The Making of "29 Celebrity Impressions, 1 Original Song"


“29 Celebrity Impressions, 1 Original Song” was created with the help of eleven impressionists and one trumpet player, all exceedingly talented. I hope it was fun to watch, and that you enjoyed my song “Perfect.” Watch the original video here: http://bit.ly/1xpZJpU

CAST (in alphabetical order):
BROCK BAKER: Jack Black, Kermit the Frog, Smeagol / Gollum, Peter Griffin, Adam Sandler, Patrick Warburton, Jon Lovitz
GILBERT GAUTHIER: Frank Sinatra
AMANDA GARI: Cher, Flipper
REAGAN JAMES: Gwen Stefani
BORA KARACA: Whistle
ANDREW LAURICH: Christopher Walken
ANDY McCLOUD: Bono
PIOTR MICHAEL: Christopher Lloyd, Steve Buscemi, Gilbert Gottfried, Ray Romano, Ian McKellan, Jeff Goldblum, Bob Dylan
MISSY MODELL: Shakira
MARK SIPKA: Randy Newman, Louis Armstrong, Willie Nelson, Billie Holiday
GABE STEINER: Trumpet
MELISSA VILLASEÑOR: Britney Spears, Christina Aguilera, Bjork

And featuring ANDREW HOROWITZ as himself

“MAKING OF” FEATURETTE:

Director: Scott Uhlfelder
Producer: Allison Kurtzer
Editor: Randall Maxwell
Sound Recordist: Bora Karaca
Sound Mixer: Lindsey Alvarez

Very special thanks: Rick Lax

Special thanks: Coz Baldwin, Alyssa Cantor, Cathy Cantor, David Cantor, Lauren Cantor, Ethan Edenburg, Jackie Johnson, Katie Kaniewski, Ben Ketai, James Kruk, Andrew Laurich, Hanna LoPatin, Cyndi Lynott, Steven Peltzer, Ben Rosenblatt, and Mike Silver.

For more information, please visit: http://on.fb.me/1vYVYVV
Purchase the album on iTunes: http://bit.ly/VJ2zZU

Woodkid – 'THE GOLDEN AGE' feat. Max Richter 'EMBERS' (Official HD Video)


Buy Woodkid’s album THE GOLDEN AGE
http://smarturl.it/woodkid-tga

CREDITS
“The Golden Age”
Video Directed by Yoann Lemoine
Cinematography By Kasper Tuxen
Video Commissioner Pierre Le Ny
Produced By Iconoclast 
Producer Roman Pichon Herrera 
Line Producer Annabel Rosier 
Visual Effects Yoann Lemoine 
Flame Artist Hervé Thouement, Hugo Aymerich

US Team 
Producer Christine Miller 
Prod super Susan Porche 
Art Director Chris Clayton
Stylist Mirin “midi” Soliz

Talent:
Matvey Lykov 
Jullian Kruithof
Shawnia Willson
Tia Landrum
Matt Page
Chase Grimsley
Brannon Hughes
Jonathan Douglas
Kerrington Hightower
Scott Douglas
Paisley Martin
Brinon Kruithof
Caleb Green
Russel Hightower
Nathalie Kay Dubose
Travis Merindino

℗ & © 2014 Green United Music / Iconoclast / Seize Zero Trois

– TRACK –
“The Golden Age” Woodkid Featuring Max Richter “Embers”
(Yoann Lemoine – Dany Héricourt – Max Richter)
Published by Seize Zéro Trois – Imagem Music – Moka Music

“The Golden Age” ℗ 2013 Green United Music under exclusive license to Universal Music GmbH
“Embers” ℗ 2014 Deutsche Grammophon GmbH
Licensing of Max Richter’s “Embers” courtesy of Deutsche Grammophon Gesellschaft

***FOLLOW WOODKID***
facebook — https://www.facebook.com/WoodkidMusic
twitter — http://twitter.com/woodkid
official site — http://woodkid.com/
official store — http://www.label-gum.com/collections

