Even DMX Screams Like A Girl On The Slingshot Ride
Hilarious ! “DMX” Screams His Head Off on Amusement Park Ride then trys to play if off Caught on Camera
Don’t Forget to Subscribe To My Channel ! 🙂
PLEASE, If you Like it,Share it ♥
Follow us on Twitter:
https://twitter.com/Topvideo2
Like/Follow us on Facebook:
https://www.facebook.com/pages/Top-Rate-Videos/463049650392261
Thanks!
Director + Concept: Rob Chiu. Director of Photography: Matias Boucard. Camera Assistant: Melodie Preel. Editor: Charlie Moreton. Visual Effects: Ryan Dzierzek. Colourist: Ryan Dzierzek. Producer: Rob Chiu. Model: Anne Ladegast. Commissioner: Robert Raths / Erased Tapes. Special thanks to We Are French, Ryzek, HSI London and Work Post.
Thu 31st Jul 2014 | News
[embedded content]
Mixamo, Inc announced today that it has made a number of popular animations from its massive animation collection available in Epic Games’ Unreal Engine 4 Marketplace. These Mixamo animations are optimized for use in Unreal Engine 4.3, are available at no additional charge to game developers with an Unreal Engine 4 subscription, and are ready for use in the popular game engine. The animations are available starting today.
Mixamo’s online animation collection features thousands of custom, high-quality motions that can be downloaded in FBX, BVH and Collada formats, and applied to 3D characters in game engines and other animation software packages. Mixamo has now chosen 15 of its most popular, ready-to-use characters and seven animations, and made them available to all developers via UE4 Marketplace.
“We’re extremely excited to have our animations included in Epic Games’ growing Marketplace,” said Stefano Corazza, CEO of Mixamo. “The Unreal Engine exists to speed the process of game development, and we share a similar philosophy for 3D character creation and animation. Now, with built-in access to ready-made animations, UE4 developers can get their characters moving in minutes, rather than spending hours keyframing animations from scratch.”
The animations, which are fully compatible with Unreal Engine 4.3, include:
● Idle
● Walk
● Run
● Shoot
● Sword
● Jump
● RunJump
Built into Unreal Engine 4, Marketplace is a store from which developers can download high-quality, Epic-curated content free of charge. Eventually, everyone will be able to share and sell assets, templates, sample games, plug-ins, training materials and more.
“Working with Mixamo to deliver this free content to Unreal Engine 4 developers is just the beginning of our collaboration,” said Tim Sweeney, Epic’s founder and CEO. “Getting started using Mixamo’s assets in UE4 is very straightforward, as everything is driven by Blueprint visual scripting. “
Thu 31st Jul 2014 | News
Visual effects studios and software developers have taken a personal interest in a group of talented young adults with autism who are pursuing careers in the film industry. Recent among them is The Foundry, whose sizable software donation to Exceptional Minds digital arts academy in Sherman Oaks, Calif., this month will help these young adults with autism compete for jobs in the demanding field of post-production.
“We have been following the phenomenal achievements of Exceptional Minds and these very talented individuals and wanted to do our part to ensure their success. It didn’t take us long to realize how our compositing software suite could benefit them,” said Mike Ephraim, Head of Americas Sales at The Foundry. “We’re thrilled to be part of such a worthwhile cause and to support the special needs community,” he added. The company has provided 12 annual licenses at no charge to Exceptional Minds’ vocational school and working studio for its NUKEX compositing software suite.
Exceptional Minds opened its doors in 2011 to prepare young men and women on the spectrum for careers in the digital arts. Known for its close working relationship with the visual effects industry, Exceptional Minds and its growing body of students have since worked on six productions, including summer release Dawn of the Planet of the Apes and Oscar-nominated film American Hustle as well as the 2012 motion picture Lawless.
The three-year digital arts vocational program is taught by industry professionals and adapted for the special needs of individuals with autism, involving both professional certification and real-work experience is the field. The Exceptional Minds Studio (EMS), opened earlier this year, is co-located with the school to offer quality post-production services by graduates and students on a contract basis. EMS operates independently of the vocational school to provide high quality stereo conversion (rotoscoping), visual effects, computer graphics, title work, and animation in demand by the industry. Both the Exceptional Minds school and studio have a range of compositing, rotoscoping and animation applications for use by students and contractors. With the addition of the NUKEX compositing application suite, these individuals are now able to move into node-based compositing for larger scale, deep-compositing projects that require powerful camera and planar tracking, in-application model building, and collaborative assist tools.
