CALLS TO OKIES: The Park Grubbs Story


In the early 1980s, before the Jerky Boys brought prank phone calls to a mainstream audience, a group of Oklahoma teenagers were conducting strange backwoods experiments with their landline telephone. These underground prank calls gained infamy, and became known as Park Grubbs, garnering such fans as The Flaming Lips, Daniel Clowes (Ghostworld, Art School Confidential), and Peter Bagge (Hate). Directed by two Okie filmmakers, Bradley Beesley and Ben Steinbauer, and featuring interviews with both the pranksters and the pranked, the legendary Park Grubbs prank calls come to life in this one-of a-kind documentary. Directors: Bradley Beesley & Ben Steinbauer Executive Producer: Berndt Mader Producer: Tyson Meade, Bradley Beesley, Ben Steinbauer Cinematographer: Bradley Beesley Editor: Ron Pippin, Mike Melendi Sound Designer: Corey Roberts Music: Steven Drozd, Tyson Meade & The Flaming Lips

Velodrool


Contact: sander.joon (at) gmail.com Hand-drawn animation / 6’12” / HD / 16:9 / colour / stereo Credits Author: Sander Joon Sound, music: Sander Põldsaar, Andres Dajek Supervisors: Priit Pärn, Olga Pärn, Andres Mänd ja Trygve Nielsen Production: Estonian Academy of Arts Year: 2015 Synopsis An addicted biker runs out of cigarettes. He joins a race to get more, but has to take help from some peculiar people in the audience to stay in the competition. Awards Fredikstad Animation Festival 2015 – Grand Prix Melbourne International Animation Festival 2016 – Best of the Festival Ottawa Animation Festival 2016 – Best Animation Technique Viborg Animation Festival 2016 – Staff Pick / Ginger Award IndieLisboa 2016 – Special Mention PIAFF 2016 – Special Mention Cartoon d’Or 2016 – Nomination Official Selections Annecy 2016 – Student Competition Zagreb 2016 – Student Competition Holland Animation Film Festival 2016 – Student Competition Anifilm 2016 – Competition Fest Anca 2016 – Student Competition Krok festival 2015 – Competition Animateka 2015 – Student Competition Anima-Brussels 2015 – Student Competition DOK Leipzig 2015 – Competition KLIK! 2015 – Student Competition AnimaSyros 2015 – Student Competition Animated Dreams 2015 – Student Competition Hiroshima 2016 – Stars of Students Chitose Airport 2015 – Student Panorama

Monsoon III (4K)


Blu-Ray discs available here: mikeolbinski.com/shop/ Song by Kerry Muzzey: “Revenge”/ “Revenge: Epilogue” (on iTunes: http://bit.ly/KM_TM3 Amazon: http://bit.ly/KM_REVENGE) Follow me: http://www.mikeolbinski.com / http://www.twitter.com/mikeolbinski / http://www.facebook.com/mikeolbinskiphotography / http://www.instagram.com/mikeolbinski —————– If you asked the average person, many would characterize this summer’s monsoon as a down season. Not a lot of storms overall and it seemed generally more quiet. And in many ways it actually was a slower season. All told I chased about 36 days for this film, which was less than the 48 in 2015. We had an early start in late June, and then it was dead for almost three weeks. When I looked back and realized I chased 12 less days…yeah, it definitely had less action than normal. But to a storm chaser, none of this really means anything. Sure there were days when nothing was remotely possible to chase, but most of the time the monsoon can be found in the far corners of the state even when Phoenix and Tucson are dry as a bone. For me personally, I loved this season. Maybe because as a filmmaker, having put out a few of these films now, I’m beginning to focus and hone in more on what I really love to time-lapse. My early scenes years ago had a lot of average clouds and distant rain that didn’t have a lot of excitement or energy. But as the years go on, and I learn more and more about chasing storms here in Arizona…I’ve found myself in better spots to capture the stuff I really enjoy. Strong downbursts of rain, building clouds, lightning…and yes, dust storms. The one thing I was hoping for in 2016 that the previous years have lacked: Haboobs. Dust storms. Rolling walls of dirt and sand engulfing the deserts and even Phoenix itself. And my wish came true in that regard. Even a very late season, September 27th haboob that I captured right at sunset with glorious colors. Coming off the heels of filming Vorticity in the spring, with monster supercells and tornadoes, the monsoon is a totally different beast and you’d think it would be less exciting. I don’t know. I find them both amazing and inspiring. Weather to me is weather. No matter how mind-blowing it was to witness the Wynnewood tornado this past spring, standing in front of a rolling wall of dust, or a distant lightning storm under the stars…it’s all a blast to me and I never get tired of it. So Monsoon III…the credits will say it, but it was around 36 days of filming, I shot over 85,000 frames and am not sure how much made it into the final cut. The song I used was “Revenge” and “Revenge: Epilogue” by Kerry Muzzey, and I took both of them and sliced and diced until I actually had a six-minute version to fit in with all the footage I captured. I love it. As always…THANK YOU to Kerry Muzzey for supporting my work by letting me use his music once again. I don’t even have enough words for this man for doing this for me. It means more than anything! Please buy his work! I started editing this film mid-summer once I figured out the song I was using. And as days went by and more clips were rendered, I kept adding them and re-arranging them all the time, trying to get every clip to match the tone and feeling of the music. And then I’d think I was done and more storms would come and I’d have to move things around again, and even drop stuff. I have a lot of fun scenes that are not in this film because I only wanted the very best. Special thanks to Bryan Snider and Dustin Farrell for some tips this summer on editing out dust spots and birds better than I had been doing. Appreciate it fellas! My wife takes the brunt of what I do, especially when I’m gone for days at a time. Filming in Arizona is easier because I’m usually home at some point in the evening and at least around in the mornings. But it’s a lot of work and a lot of time being away. She supports me like no other and I can’t believe how lucky I am to have someone with that much faith in what I do. And a lot of these clips will forever hold memories for me because my two oldest kiddos were there for them, and at times even all three were nearby. My littlest guy who just turned three, sits on my lap a lot when I edit, listens to the music and loves watching the final product. And he wants to keep watching it…over, and over and over. Makes a daddy proud. I hope you enjoy this latest installment. I’m not sure how it compares to years past, but for better or worse, this was Monsoon 2016 for me! Please let me know if you have any questions about anything! Most of these clips were shot in 8K with some 4K stuff thrown in there as well. —– Captured with a Canon 5DSR, two 5D3’s, 11-24mm, 16-35, 35mm, 50mm and 135mm. Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro

