‘Lisbon’ from Wolf Alice’s debut album, ‘My Love Is Cool’. Pre-order ‘My Love Is Cool’ box set here – http://po.st/MLICboxset Available now on: iTunes: http://po.st/MyLoveIsCool, CD – http://po.st/MLICcd, Double Heavyweight Vinyl – http://po.st/MLICvinyl Directed & animated by Eat The Danger http://www.eatthedanger.com
This year the spectacles around Donald Trump rallies have seen blood spilled and faces bashed; signs ripped and flags burned. In November, the country will settle its differences at the ballot box. But until then, the fight could continue to be an ugly one.
Copper inside old cables can be reused to make trophies.
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Kubrick? Red. Scorsese? Red. Refn? Red. Coens…green? You may not have noticed, but the Coen Brothers use the color green a lot. This pattern most likely goes unnoticed because, unlike an in-your-face color, such as red, green is much more subdued and doesn’t alarm our eyes. Green is natural and a part of everyday life, but the Coens make use of the color in places other than nature. In fact, they seem to utilize the color during key moments of their films. Take a look at the motel doors during the final showdown of NO COUNTRY FOR OLD MEN or the diner bathroom in INSIDE LLEWYN DAVIS. Not only are major moments highlighted with green hues, but the Coen’s often use the color for significant objects: the tracking device in NO COUNTRY FOR OLD MEN, the CD case in BURN AFTER READING, the portable radio in A SERIOUS MAN, and the nail polish in THE BIG LEBOWSKI, to name a few. With the exception of THE MAN WHO WASN’T THERE (all black and white), O’ BROTHER, WHERE ART THOU? (greens were digitally altered to appear yellowish), and TRUE GRIT (stark, dry color scheme), the Coen’s have made significant use of the color green in all of their features. In this video, I desaturated all non-green hues in order to better showcase how the color green is being used. Music: “Green, Green Rocky Road” by Oscar Isaac Films used: Blood Simple (1984) Raising Arizona (1987) Miller’s Crossing (1990) Barton Fink (1991) The Hudsucker Proxy (1994) Fargo (1996) The Big Lebowski (1998) Intolerable Cruelty (2003) The Ladykillers (2004) No Country for Old Men (2007) Burn After Reading (2008) A Serious Man (2009) Inside Llewyn Davis (2013) Hail, Caesar! (2016) Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Three classic commercials for: Chevrolet, Chevrolet Kingswood station wagon, Chevrolet corvair. This is every ad from an hour of NBC! Aired 1 November 1959.
Finding Dory has defeated the all time DreamWorks’ record holder Shrek 2 to become the highest grossing animated film ever domestically. The fish tale has earned $445.5 million in North America till date as compared to Shrek 2 which garnered a whooping $441,2 at the North American box office.
The animated feature which sailed in theatres on 17 June, 2016 has managed to outdo Shrek The Third in its opening domestic collection itself as it grabbed $136.2 million solely in North America on its opening day. Thus, it received the title of gaining the highest box office opening for an animated movie.
And Dory has swam a long way for now by its fifth weekend, the movie has gained $276.2 million from overseas market thus amounting to a total collection of $721.7 million globally. And not to forget this statistics is till date so this number is only going to increase in the days to come.
In a nutshell, Finding Dory has gained several feathers to its hat of being the highest-grossing film of 2016 in North America, the highest-grossing Pixar film, the highest-grossing Walt Disney Pictures release, the highest-grossing Disney animated film, the highest-grossing animated film overall, and the eleventh highest-grossing film of all time.
Also, Illumination’s The Secret Life of Pets has created tremors at the box office as it collected $203.1 million domestically by the end of its second weekend. It has swept away $50.8 million from the overseas market to make a worldwide total of $253.9 million.
Blue Sky’s Ice age: Collision Course has also put up a decent performance by collecting a total of $127 million in its opening weekend. The feature is yet to release in the US.
However, we just can’t over the new record created by Disney Pixar’s colourful, creative and emotional empowering animated story. Dory has swam far ahead of her little friend Nemo and all her animated folks too!
The post ‘Finding Dory’ is the highest-grossing film of 2016 domestically, the highest-grossing Pixar film, the highest-grossing animated film in North America appeared first on AnimationXpress.