NUKE is used in almost every Hollywood blockbuster film made today, and has been used extensively in recent CG-heavy films such as Gravity, Star Trek: Into Darkness, The Hobbit, The Avengers, Pacific Rim and many more. “This is an important contribution for our students and for our working studio of young men and women on the spectrum who require the latest tools to be competitive in a very demanding industry,” said Susie Zwerman, who is in charge of job development for Exceptional Minds and is an accomplished visual effects producer with Crystal Rain Media Entertainment. The Foundry joins Adobe Systems, StereoD, Method Studios, Annapurna Pictures, Stargate Studios, Film Roman, United Front, Pixel Magic, DreamWorks Animation, Paramount Pictures and 20th Century Fox, among many others, in support of Exceptional Minds.
Now creating a bridge between high school and the working world for individuals on the spectrum, Exceptional Minds is the first and only vocational school and working studio for young adults with autism entering the post-production field. According to a study prepared for the U.S. Department of Education, one in three young adults with autism lack paid job experience, college or technical school nearly seven years after high school graduation.
As DreamWorks Animation continues to build on its core film business and become a diversified family entertainment brand, the company is expanding its executive leadership team to best execute its business growth strategy.
Former Disney executive Mark Zoradi will join DreamWorks Animation as COO, elevating Ann Daly to president. Lew Coleman will assume the role of vice-chairman, in addition to his current roles of CFO and acting chief accounting officer.
DreamWorks Animation CEO Jeffrey Katzenberg said in a statement: “As DreamWorks grows, we are focusing on creating a strong management structure that has the expertise and capacity to best serve the changing needs of our company. Ann and I are thrilled to welcome Mark to the DreamWorks family, and to recognize the current team for their tremendous contributions to the company. With these new changes, coupled with our other incredibly accomplished recent senior hires—Michael Francis as chief global brand officer and Margie Cohn as head of television, I’m very excited about the stellar calibre of our overall executive leadership team.”
Zoradi is a 30-year veteran of the motion picture industry. He was instrumental in the start-up of Walt Disney Home Entertainment and The Disney Channel. He previously served as GM of Buena Vista Television and president of Buena Vista International with responsibility for the international theatrical and home entertainment marketing and distribution of Disney, Touchstone and Pixar films, and most recently, served as president of Walt Disney Studios Motion Picture Group.
He said: “I am enthusiastic about the opportunity to join the talented DreamWorks team at a time of remarkable expansion and growth for the company. DreamWorks’ family of beloved characters and stories are known around the world and I look forward to helping to build and expand their reach with new businesses and venues.”
In the past 18 months, DreamWorks Animation has been executing its diversification strategy, including building a television division committed to more than 1,100 episodes of original programming, new initiatives in the location-based and retail entertainment divisions, a brand new in-house publishing arm, global growth in its consumer products business, as well as growth in the online space with the acquisition of AwesomenessTV and the launch of DreamWorksTV.
Dynamixyz is proud to announce the release of a brand new version of its Performer Suite, today’s most efficient markerless facial performance capture solution. This major release is a turning point in Dynamixyz’ approach to Facial Motion Capture as it is the most comprehensive solution ever designed with top-notch features like Multi-View and greatly enhanced tracking and retargeting capabilities.
This newest version includes a lot of highly-requested and innovative features, that will make users’ experience even better. User-friendliness has been further improved thanks to a re-vamped GUI, whilst maintaining the high quality that Dynamixyz’ solution is known for.
“We have been working on facial tracking system for 15 years now even if we are newcomers to the motion capture industry. This new version of Performer is at the crossroad of our skills as a computer vision team and of all the feedbacks we had from talented artists and animators so far. We are very proud of this new version and hope it will be adopted by the industry as a reference for quality and powerful features,” said Gaspard Breton, CEO of Dynamixyz.