Woodkid ON TOUR — http://on.fb.me/1kIpdK1

Woodkid’s MAILING LIST — http://ymlp.com/xgjbyjmugmgus

http://label-gum.com

Imagineer Systems Rolls Out mocha Pro 4.0

Fri 11th Jul 2014 | News

Imagineer Systems, creators of the Academy Award-winning mocha® Planar Tracking technology, announced today the release of its flagship visual effects solution, mocha Pro 4.0. Packed with new innovative features that facilities with complex VFX production pipelines will love, mocha Pro 4 offers groundbreaking native Stereo 3D (S3D) workflow capabilities and advanced support for Python scripting. Watch the mocha Pro 4 promo video.

“Visual effects artists working on stereo 3D feature films have been asking for these new features, and we have worked closely with customers to understand and support their workflow,” states Ross Shain, chief marketing officer, Imagineer Systems. “With version 4, we are streamlining many of the complex corrective tasks that come with large S3D projects and expanding the compatibility of mocha Pro with visual effects applications such as Nuke, Ocula and Adobe After Effects. This allows a wider audience of VFX professionals to tackle some of the more dense effects work such as S3D rotoscoping, motion tracking and object removal.”

mocha Pro 4’s new Stereoscopic 3D workflow lets users quickly analyze differences between right and left camera streams and apply the solved disparity in 2D tracking, 3D camera solving, object remove module and image stabilization. Shain further explains the benefits of the new capability: “In a typical S3D post-production workflow, an early process is to correct the footage – vertical alignment, color and other differences between right and left eyes. With mocha Pro 4’s new stereo workflow, the mocha planar tracking technology has been enhanced for multi-stream image analysis. This automatically detects and keeps track of the difference between both eyes, so tracking and roto tasks can be done on uncorrected footage and disparity offsets are automatically animated. This results in a lot less manual keyframing for both solving tracks and creating articulate roto masks.”

The benefits of mocha Pro 4 also carry over to editors and artists using Adobe’s Creative Cloud tools: Premiere Pro and After Effects. Premiere editors can now paste mocha roto masks directly to their timeline for advanced isolation, blurring and color correction tasks while the new customizable keyboard shortcut interface comes with preset profiles to match After Effects.

Facilities can now deeply integrate mocha Pro 4 into their unique VFX production workflows thanks to newly added support for Python scripting. “With Python scripting, VFX houses can better customize their workflows,” comments Shain. “For example, a facility can use Python scripting to integrate mocha Pro 4 with an asset management system such as Shotgun, Hiero or Generation, seamlessly synchronizing visual effects content and metadata across applications and projects.” Python also allows technical directors to customize and automate mocha Pro tasks, such as sending intensive object removal renders to a background render farm.

mocha Pro 4 Feature Highlights At a Glance

– mocha’s new Stereoscopic 3D workflow adds unique stereo support to planar tracking, rotoscoping, object removal and 3D camera solving. It also adds the capability to work on uncorrected, native stereo 3D footage.

 

– Python scripting support allows facilities to further customize their workflows, integrating mocha Pro 4 deeper into the visual effects production pipe.

 

– The customizable keyboard shortcut interface enables mocha Pro 4 users to edit and save customizable keyboard layout or select industry standard keyboard layouts such as Adobe After Effects or Nuke.

 

– The improved user interface plus high-resolution retina display support greatly enhances the end user experience.

 

– New exports and format handling includes support for Adobe Premiere Pro masks, Nuke 7 Tracker export and improved Nuke Roto exports. Version 4 also improves QuickTime and MPEG support.

