Selick Talks Coraline: The Electricity of Life, at AWN.
One Step at a Time for the Puppet of a Thousand Faces, at CGSociety.
Bringing Digital 3D to Stop-Motion Animation, at Film Video.
Coraline Animated Via Stop-Motion, at Post Magazine.
Here’s a link: http://www.vimeo.com/3245162
Let me also explain a little bit what I mean exactly by "Animated Mural"… A mural is a collection of themed images. An animation is a series of images that, when viewed in rapid succession, create the illusion of movement. An Animated Mural is they fusion of mural art and moving picture art. The goals of the project were to explore this idea by creating moving image that tells a non-linear story by presenting the viewer with multiple focal points and slow moving imagery.
Ideally, the piece should be projected on a wall and looped, but since this is the Internet, all I can do is ask that you watch it more than once before you complain that there was too much going on! 🙂
Anyway, I’ve blathered on quite a bit. I hope you enjoy it.
Can anyone help me? :confused: The sample can be seen at: http://www.youtube.com/watch?v=sH23On6siog
Please respond if you can.
Thanks
Julie
julie.jancen@gmail.com
Darbotz è un giovane street-artist indonesiano che declina abilmente le sue doti su vaste pareti o su felpe, sneakers e t-shirts. Abusivo o su commissione, il suo tratto nervoso e veloce ha conosciuto via via sempre più estimatori, fino all’incontro con Nike che lo ha voluto come interprete d’eccezione per la complessa campagna di rivalorizzazione dei propri modelli storici.
La Air Force 1, esistente da ben ventisei anni, è uno degli otto iconici modelli scelti dal brand per dar vita ad una collezione Sportwear permanente, perennemente in evoluzione grazie ai remix ed alle reinterpretazioni da parte di artisti e designers. Una misteriosa e sfuggente creatura creata da Darbotz è testimonial dell’operazione, protagonista di un suggestivo video creato per l’occasione. L’animazione è di Randy Rais, le musiche di Arianjie.
Per la collezione Windrunner Metallic Collection, invece, Nike commissiona a Darbotz una installazione site-specific e avvia la produzione di una serie di video, attualmente in progress, che racconta gli artisti che ispirano e reinventano il marchio in giro per il mondo. Nella clip ambientata a Jakarta l’artista indonesiano, in una sessione di live painting, aggiunge l’oro e l’argento alla sua tavolozza monocromatica e ci racconta delle sue creazioni.
Articolo redatto da Didier Falzone
For Instanbul’s IF 2009 independent film festival, Ayse Unal of Anima Istanbul teamed up with compositor Ilhan Poyraz to reinterpret the experience of watching a zoetrope in this deceptively simple promo.
I was intrigued by the process, and Ayse was kind enough to share a little making-of action with us:
Did you actually create a physical zoetrope? Or did you mimic the look of a zoetrope using software?
We did not create a physical zoetrope, but we photographed people on a turntable in eight angles. We then made the film mimicking a real life zoetrope using Fusion 5.3.
We wanted to make a 3D previz before hand, however we didn’t have enough time, so we just shot some photographs in our own studio and came to the conclusion eight angles for the same movement in time is enough for the final film we have in mind.
Then we went to a bigger studio and shot series of photographs with Canon Eos cameras. So we had series of photographs, in all 8 positions the actors repeated the actions. We matched the movements’ position in space and time in 8 timelines. And ping-pongs were readied.
Keying and masking were finished. So we were ready to prepare the setups in Fusion. First we prepared eight image sequences of the figure turning around himself/herself. You can see 2 examples of those sequences here.
Then we mapped these sequences to planes. We achieved something like this. When the cylinder rotates, the planes on the cylinder always are in frontal view.
To be able to make a “working zoetrope”, we wrote a simple Fusion expression. What this expression does is according to the angle of the rotation of the cylinder, it finds the matching angle from the footage. As the footage is a figure shot by turning on a turntable, the angles match.
So if the zoetrope is at its correct speed to see the animation, the figures of the first frame have 0° rotation, the second frame is black (strobe), the figures of the third frame have 45° rotation. Of course like a real life 3D zoetrope, all figures placed on the cylinder are photographed at the sequential frames of the animation.
After all this work, we finally had a zoetrope, so truthful to the real one, if you don’t use the strobe effect, doesn’t work. 
Here’s another shot from Fusion showing the interactive of the sequences.
Posted on Motionographer
During preview, everything is fine. Stepping through that is; during RAM preview or during render, all roto’ed layers are one frame off, making everything look totally bad!
Has anyone ever experienced this and maybe fixed it?
-update-
Single frame render goes fine. I haven’t got a clue.
I think I’ll make a script that outputs every frame to the render queue. But a normal solution would be better.
Thanks.
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