Enhanced Tracking and Retargeting Capabilities
Benefiting from Dynamixyz’ strong academic research team, Performer’s face tracker and retargeter have risen to the next level: the tracker’s speed, accuracy and robustness have been further improved; The retargeter transfers animation with higher fidelity and stability, and can also take advantage of additional user input to deliver even better animation results. The software also goes multiplatform with Windows & Linux support.
Single- View – Key Improvements
Beside the enhanced tracking quality, Performer “SV” has evolved into a more animator-friendly software. The re-designed GUI introduces a timeline for results visualization and easy frame correction. Animation results are now delivered as easily editable animation curves. Moreover, the software provides a more natural, seamless integration with 3D authoring tools thanks to the new Bridge technology.
Multi- View – Key Features
With the Performer “MV” software, the Performer Suite now brings you multi-view face tracking. This enables simultaneous marker-based and markerless feature tracking, and the ability to export results as true 3D data. With usability as one of Dynamixyz’ primary concerns, this new solution features straightforward calibration process and multiview annotation tools.
At Siggraph’14, Dynamixyz will unveil the first-ever dual marker-based/markerless facial motion capture technology and run live demos on booth #921 (French pavilion). Come and meet our team to discover our ground-breaking solution!
Home to the ‘Transformers’ franchise, Discovery Kids is all set to premiere the action adventure movie ‘Transformers Prime Beast Hunters: Predacons Rising’.
Presenting the journey of a new life in Cybertron, the movie will premiere on 10 August at 9:00 am with a repeat at 3:00 pm. The epilogue to the popular Transformers Prime series will take viewers on a cinematic adventure and will capture the warrior fight of good over evil between the Autobots and Decepticons.
Discovery Networks Asia Pacific EVP and GM South Asia and head of revenue, pan-regional ad sales and Southeast Asia Rahul Johri said in a statement: “Discovery Kids continues to bring iconic content through its international and India themed series to offer smart fun to kids in India. We had presented the ‘Transforms’ franchise and are enhancing the offering with the launch of the new movie that concludes the Prime series and starts a new exciting storyline in Cybertron.”
In the ‘Transformers Prime Beast Hunters’ series, a fearsome new faction, the dragon-like Predacons, emerge on earth and the Autobots adapt with never before seen beast hunters’ abilities to battle this all new enemy led by the spectacular Predaking character.
The movie will see a resurrected Unicron take over the now empty body of Megatron to seek vengeance on the Autobots and ultimately, the destruction of Cybertron. This formidable enemy forces an unlikely alliance between the Autobots, Decepticons, Predaking and two new Predacons, who come together in an epic battle to help protect their newly restored planet. Bumblebee will get promoted to warrior class by Optimus Prime and he will set out on a journey to find All Spark, the source of new life on Cybertron.
Fans of professional wrestling seem to be enjoying WWE’s new online network. The company announced during its most recent earnings report that it has 700,000 plus subscribers to date – which is a pretty good number, given the service’s mere five-month existence – with a relatively young history.
But WWE doesn’t want to stop there, and it plans to keep expanding its digital channel to more places. To do just that, WWE Network will be arriving in 170 new countries this month, on 12 August, including Australia, Hong Kong, Mexico, Singapore, Spain and the Nordic region.
In addition to those, WWE revealed its video service is also headed to China, Germany, Japan, India, Italy, Malaysia, Thailand and UAE, but that further details about this won’t be shared until later on.
In Greek mythology, Heracles aka Hercules was the product of Zeus consummating with a mortal woman of the name Hera. Hera drove her son insane, at which point Hercules murdered his wife and children. After regaining his sanity and realising the horrible nature of his crime, Hercules accepts as penance the famous 12 labours, which most of us have read in books. These included defeating the Nemean Lion, the hydra and the Erymanthian boar.
But, Brett Ratner has put much effort into removing Dwayne ‘The Rock’ Johnson’s Hercules from the lofty pedestals of immortality and making him more mortal, as this mythological mercenary now also feels pain on both physical and emotional levels.
For starters, the 12 Labours of Hercules are referenced fleetingly (defeating the Nemean Lion was one of them) and Hercules comes across as a reluctant hero. He is ably assisted in his quests by an assorted crew of loyal followers comprising Amphiaraus (McShane), Autolycus (Sewell), Tydeus (Hennie), Atalanta (Berdal) and Iolaus (Ritchie).
