Feb
12
A throwback to some of the chortles and guffaws from Robot Chicken’s Star Wars specials. Subscribe for more Adult Swim chucklefodder.
Feb
12
Cassie – Next Generation Robot
Posted in: Animation
Engineers at Oregon State University are creating the next generation of bipedal robots. To find out more: http://mime.oregonstate.edu/
Feb
12
Brazzers Presents: Metal Rear Solid: The Phantom Peen XXX Parody (OFFICIAL SFW TRAILER)
Posted in: Animation
After crash landing at an undisclosed location in the desert, Boss (Charles Dera) must retrieve a package at a Diamond Dongs drop zone. However, Boss is not alone in the desert, and finds himself trapped with a sniper. Fighting to defend her outpost, Boss must battle Hushy (Casey Calvert) to capture or destroy the other in a death match that may only see one victor return to Mother Base.
-An Original Brazzers Production-
Starring: Casey Calvert (Hushy), Charles Dera (Boss), an airlifted goat and cardboard box.
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Feb
12
Robotic bee pollinates flowers
Posted in: Animation
Scientists have created a tiny drone that can transport pollen between plants. They hope it could one day take on the function of bees, which are important pollinators but whose numbers are declining.
Feb
12
Dragon Ball: The Legendary Warrior (2017) Live Action teaser (HD)
The Legendary Warrior is a project developed in order to accomplish the dream of making feature films based upon the adventures of Goku, Bulma and all the characters created by Akira Toriyama.
Contact: esteban.aduriz@gmail.com
DIRECTED BY
ESTEBAN I. ADÚRIZ
PRODUCED BY
ESTEBAN I. ADÚRIZ
NICOLE L. NAGUIL
VISUAL EFFECTS SUPERVISOR
LEANDRO H. VISCONTI
VISUAL EFFECTS PRODUCER
DIEGO M. GUTIÉRREZ
PRODUCTION DESIGNERS
JUAN MANUEL DÍAZ
ADRIÁN NOÉ
DIRECTOR OF PHOTOGRAPHY
PEPE PERALTA
ART DIRECTOR
MERCEDES RABOVICH
EDITED BY
EZEQUIEL GALLI
MUSIC BY
PABLO GIROSA
SEBASTIÁN ORTEGA CIUCCI
EXECUTIVE PRODUCER
ESTEBAN I. ADÚRIZ
CO-PRODUCED BY
FERNANDO DE LUSARRETA
RAMIRO DE LUSARRETA
GUILLERMO PINO
PABLO LUCINI
CASTING BY
MARIANO RÍOS
CAST
PABLO JUIN AS SON GOKU
TOMY MACKEY AS KAMI SAMA’S VOICE
LINE PRODUCER
GUIDO GOLDBERG
ASSISTANT DIRECTOR
INÉS VILLANUEVA
PRODUCTION ASSISTANTS
PABLO MANZOCCHI
ARI LUKIDES
CAMERA PEPE PERALTA
GAFFER PAULA MONETA
KEY GRIP ROMAN TKACHUK
CAMERA ASSISTANT SANTIAGO GRASSI
ELECTRICIAN NICOLÁS LUNA
UNDERWATER FILM SERVICE BY IAAS
PRODUCER FERNANDO SÁNCHEZ
ASSISTANT DIANA DIAZ ERPEN
TECHNICAL ANDRÉS TALARICO
SOUND DESIGNER
PABLO GIROSA
MINIATURE MODEL DIRECTOR
MERCEDES RABOVICH
MINIATURE MODEL MAKING
MANUEL GARCÍA CROXATTO
SABRINA AMANTE
MINIATURE MODEL ASSISTANTS
SOFÍA MANZONI
ANDRÉS VERDAGUER
PROPS MASTERS
DANY CASCO
AGUSTÍN AGUIRRE
MINIATURE MODEL TRAINEES
AGUSTINA IACOBUCCI
FRANCO MONTESANTO
HAIR DESIGNER
JORGE PALACIOS
MAKE UP BY IDENTIKIT FACEMAKERS
MAKE UP DEPARTMENT HEAD
MARIÁNGELES CAPPARELLI
MAKE UP ASSISTANT
PAMELA ARCHETTI
COSTUME DESIGN BY LA POLILLA VESTUARIO
COSTUME DESIGNER
GUSTAVO ALDERETE
COSTUME MAKERS
NATALIA GONZÁLEZ
MACARENA RODRÍGUEZ
CARLA ROMANO SHANAHAN
RODRIGO LICO LORENTE
ON SET DRESSER NATALIA GONZÁLEZ
COSTUME PROP MAKER DANY CASCO
EXTRAS DRESSER JESICA SOIFER
VISUAL EFFECTS BY YEMA VFX
VISUAL EFFECTS SUPERVISOR
LEANDRO H. VISCONTI
VISUAL EFFECTS PRODUCER
DIEGO M. GUTIÉRREZ
VISUAL EFFECTS COORDINATOR
JULIETA FERNÁNDEZ
SENIOR VISUAL EFFECTS COMPOSITORS
DIEGO M. GUTIÉRREZ
MILTON MAGUNA
ANDRÉS CHOUHY
MAXIMILIANO LAGRAÑA
3D COMPOSITOR
MILTON MAGUNA
DIGITAL MATTE PAINTER
ANDRÉS CHOUHY
3D TECHNICAL DIRECTOR/ VISUAL EFFECTS COMPOSITOR
ALAN RINALDI
VISUAL EFFECTS COMPOSITORS
CARLOS WYSZOGROD
LUCAS RÍOS
DIGITAL MATTE PAINTER
KAMEL ALZATE CRUZ
ADDITIONAL VISUAL EFFECTS BY ESTUDIO GUARDA
VISUAL EFFECTS COORDINATOR
LILA ROSASCO
VISUAL EFFECTS PRODUCER
JAVIER POCLAVA
3D COMPOSITOR
JUAN IGNACIO FERNÁNDEZ
VISUAL EFFECTS COMPOSITOR
FERNANDO ESPÓSITO
POST-PRODUCTION COORDINATOR ESTEBAN I. ADÚRIZ
3D SCAN TECHNICIAN FRANCISCO CRIADO
COLORISTS
DARÍO CAAMAÑO