As the world celebrated ‘World Emoji Day’ yesterday, we received some news regarding the virtual expressions or emojis or rather concerning the Emojimovie: Express Yourself which is being produced by Sony Pictures Animation.
The plot of the movie seems to be an interesting one as we delve into the world where emojis come to life. During the presentation at CinemaCon this spring, Sony Pictures Animation, president, Kristine Belson provided a glimpse of the movie’s plot while asserting, “Inside your phone, there’s a secret world — and we enter through the text app where we discover Emoji Valley, where the industrious Emoji live and work.”
Now, T.J Miller who was recently seen in Deadpool, has been signed in for the voice of the lead character ‘Gene’, who is described as a jubilant and positive emoji that was supposed to be a “meh” emoji, just like his parents but he was born with a glitch that gives him various expressions that are out of his control. Does he desire to be normal like the other emojis? Yes! But will he later discover that the ability to express oneself is the greatest gift one can be given?
The biggest thing to happen on #WorldEmojiDay is @nottjmiller starring in #EmojiMovie! https://t.co/1hvQvZ2ocw
— Sony Animation (@SonyAnimation) July 17, 2016
Previously, Miller has lent his voice to various projects like Big Hero 6, How to Train Your Dragon, Gravity Falls and High School USA. He can be currently seen on HBO’s Silicon Valley where he plays the role of Erlich Bachman. Miller is also working on Steven Spielberg’s adaptation of Ready Player One, where he plays the part of online troll i-R0k.
Emojimovie: Express Yourself is being directed by Anthony Leondis from a script which has been written by Leonidis himself in collaboration with Eric Siegel. Produced by Sony Pictures Animation, the film is slated to hit theatres on 11 August, 2017.
The post T.J. Miller of ‘Silicon Valley’ fame roped in for the lead voice of ‘Emojimovie: Express Yourself’ appeared first on AnimationXpress.
It is always a challenge to try something new. And, the greater challenge lies is justifying that new art and proving your potential. Bollywood is recently known for trying new stunts and venturing into the superhero space.
The recent A Flying Jatt teaser which came out few days back created a buzz both of excitement and judgemental reactions. And now, Balaji Motion Pictures has released the first official trailer of the film.
The trailer begins with a crisis situation where a house is ablaze and a girl is trapped inside. However, it slightly differs from an usual superhero movie where the Flying Jatt played by Tiger Shroff instead of saving the girl gets himself in trouble. May be he does not have control over his powers or does not know how to channelise them.
Romance takes over as Kirti played by Jacqueline Fernandez grabs the attention of the viewers and also of the superhero who falls deeply for her.
But not to forget it is a ‘superhero’ film therefore the basic concept of ‘Good over Evil’ has to be essence of the plot. That’s where Kay Kay Menon along with Nathan Jones as Raka come in to take the plot to another level and finally bring out the feel of an actual serious superhero action film. Jones looks dangerous and fierce which leaves the viewers with a question- What is the enmity between both of them about?
The film seems to possess a lot of action sequences and Tiger Shroff facing the mighty Jones can be expected to be a thrilling experience. However, a major portion of the film relies on CGI and visual effects. In this trailer too, some scenes look virtually created like the opening fire scene, Tiger Shroff flying beside the car or doing the MJ move.
Overall A Flying Jatt seems to be a light, comedy action superhero film coupled with serious superhero flicks when the antagonist enters the plot. This trailer reveals much more information and also looks visually appealing as compared to its teaser. Still, visually the movie lacks a gripping effect. Directed by Remo D’souza and produced by Balaji Motion Pictures with the VFX done by Prime Focus A Flying Jatt is set to release on 25 August, 2016.
The post ‘A Flying Jatt’ trailer reveals both sides of the Indian superhero appeared first on AnimationXpress.
ftrack, the leading project management platform for creative collaborators, has launched a new integration with MAXON’s Cinema 4D digital content creation package.
The new integration enables MAXON Cinema 4D users to access projects, publish and import files, and manage activities via an ftrack panel implemented into the Cinema 4D user interface. ftrack’s toolset works seamlessly with Cinema 4D’s solutions, enabling improved and streamlined collaboration across 3D projects.
The integration is available now and is free of charge.