Mythological heroes have undergone numerous changes throughout history, so there’s barely a shred of justification in complaining about how far away a story strays from its most well-known incarnation.
During a feast one night, they are approached by Lord Cotys’s (Hurt) daughter Ergenia (Ferguson) who offers them Hercules’s weight in gold if they can help in defeating the warlord Rhesus (Santlemann), the supposed bad guy. They are summoned to Thrace to train Cotys’s army, who are woefully inadequate for the rigors of battle. But all is not what it seems with Cotys. King Eurystheus (Fiennes) might also have a hand in the fact that Hercules is tormented by visions of his dead wife (Shayk) and kids.
Out of nowhere, Ratner and his team of editors abruptly insert bloody images of children and women being murdered. This flashback is so poorly edited that it’s never clear what’s happening, though it ends with a blatant rip-off of Kubrick’s The Shining.
Like Arnold Schwarzenegger before him, Dwayne Johnson was born to play ‘Hercules’. Like his predecessor, he’s muscular and not without an onscreen chemistry that’s at times perfectly mythological. It’s too bad that Hercules comes off as a supporting character in his own story. The armies do most of the fighting, and when nothing much is happening, Johnson has to share screen time with his team. The movie is stolen by McShane’s oracle, who is the recipient of the aforementioned noble near-death scene, and Tydeus (Aksel Hennie), a warrior so scarred by violence that he is more animal than human. Tydeus’ backstory, which ‘Hercules’ only hints at, is very interesting and gets one to think, what could have caused such pain.
There are some neat 3-D effects, but as with so many recent 3-D offerings, the format doesn’t seem absolutely essential. The cinematography by Ratner’s frequent collaborator Dante Spinotti is vibrant, and the musical score by Fernando Velazquez is stirring. Most important, the pace of the movie is snappy.
Brett Ratner is a somewhat classic filmmaker; which means he favours widescreen composition and fluid cutting over the shakey-cam and visual claustrophobia that most helmers prefer nowadays.
The movie – adapted from The Thracian Wars, a series by the late British comics mainstay Steve Moore – is packed with ambitious ideas about how to tell a Hercules story while holding on to the notion that heroism isn’t inevitable, but is instead the result of people making decisions and working together.
It’s also a half-hearted, but largely commendable, attempt at a revisionist take on the subject, where the supernatural elements are confined to dream sequences and silhouettes, suggesting a world prone to viewing itself in mythological terms. Centaurs are really just men on horsebacks, the Hydra merely a group of bandits wearing monster masks and Hercules isn’t really a demigod.
Brett Ratner’s Hercules may be a smarter movie than either Paul W.S. Anderson’s Pompeii or Renny Harlin’s Hercules: The Legend Begins, but it lacks the former’s sense of scale and exhibition, and never accomplishes anything as instinctive as the latter’s opening shot.
But, this movie has a sense of proportion. Running just over 90 minutes, the movie is often clunky, but fast and unpretentious. And its likable star, Dwayne Johnson, manages to murder legions without ever seeming sadistic. Less gory than 300, less compelling than Gladiator, this new addition to the sword-and-sandals genre seems likely to conjure some impressive box-office numbers.
When Dwayne ‘The Rock’ Johnson finally breaks free of his chains and bellows, “I am Hercules,” the audience is bound to respond with just the right degree of childish glee.
Cast: Dwayne Johnson, Juhn Hurt, Ian McShane, Reece Ritchie, Ingrid Bolsø Berdal, Joseph Fiennes, Irina Shayk, Tobias Santelmann, Aksel Hennie, Rufus Sewell, Rebecca Ferguson, Joseph Fiennes, Irina Shayk
Direction: Brett Ratner
Genre: Action
Duration: 1 hour 38 minutes
Sony Corporation reported positive results for the first quarter ending 30 June, 2014. Sales stood at $ 17,920 million, an increase of 5.8 per cent compared to the same quarter of the previous fiscal year (“year-on-year”). This increase was primarily due to a significant increase in G&NS segment sales, reflecting the contribution of the PlayStation 4 (PS4), which was launched in November 2013, a significant increase in Pictures segment sales primarily due to higher theatrical revenues in Motion Pictures, as well as the favorable impact of foreign exchange rates.
