innovation is a major part of animated filmmaking.

The post ILM, Laika, DreamWorks, Imageworks, and Rhythm & Hues Among Sci-Tech Academy Award Recipients appeared first on Cartoon Brew.

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14. Adobe Kills Flash Name, Rebrands It As Animator-Friendly Animate CC

Adobe's new Animate CC is making strides to be more animator-friendly, but is it too little, too late?

The post Adobe Kills Flash Name, Rebrands It As Animator-Friendly Animate CC appeared first on Cartoon Brew.

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15. Drawing Tablets Head-to-Head: iPad Pro/Pencil vs. Surface Pro vs. Wacom Cintiq Companion

What's the right drawing tablet for you?

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16. Sergio Pablos Project ‘Klaus’ Is Moving Forward with Toon Boom as Tech Partner

"Klaus," a hand-drawn all-ages holiday comedy, is anticipating a 2019 release.

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17. Microsoft Unveils Next-Generation of Surface Pro Tablets

The tablet wars are heating up, and the winners are artists and animators.

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18. Another Animator-Friendly Tablet: Microsoft Unveils Surface Pro 4 Line

The tablet wars are heating up, and the winners are artists and animators.

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19. Apple Computer - Steve Jobs' Success Story


Steven Paul "Steve" Jobs was an American pioneer of the personal computer revolution of the 1970s. Shortly after his death, Jobs' official biographer, Walter Isaacson described him as the creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing.

Steve Jobs was adopted to a family in Mountain View, California. While still in high school, Jobs interest in electronics prompted him to call William Hewlett of Hewlett-Packard to ask for some parts for a school project. Hewlett provided the parts and then made an offer to Jobs to intern at Hewlett-Packard for a summer. There, Jobs met Steve Wozniak, a talented and knowledgeable engineer five years older than the high school student. Their friendship would eventually be the foundation on which Apple was built.

Jobs dropped out of Reed College after one semester and went to work for Atari designing games. He carefully saved the money he earned while working at Atari so that he could take a trip to India and sate his bourgeoning interest in the spiritualism of the East.

After returning home from India, Jobs and Wozniak renewed their friendship. Jobs was shown a small computer that Wozniak had been working on as a hobby, but Jobs saw its potential immediately and persuaded Wozniak to go into business with him. In 1975, at the age of 20, Jobs went to work in his parents' garage with Wozniak working on the Apple I prototype.

The Apple I sold modestly, but well enough to be able to go to work on the Apple II. In 1977, the new model was put on sale. With a keyboard, colour monitors and user-friendly software, Apple became a success. The company made $3 million in their first year and had surpassed $200 million in their third.

However, in addition to the Apple III and its successor the LISA not selling as well as had been hoped and a marked increase in competition in the sale of PCs, 1980 saw Apple lose almost half of its sales to IBM. Things got worse for Jobs in 1983 when a fight with the directors got him kicked off the board by the CEO, John Sculley, whom Jobs himself had hired.

In 1984, as a response to the sharp decline in sales, Jobs released the Apple Macintosh which introduced the world to the point-and-click simplicity of the mouse. The marketing for the Mac was handled poorly and with a price tag of $2,500, it was not finding its way into the homes for which it had been designed. Jobs tried to repackage the Mac as a business computer, but without a hard-drive or networking capabilities, not to mention only a small capacity for memory, corporations were not interested. In 1985, without any power in his own company, Jobs sold his stock in Apple and resigned.

Later in 1985, Jobs began NeXT Computer Co. with the money he'd made from the sale of his stock in Apple. He planned to build a computer to change the way research was done. The NeXT computer, though complete with processing speeds previously unseen, unmatched graphics, and an optical disk drive, at $9,950 each, sold poorly.

Persistent after the failures of the NeXT venture, Jobs began toying with software and started to focus his attention on a company he'd bought from George Lucas in 1986, Pixar Animation Studios. Jobs signed a three-picture deal with Disney, and began working on the first computer-animated feature. Released in the fall of 1995, it had taken "Toy Story" four years to be made. But the work had been well worth it, the film was an incredible success. Pixar went public in 1996, and in one day of trading, Jobs 80% share had become worth $1 billion.

Apple was struggling, having failed to design a new Macintosh operating system, and the company only held 5% of the PC market. Days after Pixar went public, Apple bought NeXT for $400 million and renamed Jobs to the board of directors to advise Gilbert F. Amelio, the chairman and CEO. However, in March of 1997, Apple recorded a quarterly loss of $708 million, and Amelio resigned a few months later. Jobs was left in charge as interim CEO and it was up to him to keep the same company he had started and which had ousted him alive. So he made a deal with Microsoft. With an investment $150 million for a small stake in Apple, Apple and Microsoft would "cooperate on several sales and technology fronts", and Apple would be assured their continuation in the PC market.

Jobs also went to work improving the quality of the Apple computers. The introduction of the G3 Power PC microprocessor made the Apple faster than those computers operating on Pentium processors. Apple also turned its energies toward producing an inexpensive desktop, the iMac, that was another hit for the company. With Jobs once again in control, Apple was able to quickly turn itself around, and by the end of 1998, was bringing in $5.9 billion in sales. Jobs had returned to his first love, a little older and a little wiser. He had made Apple healthy again and returned it to a place where it was contributing new and innovative technologies to the computer world.


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20. Oculus TD Max Planck: “We Want to Inspire the Virtual Reality ‘Citizen Kane’”

Challenges and lessons learned from interactive animation storytelling.

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21. Oculus Debuts ‘Henry,’ An Immersive Virtual Reality Short

Interactive, immersive animation experiences are now a reality.

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22. Oculus Creative Director Saschka Unseld: “It Feels Like We’re in Film School Again”

After directing Pixar's "Blue Umbrella," Saschka Unseld has moved into the world of VR filmmaking.

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23. Disney Explains Its Powerful New Hyperion Rendering Engine

Disney Animation made a fun and informative film explaining the new renderer it used on "Big Hero 6" and the upcoming "Zootopia."

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24. Disney And Others Bet on Virtual Reality With $65 Million Investment in Jaunt

With the backing of major corporations like Disney and the Chinese government, virtual reality start-up Jaunt is now one of the most well funded companies in VR content creation.t

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25. Pixar Artists Test Drive The Apple Pencil — What Do They Think About It?

Will animation artists incorporate the new Apple Pencil stylus into their production workflows?

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