EZEQUIEL GALLI
CONCEPT ARTISTS
JUAN MANUEL DÍAZ
ADRIÁN NOÉ
SALVADOR TRAKAL
GUSTAVO RASENTE
JUAN DJEDJEIAN
STORYBOARD
EZEQUIEL MARTÍNEZ
JORGE COPÓ
2D ANIMATIC
EZEQUIEL MARTÍNEZ
3D ANIMATIC
FERNANDO BONADEO
ANIMATIC SOUND
OLIVERIO DUHALDE
EMMANUEL BORTOLIN
TITLES DESIGN JUAN MANUEL ZÁRRAGA
FX CONSULTANT SEBASTIÁN SEMPRONII
CREDITS ANIMATION
EZEQUIEL GALLI
MAKING OF
NICOLÁS GOMBINSKY
FRANCISCO IURCOVICH
Feb
12
McTavish Surfboards – Dirt Nap
Posted in: Animation
Attention to detail is important, and when you’re a designer it naturally becomes a part of your everyday focus. A number of small details come together and the design becomes a ’sum of all parts’ – both functional and beautiful. This is certainly the case with the Dirt Nap – Designed by Ben McTavish it is a thing of unquestionable beauty, but whose good looks stem from a need for versatility in the water. Its narrow waist brings trim speed, its soft rails bring a seamless transition through turns, and its defined nose concave generates lift when you need it most. The construction of the Dirt Nap continues this detail theme. A unique clustered 3 stringer glue-up, a white or pastel 8oz pigment deck and rails, wide laps and an 8oz volan insert form the base, then work in with more subtle details like the clear glass-on leash loop and pin-line free lamination, which showcases Bill McLeans perfect cut-laps. Simplicity forms the basis for this model, and as such there are only 3 available sizes and 3 available colours. A board of such calibre deserves a rider and a clip to match, so we’ve chosen Byron Bays own Josie Prendergast, and award-winning local film-maker Stefan Jose to introduce to you, the 2017 Dirt Nap. www.mctavish.com.au Surfer: Josie Prendergast Directed, Filmed and Edited by Stefan José www.stefanjose.com
Feb
12
A SEASON IN HELL
Posted in: Animation
An audiovisual essay by Cristina Álvarez López & Adrian Martin. Films: ‘The Strange Case of Dr Jekyll and Miss Osbourne’ (Valerian Borowczyk, 1980 / ‘In the City of Sylvia’ (José Luis Guerin, 2006) FOR STUDY PURPOSES ONLY Sometimes two films suddenly speak to each other, in the cinephile mind, in a way that is totally unexpected and unforeseen. A way that is totally not prescribed by the films themselves, in that they neither belong to the same type of genre, nor share a similar narrative, style, or atmosphere. But, all the same, deep down in the unconscious – where strictures of label are forgotten, and all films melt down into a giant, fluid magma – associations will inevitably form. In the case of this audiovisual essay titled (after Arthur Rimbaud’s poem cycle) ‘A Season in Hell’, it was a simple, nagging question – where have we seen that face before? – that led to the intersection of image-fragments from José Luis Guerin’s contemporary art cinema classic ‘In the City of Sylvia’ (2007), and Walerian Borowczyk’s recently restored horror/exploitation film ‘The Strange Case of Dr Jekyll and Miss Osbourne’ (1981); and to the invention of a new, imaginary ‘scene’ to bind them. What connects the films is the motif – fleeting in one, prolonged in the other – of a ‘descent into Hell’. In Guerin, this is a matter of the sensitive hero (Xavier Lafitte) glimpsing a line of Goth Girls in a bar, and concentrating in particular on one of them; while, in Borowczyk, it is the entire subject of the reworked Jekyll-and-Hyde tale, reaching its paroxysmic conclusion with the surprise conversion of Fanny (Marina Pierro) into an altered state. In both cases, it is the vision and presence of a supposedly ‘demonic’ woman that allows the passage (imaginary or real, according to circumstance) into another, heightened world of sensation – with the cinema itself, both times, ramping up its properties of visual and auditory intoxication to match the male observer’s growing fever. Beginning with a passage from Octavius Elsinor IV’s strange, mystical treatise ‘The Abomination’ – itself a fragmented palimpsest or collage that seems to prefigure later pronouncements by Nietzsche, E.M. Cioran, and Thomas Mann – ‘A Season in Hell’ swims in that heady, very cinematic/cinephilic space where desire and guilt, pleasure and death, projection onto the Other and liberation of the Self, all intermingle. © Cristina Álvarez López & Adrian Martin, August 2015