Carhartt WIP: SEOUL PAST & NEO

Official Opening Credits: Westworld (HBO)


Watch the official opening credits from Season 1 Episode 1 of Westworld
Westworld, the new HBO series, airs Sundays at 9PM.
Discover Westworld today at https://www.discoverwestworld.com/
Watch all new episodes of Westworld on HBO NOW: http://itsh.bo/2dpoOhY

Like Westworld on Facebook: www.Facebook.com/WestworldHBO
Follow Westworld on Twitter: @WestworldHBO
Use #Westworld to join the conversation

Learn more: http://itsh.bo/23iirPJ

It’s HBO.

Connect with HBO Online:
Find HBO on Facebook: http://Facebook.com/HBO
Follow @HBO on Twitter: http://Twitter.com/HBO
Subscribe to HBO on Youtube: http://Youtube.com/HBO

Disney appoints ‘Inside Out’ screenwriter to co-direct animated feature ‘Gigantic’

Disney has tapped  Inside Out and Captain Marvel screenwriter Meg LeFauve to co-direct its upcoming animated feature Gigantic. The film is loosely based on the English fairy tale Jack and the Beanstalk.

As previously announced director Nathan Greno will be directing the film. LeFauve’s will join him in direction and thus gain her first directing credit. LeFauve had already been working on the “Gigantic” screenplay and now her role has been extended for a much higher output.

The story is set in Spain during the Age of Exploration where the protagonist Jack discovers a world of giants hidden within clouds. Jack befriends the female giant Inma, who is “11 years old, 60 feet tall, fiery, feisty and a lot to control” and treats him like a living doll. The relationship building and adventure continues from there on.

Meg LeFauve has worked as a screenwriter on award winning films like Inside Out, The Good Dinosaur and has been working on the upcoming Captain Marvel movie. She also received an Oscar nomination for best original script this year for Pixar’s Inside Out.

Produced by Dorothy McKim, the film’s music would be written by Robert Lopez and Kristen Anderson-Lopez (Frozen). Produced by Walt Disney Animation Studios and released by Walt Disney Pictures, Gigantic is set to release on 21 November, 2018.

Meg LeFauve

Meg LeFauve

The post Disney appoints ‘Inside Out’ screenwriter to co-direct animated feature ‘Gigantic’ appeared first on AnimationXpress.

Rayvision’s FoxRenderfarm enhances rendering services for Animation and VFX studios

FoxRenderfarm, Rayvision’s overseas cloud render farm service, is one of the leading online render farms in the industry. Founded in 2009, FoxRenderfarm has earned a good reputation for its quality performance, great customer service and flexible pricing scheme. Rayvision and its cloud render farm service Renderbus and FoxRenderfarm have experienced team members hailing from studios like Disney, Lucas, Dreamworks and Sony.