Pricing and Availability

mocha Pro 4 is now available on Mac OS X, Windows and Linux with nodelocked or cross platform, floating licensing options. mocha Pro 4 supports Adobe After Effects and Premiere Pro, Apple Final Cut Pro and Motion, Avid|DS, Assimilate SCRATCH, Autodesk Flame, Smoke & Maya, Boris FX, Eyeon Fusion, HitFilm, Quantel, Maxon Cinema 4D, Red Giant Warp and The Foundry’s Nuke. Upgrades are available starting at $495 USD; new users can purchase mocha Pro 4 on the Imagineer Systems website for $1,495 USD.

Special promotion: all mocha 4 upgrades will be on sale for 20% off list prices for the month of July.

Related links

www.imagineersystems.com

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DIFF to showcase Geetanjali Rao’s ‘True Love Story’

The third edition of Dharamshala International Film Festival (DIFF) will begin from 30 October, showcasing animation filmmaker Gitanjali Rao’s movie True Love Story which premiered at Cannes earlier this year.

The four-day festival will take place in  Dharamshala which is prearranged by Indo-Tibetan filmmaking couple Ritu Sarin and Tenzin Sonam, promises to bring the best of recent Indian and world cinema, both in fiction and documentary.

“This year’s highlights include an animation workshop by India’s well known animation filmmaker Gitanjali Rao, who will also present her new film, True Love Story, and curate a selection of animation films from around the world,” a statement read.

Filmmaker Umesh Kulkarni will continue his special relationship with DIFF by curating a package of the best of new Indian short films.

DIFF 2014 has also initiated the Filmmakers’ Fellowship Programme, where five upcoming filmmakers from the Indian Himalayan regions will be selected and brought to DIFF to watch films, participate in the masterclasses and workshops, and have one-on-one mentorship sessions with visiting filmmakers.

Corus Entertainment’s Nelvana Enterprises inks global b’cast deals for ‘The Day My Butt Went Psycho’

Corus Entertainment’s Nelvana Enterprises has signed multiple broadcast deals for its new butt-fighting animated comedy, The Day My Butt Went Psycho, with France’s Canal J, South Korea’s Tooniverse, Singapore’s OKTO and Israel’s Zoom.

Co-produced by Nelvana and Studio Moshi and in association with Scholastic Media, The Day My Butt Went Psycho follows the hilarious adventures of Zack and his best friend (and butt) Deuce. Together with fellow young butt fighter Eleanor, these heroes navigate a world where humans live cheek to cheek with their butts in a sometimes troubled world. The series is based on the best-selling books created by one of Australia’s most popular children’s authors, Andy Griffiths and published by Scholastic in the U.S. and Canada and Pan Macmillan in Australia.

The series kicked off in Australia on Nine Network last September and premiered in Canada on Teletoon in June 2014.

Mobile could push games to $100 billion by 2017: Digi-Capital Report

According to Digi-Capital’s latest Global Games Investment Review report, by 2017 mobile and online games could push worldwide gaming software revenues to $100 billion.

The investment bank expects mobile and online games to account for 60 per cent ($60 billion) of worldwide revenues within the next three years mostly on the basis of the compound annual growth rate (CAGR) of nearly 24 per cent since 2011.

The firm found mobile was the main driver of record mergers and acquisitions (M&A) activity in the last year, accounting for $4.6 billion of a record $12.5 billion in games M&A. The free-to-play massively multiplayer online (MMO) market was the next biggest driver with $4 billion in M&A business, followed by tech interests with $2.8 billion.

That total covers the last year, but most of it has come in 2014, with gaming M&A accounting for a record $6.6 billion in the first six months of the year alone, which has already eclipsed the $5.6 billion in mergers and acquisitions recorded for the entirety of 2013.

Digi-Capital offered a number of reasons for the increase of M&A activity beyond the simple explanations of massive growth in the field. The firm also revealed that some acquirers were interested in “stopping mobile insurgents from eating their lunch,” indicating the Zynga pick-up of Natural Motion would fall under that category.

These are some really positive signs for the global gaming space, considering how overcrowded the casual gaming side of things has become and with MMO being the second major contributor to driving revenues up, its only great news for online gaming sites.