MAXON, product & partnership management director, Oliver Meiseberg said, “Cinema 4D projects can grow incredibly complex. An integration with ftrack is therefore hugely beneficial – its organisational and collaborative workflows empower Cinema 4D artists’ creativity, enabling them to concentrate on design, imagination and ideas, rather than the administrative chores that ftrack effortlessly takes care of.”
Key integration features
New features are planned for later in 2016, including the ability to create projects and tasks directly from within Cinema 4D, without the need to set up projects in ftrack itself.
New ftrack users can sign up for a free 30-day free trial to try out this integration. Users can also follow Cinema 4D projects when away from the desk with the ftrack Go app.
Autodesk 3ds Max integration
ftrack integration with Autodesk 3ds Max is also now available, featuring similar functionality as the existing Autodesk Maya and The Foundry NUKE integrations. The ftrack 3ds Max integration includes Exocortex’s Alembic prebuild for 2016 and 2017, providing better export for the Alembic format.
ftrack, CEO, Fredrik Limsäter said, “We believe that software development, especially with a product like ftrack, is best led by the user. These integrations are testament to that belief. The ftrack Cinema 4D integration satisfies a great user demand for improved creative workflow across design and motion graphics. This development, along with 3ds Max integration, will open the platform up to better serve artists who use Cinema 4D and Adobe products as their content creation solutions of choice.”
Along with Cinema 4D and 3ds Max, ftrack currently offers deep integrations with numerous creative applications, including Adobe’s Creative Cloud (Premiere, Photoshop, After Effects), The Foundry’s NUKE, Autodesk Maya, Cospective’s cineSync and more.
The post 3D artists gain powerful production tracking as ftrack releases Cinema 4D integration appeared first on AnimationXpress.
Telstra has unveiled a new brand campaign that brings to life the magic that can be created on Telstra Networks. The Telstra Magic of Technology campaign highlights how Telstra enables people to thrive in a connected world and aims to position Telstra from a telco to a techco. The launch ad begins with a quote from science fiction writer and futurist Arthur C. Clark: “Any sufficiently advanced technology is indistinguishable from magic”. The film then showcases how Telstra innovations enable people, businesses and communities to thrive. The Telstra Magic of Technology commercial features a voiceover by Australian Slam poetry champion Phil Wilcox and a soundtrack by local Australian act Flight Facilities. The campaign also features Sydney visual artist Jessica Bush, Melbourne Illustrator Elise Hurst and The Australian Ballet artistic director David McAllister. The campaign, with its tagline “Thrive on”, is online at telstra.com.au/thriveon.
The Telstra Magic of Technology campaign rrepresents Telstra’s transformation into a service-led solutions provider using software, platforms and its best in class Networks to create innovation and relationships that extend beyondbundled products or phone plans and the domestic market. The work aims to create a cohesive global brand across all customer segments. The idea celebrates the magic of Telstra technology and what it makes possible. It shows people what’s possible in the future and how Telstra can improve today. An extensive social, digital, experiential, outdoor and print campaign follows spanning the entire Telstra portfolio from consumer, small business, enterprise and government, as well as media and entertainment. As part of the relaunch Interbrand have completed a refresh of the Telstra brand identity.
The Telstra Magic of Technology campaign was developed at The Monkeys by chief creative officer Justin Drape, executive creative director Scott Nowell, CEO Mark Green, executive planning director Fabio Burets, managing director Matt Michael, senior copywriter Dennis Koutoulegenis, senior art director Jake Rusznyak, copywriter Archana Murugaser, art director Chloe Banicevic, group content director Kat Kelly, content director Kate Oliver, head of production Thea Carone, senior broadcast producer Jade Rodriguez, and senior planner Chrissy Blackburn, working with Telstra chief marketing officer Joe Pollard, executive director of retail marketing Jeremy Nicholas, GES marketing director Andy McFarlane, brand marketing general manager Ben Cutler, media and digital general manager Harry Lowes, and senior brand manager Maria Rizzo.
Filming was shot by director Simon McQuoid via Revolver with executive producers Michael Ritchie and Pip Smart, producer Ian Iveson and Caroline Barry. Photography was by Toby Burrows. Design work was done at Interbrand.
Post production was done at Fin Design.
Media was handled at OMD by business director Chris Whitnall.
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