FoxRenderfarm offers online rendering service (both CPU and GPU rendering) for CG artists. It aims at helping CG artists, animation and VFX studios to save time on rendering so that they can devote it to creative ideas. FoxRenderfarm is also the official reseller of IBM Aspera which is a high speed file transferring tool.

With extensive features like auto scene and image files upload/download, availability of multiple plugins, real time review of rendered images, production pipeline integration and a dedicated service team, FoxRenderfarm has been able to deliver Oscar winning Hollywood production output.

Softwares like Autodesk 3ds Max, Autodesk Maya, Autodesk Softimage, Maxon Cinema4D, Houdini, VUE, Blender, MODO, Lightwave and SketchUp are supported by the render farm. Apart from these, various render engines and plugins are also supported. The latest update supports the software LightWave 3D  and SketchUp, and enables CPU rendering too.

Working with clients across the world, various challenges like file transferring speed and successful rate are faced frequently. FoxRenderfarm tries to solve the problem in two ways, one is by being the partner of IBM and using Aspear, another one is by developing its own file transferring tool.

CG Rendering always requires a lot of rendering nodes available to accelerate the rendering process, FoxRenderfarm has plans to purchase more rendering nodes and the team is working on it.

Bollywood blockbusters Baahubali: The Beginning and Krrish 3 were rendered by FoxRenderfarm. It is also one of the sponsors for DCGAA (Delhi CG Animation Awards 2016). Possessing rich experience with india customers and great brand awareness in India industry, it aims to serve the Indian CG artists and studios in a better way.

Indian studios like Xentrix, Digitales studio and Assemblage Entertainment are using this   render farm currently. According to FoxRenderfarm work experience, Indian clients are very easy-going, friendly and dedicated to their job and every step of production. For more information check the official website www.foxrenderfarm.com

The post Rayvision’s FoxRenderfarm enhances rendering services for Animation and VFX studios appeared first on AnimationXpress.

Review: Batman Beyond: Rebirth #01 by DC Comics

Title: Batman Beyond: Rebirth #1
Story: Dan Jurgens
Art: Ryan Sook
Publisher: DC Comics (USA)
Editor: Jim Chadwick
Pages: 32 colour pages
Price: $2.99
Date (Print & Digital): 28 September 2016
Age group: Teen

For those who came in late, Batman Beyond was an animated TV Series which was on air in 1999. The timeline is such that, the people of Gotham city haven’t seen Batman for a good 20 years and chaos prevails everywhere. Amidst this, an untamed youth (Terry McGinnis) is chased by wannabe criminals. He is saved by the ageing Bruce Wayne and later on, Terry finds out that Bruce Wayne is Batman. After much drama, Terry suits up in the newly designed armoured suit and becomes the new Batman.

For the uninitiated, DC Comics Rebirth mega event was started in June 2016 and the entire timeline and story arcs are reset to that of the New 52 series. This particular story starts from where it ended in the Batman Beyond #16. It is penned by Dan Jurgens and he makes it sure that even someone who is reading this story arc for the first time isn’t left behind. There is even a recap of the entire events in a flashback sequence.

Here’s the synopsis of the comic:

Six months have passed since the events of Batman Beyond #16. While areas of destruction remain in the outside world, Gotham City has made great strides toward reclaiming its bright future. But new threats arise and old adversaries may be coming back. And the question still remains: whatever happened to Bruce Wayne?

One Line: Jockerz ransack the Neo Gotham and New Batman is fighting them.

Story: Joker is dead. Batman is gone for more than 20 years. A new man is the saviour of the city which was once known as Gotham city, now rechristened as Neo Gotham. This city has a lady police commissioner (Barbara Gordon) and some wannabe criminal gang whose members are painting their faces and call themselves as Jokerz. They have gained control of one part of the city which is now called as Jokerz town they run a parallel government there.

Spoilers Ahead: The story begins with a action set piece where a school bus is kidnapped by the Jokerz and Batman saves the kids from them in a visually breathtaking sequence. The police commissioner arrives to the scene and wonders why the Jokerz gang is suddenly after money now, against their regular Modus operandi. Terry’s back story is narrated and at the end of the chapter 1, we see Dana, Terry’s ex, being kidnapped by the Jokerz. The first part ends when Batman (Terry) rushes to the Jokerz town, he is confronted by a monster and a real plot twist on the last page.