‘MotoGP 14’: Game Review

MotoGP 14 boasts an all new sound engine and graphics engine which will allow for improved engine audio as well as revamped graphics, including improvements in lighting and shading.

MotoGP14 features more than 100 available riders, all the official manufacturers, all racing classes and 18 tracks in a brand new racing chapter based on the Official MotoGP World Championship.

Visuals – 8.5 out of 10

Compare MotoGP 14 with the real-world sport of motorbike racing and you’ll end up with a long list of irregularities, but to do so would miss the point entirely. It’s about striking an even balance between realism and gameplay, and although the braking distances and off-track excursions may raise the odd eyebrow, the art of feathering the throttle through a sharp left-hander feels perfectly poised on the DualShock 4. There’s even been a marked improvement in the fallibility of the rider AI. They now make occasional mistakes rather than racing like a pack of autonomous robots.

Game Controls – 8 out of 10 

The game features many single player and multiplayer modes. Single player modes include Time Attack, Grand Prix, Championship, Career and a new Scenario Mode, where players are put into a variety of situations based on past MotoGP events. Career mode will be similar to the previous title. The player will create their own rider and start as a wildcard with the ultimate aim of becoming MotoGP World Champion. Along the way the player will manage sponsors, bike upgrades as well as virtual fans and press through social media and interactions.

The game includes both 12 players online and two player local multiplayer. Online game modes include Grand Prix, Championship and Sprint Season. Also included is a mode called Split Battle, where players aim to complete the most number of laps and fastest sector splits in limited time. Local multiplayer modes are yet to be announced, however the game has been confirmed as having two player local play.

Fun Factor – 9 out of 10

In terms of available modes, MotoGP 14 delivers all the usual suspects while throwing some interesting extras into the mix. Instant Race, Grand Prix, Championship and Time Attack all function exactly as stated, and with a generous spread of five rosters and 18 tracks – including the new Termas de Río Hondo circuit in Argentina – the only notable omission is Michele Pirro. But with a healthy Cal Crutchlow both in the game and on the box, you’re free to take Ducati to the top of the table in a run of Casey Stoner proportions.

The only disappointing thing about this pair of nostalgic modes is that they’re fairly short-lived. There are 34 challenges between them, but aside from increasing the AI difficulty, there’s little in the way of replay value. This makes the inclusion of the redundant playable Safety Car mode more grating. Milestone’s time would’ve been better spent coming up with more challenges rather than shoehorning a BMW M4 Coupé into a motorbike racing game.

Re-play – 8.5 out of 10

Add the graphical overhaul, refined handling and experimental modes together and you end up with a racer that feels much more competitive that its immediate predecessors. Milestone has a habit of releasing motorcycling sequels that hold little distinction outside of the yearly livery changes, but in MotoGP 14, it’s not relying solely on the draw of the licence and the pull of its physics. If ever there was a game made by MotoGP fans for MotoGP fans, this is definitely it.

My verdict is ‘PLAY’

Alex D’souza signing off
MAXIMUM GAMING

Learnings from NASSCOM’s roadshow on better monetisation of games and apps

The folks at NASSCOM recently organised a two day roadshow in two cities, namely Pune and Bengaluru. The idea of hosting the same was address the perennial issue of indie game developers on how to best monetise their games in this overcrowded market.

The Pune seminar on 4 July witnessed a turnout of over 60 odd developers whereas; the Bengaluru seminar the following day on 5 July was well attended as well. The panelists included some of the heavyweights in the industry and a few newer faces.

With India standing on the threshold of becoming a global powerhouse in Games and Apps development, it is imperative to focus, deliberate and decide on the most important issue, the most important challenge “Monetization”. And the roadshow was conducted with this single focus in mind.

The mobile user base is ever increasing and data connectivity is unleashing some never before experienced opportunities to developers. There are various models of monetisation available for developers today, from the premium to freemium model, to from pay per use to ad-supported to model.