Feb
12
QUEER GODARD
Posted in: Animation
An audiovisual essay by Cristina Álvarez López & Adrian Martin on Jean-Luc Godard’s ‘Masculin Féminin’ (1966). FOR STUDY PURPOSES ONLY ‘Queer Godard’: our audiovisual essay title is not intended as any provocative claim or revelation about Godard as a person, or his biography. Rather, we do seek to provoke a new look at Godard’s work from the many angles proposed by queer theory. Virtually all his films, from the earliest, provide rich material for such a study; in this piece, we limit ourselves solely to ‘Masculin féminin’ (1966). ‘Masculine féminin’ began its life as a project with a reasonably close, if modernised, adaptation of a short story by Guy de Maupassant: “La femme de Paul” or, as it’s generally known in English, “Paul’s Mistress”. (Another of his tales, “The Signal” – incidentally, the basis for the first fictional short Godard made in 1956, ‘Une femme coquette’ – is pulped into the supposedly Swedish film-inside-the-film.) “Paul’s Mistress” is explicitly a reverie – a frequently grotesque and misogynistic one – on lesbian sexuality, and the emergence of a lesbian culture. Maupassant as narrator seems, in equal parts, appalled and fascinated by what he documents. As is often the case with Godard’s adaptations, this initial literary source did not (as several Godard commentators and biographers assume) simply vanish in the course of elaborating the movie, to be replaced by a 100% heterosexual rondo; rather, it enters the deep structure of the work, surfacing in citations, allusions, vignettes, puns, charged glances between the actors/characters. The central lesbian figure of Pauline in “Paul’s Mistress” becomes Elizabeth (Mylène Jobert, mother of Eva Green), and her place in the basic narrative of ‘Masculin féminin’ remains exactly the same: her involvement with Madeleine (Chantal Goya) drives the ultra-sensitive, romantic Paul (Jean-Pierre Léaud) to what may be (off-screen, between the two final scenes) either an accidental death, or suicide. Some critics (including Robin Wood) have addressed this queer aspect of the film, only to dismiss its significance rather swiftly. Many others, on its initial release and ever since, simply forget or distort what they have seen and heard on screen: a recent synopsis in Télérama magazine, for instance, imagines that Elizabeth is “consumed by her silent love for Paul”! More usually, Elizabeth simply goes unmentioned, dropping out of the film’s carefully structured organisation of five central, young characters. We are not trying to retrospectively reclaim ‘Masculin féminin’ as a masterpiece of progressive Queer Cinema. But, in the spirit of Godard’s own exhortation (addressed, in the first instance, to Pauline Kael) that critics must “bring in the evidence” in their analyses, and not just rely on faulty recollections or selective descriptions, we audiovisually explore two operations. First, we raise Maupassant’s text, once again, to the surface of the film, for the sake of a comparative reading. And second, we lay out, in the line of an implicit argument, the wealth of queer material in the movie that has been overlooked, misunderstood or repressed for fifty years. © Cristina Álvarez López & Adrian Martin, May 2016
Feb
12
Geraldine Brock sings the song “Be Sweet to Me” in the 1946 film “The Girl in Room 20”, a drama with an African-American cast. It wasn’t a musical, but featured a few songs. Song composed by Roger Cockrell. (Spoilers!!) In the film, the scene occurs after she had got out of hospital, hence the wheelchair.
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