Analysis: First and foremost, the team behind this series deserves a round of applause for the great work they’ve done. Jurgens, we all would’ve read his take on the Batman Beyond run where he, single handedly, elevated the series from good to great. Here, in this new series, he starts slowly. However, the mixing of the present and past in the opening pages are done in a neat way. Moreover, the dialogues of the futuristic city are a joy to read. Though a tad slow, knowing Jurgens, we can be assured that we are definitely in for a royal treat.

Sook’s penciling takes the entire story to a new, higher ground. Almost in line with the TV series style, Sook’s has done wonders to the series. In 2D, he is almost creating a magic of 3D effect. For example, there is a scene where one of the Jokerz cocks his gun and such is the artwork that you can almost hear the sound. The entire thing is highlighted by the double spread at the beginning of the story where we can absorb everything as an aesthetic treat to the eyes: Be it the new Bat-Suit, the languidness of the character, the background of the futuristic Gotham city.

It will be a crime if we do not mention the fantastic colouring by Jeremy Lawson. He has painted the neo Gotham city with the orange, pink, purple and yellow colours, without ever looking unnatural. The muted style of colouring in the flashback sequences are a joy to the readers.  

Final Point: Steady beginning for a great ride.

Verdict: Recommended. (4/6)

(These are purely personal views of Comics Historian & Writer, King Viswa and AnimationXpress.com does not necessarily subscribe to these views)

DC Comics Rebirth Batman Beyond 01 cover 2

DC Comics Rebirth Batman Beyond 01  Page 05

DC Comics Rebirth Batman Beyond 01  Page  19

The post Review: Batman Beyond: Rebirth #01 by DC Comics appeared first on AnimationXpress.

Parking Lot Prostate Exam Project

Prostate Cancer Canada marked Prostate Cancer Awareness Month in September with a fun ambient campaign using pay machines in Toronto parking lots. Stickers were placed over the slot where drivers insert their fingers to retrieve their parking ticket. Above the slot are the words, “A prostate exam is this easy. Early detection saves lives. Talk to your doctor.” A campaign video features Canadian Football League Hall of Fame Quarterback Damon Allen, interviewing men getting their parking pass from Green P machines. The Parking Lot Prostate Exam Project, online at prostatecancer.ca/TalkProstate with the hashtag #TalkProstate, is designed to trigger a discussion about prostate cancer, the most common cancer in men, and to encourage men to talk to their doctor about their personal risk and an early detection strategy that’s right for them, including when to get a baseline PSA test. When detected early, the survival rate can be over 90%.

Parking Lot Prostate Exam Project

“This new awareness campaign is all about letting men know that early detection of prostate cancer saves lives,” says Dr. Stuart Edmonds, Vice President, Research, Health Promotion & Survivorship for Prostate Cancer Canada. “It’s such an important message, especially in light of Prostate Cancer Awareness Month and last week’s widely covered study published in The New England Journal of Medicine.”

Parking Lot Prostate Exam Project Sticker
Parking Lot Prostate Exam Project Damon Allen

The Parking Lot Prostate Exam Project Credits

The Parking Lot Prostate Exam Project campaign was developed at FCB Toronto by CEO Tyler Turnbull, chief creative officers Jon Flannery, Jeff Hilts, Nancy Crimi-Lamanna, art director Simon Tuplin, copywriter Peter Gardiner, account director Lora Landriault, account executive Olivia Selbie, head of broadcast production Judy Hamilton, broadcast producer Rea Kelly, director of print production Victor Carvalho, print producer Bruce Ellis, VP director of strategic planning Heather Segal, digital strategist Sehelagh Hartford.

Filming was produced by director of photography/editor Jorge Vasconez.

Variance Techniques in Arnold for Cinema 4D

Learn useful variance techniques using Arnold for Cinema 4D in this Cinema 4D Tutorial.



About This Video:
In this video, Chad Ashley from Greyscalegorilla.com demonstrates several variance techniques using the Arnold Renderer for Cinema 4D. Variance is the key to realism. In nature, there is no such thing as perfect duplicates. In fact, you want to add as much variance across your scene as possible. At the same time, you don’t want hundreds of unique copies of your shaders/materials. This is exactly why so many renderers have these sorts of variance features.  You want one shader that can drive many objects in a scene and still have varying attributes.

Don’t have Arnold? Check out the demo linked below!

Download the Arnold for Cinema 4D Demo here:
https://www.solidangle.com/

Get the Alshaders here:
http://www.anderslanglands.com/alshaders/index.html

Get the leaf model from Turbosquid here:
http://www.turbosquid.com/FullPreview/Index.cfm/ID/897313