But are these able to address the needs of developers in a holistic manner? The sessions examined this from the perspective of stake-holders: Payment gateway, Carriers, Appstores, Ad Network, but above all else Developers. There were lively discussions, fruitful exchange of ideas and some really interesting takeaways.

Some of the distinguished members of the panel were: Sanjay Sinha, India Country Manager, Fortumo;  Dhananjay Nath, Vodafone India Limited;  Jeremy from 9Games.com; Rajesh Rao, CEO, Dhruva Interactive, Chair , NASSCOM Gaming Forum; Ankit Rawal, Head- Ad Sales-APAC, Inmobi;  Anuj Tandon, Co-Founder, Rolocule and a couple of speakers from Pokkt.

The biggest issue that came to the fore was that it’s challenging for small & mid-size developers to become successful on a bigger scale. While larger organisations have a well-known brand, an existing user-base and resources to drive downloads, it is becoming increasingly difficult for smaller independent developers to be seen on overcrowded platforms like a Google Play with over 1 million available apps and counting.

Some of the key takeaways from the sessions were:

Use alternative app stores: Google Play has more than 1 million apps available and your application will have no visibility. Thus, smaller alternative app stores would best provide a chance of getting featured and be a good learning opportunity for improving one’s app before attempting to foray into the big bad world of Google Play.

Publish on other platforms: Both Android and iOS are overcrowded and user acquisition is more expensive than ever. Windows as a platform is on the rise and it’s easier to identify an app category where it can stand a better chance.

Think global: The idea is to develop local games with a global outlook. One can be care free when launching an app on the global space, as there is no baggage attached with the developer. But, there is the danger of getting stuck in the local mindset if the app is an established franchise in the Indian market (which is the case with many local developers). Emerging markets like Thailand, Turkey and Brazil have significantly higher user spending and competition is much lesser than in North America or Western Europe.

User is god: Whether one plans to rely on an in-app purchasing model or advertising for generating revenues, but one can’t do this before one has a good number of downloads and a strong user base. It is very important to track user retention on a daily, weekly and monthly basis as well.

Kudos to NASSCOM, on once again getting some of the major stakeholders together and addressing a very key issue like monetisation. AnimationXpress.com will keep you posted on many such industry initiatives in the coming days as well. Stay Tuned!

Nick moves up to No.3 in TAM wk 27, CN leads with Disney at No.2

The sun is shining bright on Viacom’s kids channel Nick (200 TVTs) as it moves up the ladder this week to overhaul Turner’s Pogo (196 TVTs) by 4 TVTs. Among the other channels in the space, Cartoon Network continues to lead the pack with 228 TVTs closely followed by Disney Channel India with 227 TVTs.

Disney has lost its leadership position from week 26 when it had garnered 253 TVTs, but is not too far back with just a TVT point separating it from CN. Hungama has lost 33 TVTs this week as it comes in at No. 5 with 181 TVTs to its name. The action packed channel, Sonic (70 TVTs) has managed to maintain its lead over Disney XD (48 TVTs).

Among the shows, Cartoon Network’s Oggy and the Cockroaches is the top rated show in the genre for the week. Let’s see what’s in store in the coming week.

Note: The data provided in the article is for All India, TG: CS 4-14 ABC, 0700-2200 Hrs given by a channel and the ratings are in absolute numbers of Television Viewership in Thousands (TVTs).

Budget 2014: Animation, Gaming & Special Effects to get a National Centre of Excellence

There is some great news for the animation, gaming and VFX industry. According to the announcement made by the Finance Minister Arun Jaitley, the Film & Television Institute (FTII), Pune and Satyajit Ray Film & Television Institute, Kolkata will be accorded status of Institutes of national importance and a National Centre for Excellence in Animation, Gaming and Special effects will be soon set up.