This increase was partially offset by a significant decrease in sales in All Other, primarily related to Sony’s exit from the PC business. On a constant currency basis, sales increased 3 per cent year-on-year.
Operating income also increased year-on-year and stood at $ 691 million. This increase was primarily due to a significant improvement in the operating results of the G&NS segment partially offset by a significant deterioration in the operating results of the MC segment. Operating income during the current quarter includes a gain of 14.8 billion yen (146 million U.S. dollars) recognized on the sale of certain buildings and premises at Gotenyama Technology Center in Japan, recorded in Corporate and elimination.
Let’s take a closer look at the Gaming and Network Services
Sales increased 95.7 per cent year-on-year (an 86 per cent increase on a constant currency basis) to $ 2,550 million. This increase was primarily due to the contribution from sales of PS4 hardware which was launched in November 2013, as well as a significant increase in network services revenues accompanying the launch of the PS4. Sales to external customers increased 101 per cent year-on-year.
Operating income of $ 43 million was recorded, compared to an operating loss of $ 164 million in the same quarter of the previous fiscal year. This significant improvement was primarily due to the above-mentioned increase in sales; partially offset by a decrease in PS3 software sales.
Let’s take a closer look at the Movie segment
The Pictures segment is comprised of the Motion Pictures, Television Productions, and Media Networks categories. Motion Pictures include the production, acquisition and distribution of motion pictures; Television Productions includes the production, acquisition and distribution of television programming; Media Networks includes the operation of television and digital networks.
The results presented in Pictures are a yen-translation of the results of Sony Pictures Entertainment (SPE), a US-based operation that aggregates the results of its worldwide subsidiaries on a US dollar basis. Management analyses the results of SPE in US dollars, so discussion of certain portions of its results is specified as being on “a US dollar basis.”
Sales increased by 22.6 per cent year-on-year (an 18 per cent increase on a constant currency (U.S. dollar basis) to $ 1,928 million primarily due to a significant increase in sales for Motion Pictures. Sales for Motion Pictures increased mainly due to higher theatrical revenues as the current quarter benefited from the strong worldwide theatrical performances of The Amazing Spider-Man 2 and 22 Jump Street.
Operating income increased to $ 78 million. Operating income increased year-on-year as the current quarter benefited from the above-mentioned higher Motion Pictures sales, while the same quarter of the previous fiscal year included the theatrical underperformance of After Earth. The same quarter of the previous fiscal year included a $ 106 million gain recognised on the sale of SPE’s music publishing catalog.
Forecast for the fiscal ending 31 March, 2015
The sales for Game & Network Services are expected to be higher than the May forecast primarily due to the strong performance of the PS4. Operating income is expected to be higher than the May forecast primarily due to PS4 hardware cost reductions.
This forecast is based on management’s current expectations and is subject to uncertainties and changes in circumstances. Actual results may differ materially from those included in this forecast due to a variety of factors.
Note:-
Sony realigned its business segments from the first quarter of the fiscal year ending March 31, 2015 (“the current quarter”) to reflect modifications to its organizational structure as of April 1, 2014, primarily repositioning the operations of the previously reported Game and Mobile Products & Communications (“MP&C”) segments. In connection with this realignment, the previously-reported operations of the network business which were included in All Other have been integrated with the previously-reported Game segment and are now reported as the Game & Network Services (“G&NS”) segment. The previously reported Mobile Communications category which was included in the MP&C segment has been reclassified as the newly established Mobile Communications (“MC”) segment, while the other categories in the previously reported MP&C segment are now included in All Other. This includes the reclassification of the PC business into All Other.
In addition, as of the current quarter, the power supply business, which was previously included in the Devices segment, has been integrated into All Other to reflect modifications Sony made to its organizational structure as of June 1, 2014. In connection with these realignments, the sales and operating revenue (“sales”) and operating income (loss) of each segment in the fiscal year ended March 31, 2014 have been reclassified to conform to the presentation of the fiscal year ending March 31, 2015. Certain figures for the fiscal year ended March 31, 2014 related to the Financial Services segment have been revised from the versions previously disclosed.
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.
