Rex, head of character animation at DreamWorks Animation, talks about his work on Madagascar 3: Europe's Most Wanted. Part 1 of 2.
Digital / Visual Effects
Henrik, Co-Founder of Look Effects, talks about differentiating his studio's capabilities as well as the move by visual effects companies to take a financial stake in productions. Part 2 of 2.
Henrik, Co-Founder of Look Effects, talks about competition within the visual effects industry and how it affects his business and plans for expansion. Part 1 of 2.
Habib, creative director at Microsoft Studios, discusses visual design and development and how technology impacts the creative process for both film and game development. Part 2 of 2.
Habib, creative director at Microsoft Studios, talks about innovative technologies used on feature film visual effects as well as video game visual development. Part 1 of 2.
Tristan, the cinematographer on ParaNorman, describes how advances in technology enhance, not hinder, the creative filmmaking process. Part 2 of 2.
Tristan, the cinematographer on ParaNorman, discusses the differences between live action and stop-motion cinematography as well as challenges faced working on ParaNorman. Part 1 of 2.
Paul, Oscar-winning VFX Supervisor on Inception, discusses his efforts on several of Christopher Nolan's films including The Dark Knight Rises.
Gary, Oscar-winning Sound Designer at Skywalker Sound, talks about the challenges doing sound design for Disney's Wreck-It Ralph. Part 2 of 2.
Gary, Oscar-winning Sound Designer at Skywalker Sound, talks about the importance of sound design to great storytelling and how directors sometimes take sound for granted. Part 1 of 2.
Eric, a writer and director on all three Madagascar films, discusses the various creative and technical dynamics that impact directing hundreds of artists for several years on a single animated feature. Part 2 of 2.
Eric, a writer and director on all three Madagascar films, talks about the challenges faced on Madagascar 3: Europe's Most Wanted. Part 1 of 2.
Dan, director on TV shows like Lost, The Sopranos, Homeland and The Walking Dead, discusses how the increased use of visual effects has impacted episodic television.
Dan, chief creative officer at Method Studios, talks candidly about onset politics, managing relationships to ensure he gets the shots needed in support of a film's visual effects. Part 2 of 2.
Dan, Chief Creative Officer at Method Studios, details the challenges of working with the Wachowski siblings and Tom Tykwer on their film, Cloud Atlas. Part 1 of 2.
From 28 November to 1 December, 2012, Singapore will be the place for the international computer graphics and interactive techniques community to converge for SIGGRAPH Asia 2012. This year, the fifth edition of the highly regarded and anticipated ACM SIGGRAPH Conference and Exhibition will be back in its inaugural city. Following its successful debut in Singapore in 2008, SIGGRAPH Asia returns to the city state this year, once again bringing together the best names in the animation, digital art, graphics and technology industries from around the world.
Wayne talks about virtual production and performance capture used on recent Weta films including "Tintin" and "Rise of the Planet of the Apes." Part 1 of 3.
Alice fights alongside a resistance movement in the continuing battle against the Umbrella Corporation and the undead.
The SIGGRAPH Computer Animation Festival is the annual festival for the world's most innovative, accomplished, and amazing digital film and video creators. An internationally recognized jury receives hundreds of submissions and presents the best work of the year in daily Festival Screenings and the Electronic Theater. Selections include outstanding achievements in time-based art, scientific visualization, visual effects, real-time graphics, and narrative shorts. SIGGRAPH 2012 takes place 5-9 August in Los Angeles, California. Visit www.siggraph.org/s2012 to learn more.
Nick and Jeff talk about the character of Scrat, his history, his antics and how they animated him on the upcoming "Ice Age: Continental Drift." Part 1 of 3.
Nick and Jeff talk about the pressure of animating Scrat, their work on "Rio" and the challenges of animating birds. Part 2 of 3.
Jeff talks about the future of the visual effects industry and how artists deserve more respect, recognition and compensation. Part 4 of 4.
Jeff talks about the VES 2.0 initiative, issues involving unions and trade organizations as well as blogger criticism of VES efforts. Part 3 of 4.
Jeff talks about recent VES efforts to educate members and provide resources to make them better business people. Part 2 of 4.
Michelle talks about a typical day on a busy production and how she started in the industry and came to MPC. Part 3 of 3.
Michelle discusses her role as Head of Film as well as MPC's efforts with toolset R&D, previs and visual development Part 2 of 3.
Jeff discusses the varied requirements for motion capture and keyframe animation as well as what he enjoyed most working on "The Avengers." Part 3 of 3.
Jeff discusses "The Avengers" helicarrier sequence, facial capture innovations as well as the challenges of moving assets between multiple pipelines at multiple facilities. Part 2 of 3.
Nick and Jeff describe the satisfaction of seeing an audience watch their films and how that helps them become better animators. Part 3 of 3.
Steve talks about innovations in virtual production technology and how those help filmmakers make more efficient and less costly films. Part 2 of 2.
Sebastian discusses virtual production-related R&D, integrating previs with film production, and helping directors embrace new tools and technologies. Part 2 of 2.
Sebastian talks about Weta's emphasis on R&D, tools, the creative process and their place within the virtual production pipeline in films like "Tintin" and "Rise of the Planet of the Apes." Part 1 of 2.
The future America is an irradiated waste land. On its East Coast, running from Boston to Washington DC, lies Mega City One- a vast, violent metropolis where criminals rule the chaotic streets. The only force of order lies with the urban cops called "Judges" who possess the combined powers of judge, jury and instant executioner. Known and feared throughout the city, Dredd (Karl Urban) is the ultimate Judge, challenged with ridding the city of its latest scourge - a dangerous drug epidemic that has users of "Slo-Mo" experiencing reality at a fraction of its normal speed.
In this arcade-game-hopping journey, Ralph (voice of John C. Reilly, “Talladega Nights: The Ballad of Ricky Bobby,” “Step Brothers”) is tired of being overshadowed by Fix-It Felix (voice of Jack McBrayer, “30 Rock”), the “good guy” star of their game who always gets to save the day. But after decades doing the same thing and seeing all the glory go to Felix, Ralph decides he’s tired of playing the role of a bad guy. He takes matters into his own massive hands and sets off on a game-hopping journey across the arcade through every generation of video games to prove he’s got what it takes to be a hero.
One part martial arts stage show, one part animated projection, this video of performance group Kagemu's show Black Sun in Paris has easy appeal. Front projection of CG animation from visual designer Nobuyuki Hanabusa provides spacial depth to the interactive, shadowy spectacle.
Henrik and Mark talk about the work they did on "Moonrise Kingdom" and "Underworld: Awakening." Part 2 of 2.