Apart from this he also stressed on rural development, and making internet available in the interiors of the country to really encourage and push the industry to tap into the talent pool in these areas as well.

A statement by PwC stated: “We have been closely involved with the Government for conceptualisation of the National Centre of Excellence on Animation, Gaming and Visual Effects and we thus welcome the nod from the new Government for its implementation.”

We at AnimationXpress.com reached out to the industry to get their reaction on the budget and surprisingly got a mixed one, with some really pleased and a few left asking for more.

Hungama Digital Media & Entertainment MD & CEO, Neeraj Roy says: “Whilst it is very encouraging to see the government giving more attention to the internet and support of animation and gaming, I view the initial allocations as a small step in the right direction. China has a near $ 1 Trillion internet economy; India will transition from 2G to 4G and add another 400 million mobile internet users over the next three years. We need an unprecedented push toward digital for a significantly higher consumer adoption as it will spark productivity across sectors. The aspect of bringing back online advertising into the service tax ambit, whilst it is still a fledgling segment, is therefore almost a conflicting action and not a welcome move.”

“I truly believe this is an encouraging step by the ministry to really drive the Animation, Gaming and VFX segments. With this step, the youth of the nation will be encouraged to seriously consider playing an important role in developing the sector further,” Maya Digital Studios, media & broadcast relationship head Aruna Kumar exults.

Technicolor India – Country Head, Biren Ghose went on to explain the benefits of the budget in a little more detail. “This is a very significant move by the finance minister – it is heartening to see that the animation, gaming and VFX industry is getting a specific mention and recognition in the union budget for the 1st time – after years of having made representations for the sector.”

“It is still up to industry to leverage this opportunity and work hand in hand with the Government to ensure that standards and best practices are implemented, based on various initiatives announced; evolve a proper game plan and ensure implementation and success. The skills development funds; the technology and rural development funds and other projects announced should also be “pitched” by the AVGC sector to develop the talent pipelines and also make optimum use of the resources contemplated. Finally, the COE’s need a very detailed prescription on syllabus, faculty recruitment, international alliances, if they are to realise their ambition.” Ghose ends.

Bioscopewala Pictures president Nishith Takia really welcomed the budget with open arms and says: “This is a very encouraging move by the ministry for the sector; the setting up of the National Centre of Excellence will help in getting in the right people into the industry, who are given proper education and guidance along with the training to excel in this blossoming field.”

“Also with the focus on rural development, it will enable us to tap into the various talents, which is available in abundance, and with the world going more and more digital, it will only benefit in getting access to the talent pool hidden away in the interiors and at the same time be accessible to them,” he ends.

One man who was really disappointed with the announcement was Toonz Animation CEO P Jayakumar as he was expecting much more from the ministry for the sector. “I am really glad that the National Centre of Excellence has got the nod and both the institutes having been given national importance, but what I was expecting from the budget was a lot more support to the content creators and promotion of more home grown animation content.”

“We have had several meetings with the ministry in the recent past, where we have seriously raised the concern of providing some kind of financial support for small studios and encourage them to create compelling original content. Also what we were also looking forward to was the announcement of the national broadcaster coming up with a kids’ channel to promote more original content. There was also the thought of allotting fixed blocks on broadcasters in the space to run only Indian originated content, but none of those have appeared in the budget announcement, which has left me a little aghast,” expounds Jayakumar.

And finally giving his views on the budget, Animation veteran Ashish Kulkarni says: “It’s a great step to recognise the sector and also the centre of excellence getting the clearance finally is truly welcomed.”

He goes onto add: “The future of Indian animation will rely on whether the players are
given a level playing field and the studios need to evolve from the outsourcing model to creating their own IPs. Also what will help bringing stability to the industry is signing of co-production treaties with animation friendly countries to create really great content for the global audience.”

We at AnimationXpress.com will keep you updated on the latest developments around the freshly announced budget and how is it further going to impact the industry at large.