‘The Lost World’ turns 20: Animation director Randal M. Dutra reflects on those early days of the digital age

Lost_World_V1_Full
Illustration by Aidan Roberts.

How Steven Spielberg came to adopt CGI dinosaurs for 1993’s Jurassic Park is an often-told story, including in several interviews I’ve done recently. Ultimately, the move from stop-motion to digital dinos paved the way for an explosion in CG characters in blockbuster movies.

That included Jurassic Park’s sequel, The Lost World: Jurassic Park, released 20 years ago this week, in which the director and visual effects studio Industrial Light & Magic returned with even more photorealistic digital dinos.

One artist who was there on both films, straddling the stop-motion and CG worlds, was Randal M. Dutra. He was at Tippett Studio for Jurassic Park and heavily involved in early movement tests and the use of the innovative Digital Input Device (DID). Then Dutra moved to ILM to work as Animation Director for The Lost World. On the film’s 20th anniversary, vfxblog finds out more from Dutra about his dinosaur experiences.

ANIMATIC-2
Dutra animating the T-Rex attacking the Ford Explorer for the “T-Rex Main Road” Animatic. July/August, 1992.

vfxblog: Before you worked on The Lost World, you had obviously been part of the efforts on Jurassic Park. Can you talk about what preparations were being done at Tippett Studio on the traditional stop-motion animation that was going to be done, and on the animatics?

Randal Dutra: In regards to Jurassic Park’s core contributors, more information is steadily coming to light that was not made available at the time of its release in 1993. There is a definite growing interest, and I have been increasingly asked specifics about my involvement in its production.

MOVEMENT BIBLE-1
Randal Dutra animating the stop-motion Raptor model for the “Dinosaur Movement Bible”. December, 1991.

I had already been working with Phil [Tippett] for 10 years before Jurassic Park (JP) reared its hefty head. I had a long history as a key sculptor, creature designer, puppet fabricator and lead animator for Tippett at his shop. In addition, seven years earlier, in 1984, I applied all of these disciplines to my work in his shop for the televised documentary Dinosaur!. So Phil was very well-acquainted with my delivered work, established abilities and crossover talents. Especially when it came to prehistoric creatures.

I was Senior Animator for Tippett at his shop throughout JP’s grueling year and a half production schedule that included: the stop-motion animation of the Raptor and T-Rex for the Movement Bible and the Animatics, and the final shots/sequence animation using the Dinosaur Input Device (DID); a contraption that hurled animator Tom St. Amand and me into the “Digital Age”.

DUTRA-Dinosaur! 1984
The Raptor pair that Randal Dutra designed, sculpted, fabricated and animated for the 1985 documentary Dinosaur! The models were 16″ long.

vfxblog: At what point did that work stop and you move into digital animation and use of the DID? How did your background in stop-motion inform the digital animation, in terms of skills perhaps that CG artists at the time did not have?

Randal Dutra: It was in late April of 1992 when news broke at Tippett that JP production was going the way of CGI. I had been stop-motion animating for five months; having completed the Movement Bible, and was completely absorbed in the Animatic phase of the Raptor Kitchen Sequence. Tom St. Amand and I were seasoned animators, but now we had to switch from analog to digital and learn a new language. It was all quite sudden, and certainly raised grave concerns for our future.

DID-3
Tom St. Amand (left) and Randal Dutra (right) taking a break at the end of production with the Raptor DID.

The DID was created as a hands-on bridge to the digital realm, a glorified traditional stop-motion armature—co-designed and machined by St. Amand—with the addition of motion encoders attached to the joints that allowed our incremental poses to be translated into digital data. But the absolute prerequisite was having the necessary animation experience and knowledge—there was no substitute for that, even given this new, sexy tool. My animation labors with the DID focused on JP’s Raptors in the Kitchen and T-Rex Main Road sequences as seen in the final film.

DID-1
Dutra animating the Raptor DID leaping onto the kitchen countertop for the “Raptor Kitchen” sequence as seen in the final film. December, 1992.
DID-2
Dutra animating the Raptor DID hunting the children in the “Raptor Kitchen” sequence. Note the foam core set piece representing the kitchen cabinet and counter top. December, 1992.

 

vfxblog: Can you talk about how you then came to be at ILM for The Lost World?

Randal Dutra: Certain veterans within the FX industry were well aware of my foundational and core creative contributions to JP.  That led to ILM’s Dennis Muren approaching me in November of 1996 to secure me as Animation Director for The Lost World (LW). Tippett and his shop had no involvement in LW’s production, as Starship Troopers was gearing up.

ILM
Animation Director Randal M. Dutra with Lead Animator Miguel Fuertes on a Compy shot for The Lost World.

vfxblog: There was certainly more CG animation in The Lost World – where did you and the filmmakers want to take the dinosaur performances now that there had been a few more years of experience in this brand of animation?

Randal Dutra: Anything that followed JP had to top it in animation, character, and dynamics. The burden of expectations was tremendous. The shock of seeing JP’s CG dinosaurs for the first time is an experience that cannot be repeated—and I was pleased to have been in on the ground floor of its success.  But what could be done is to take LW’s dinosaurs even further than their predecessors. That we did, and it’s all there on the screen. LW’s animation work is much more refined, complex, synergistic and behaviorally specific. Case in point is the thoroughly interactive and creepy Compy sequence. That’s evolution.

ROUND UP-1
On the hunt: The “Round Up” Sequence.

vfxblog: What did you think, at the time, were the important parts of animation that made for the performance of a living, breathing dinosaur? Where did you look for inspiration or reference?

Randal Dutra: I informed my crew of 27 animators (compared to eight on JP) to put JP out of their minds. LW was a whole new adventure with many new creatures, ranging in scale from the diminutive Compy, to the Stegosaurus, to the gigantic, 95 ft. long sauropod Mamenchiasaurus. We were beholden to nothing but Nature’s demands. That was our measure, our goal. Our prehistoric animals had to reflect an absolute respect for, and observance of, Nature’s variety and adaptability.

Yes, we knew we could generate photorealistic looking dinosaurs. But could we make them move with a higher degree of creative realism? Nothing was off-limits for reference. I have spent my life immersed in Nature, observing animals both wild and domestic, and Nature never disappoints. In fact, She is full of surprises, having a head start on all of us. Remember too, that dinosaurs were a unique breed unto themselves possessing unusual, strange characteristics physically and behaviorally. With many prehistoric species there are no living equivalents. Hence, hybrids are the only way to even begin to try unlocking the mysteries of dinosaur character.

vfxblog: Were there animation cycles or shots in The Lost World where you perhaps tried something different, and it didn’t necessarily work, but still informed the final result? How did you explore different approaches?

Randal Dutra: Each sequence provided us with incredible challenges: From the Stegosaur Stampede, to the Round Up, to the Compys Attack, to Raptor Town, to the T-Rex running amok in San Diego. Each had its own narrative place, pace and spectacle. LW’s schedule was unrelenting and exhausting, taking everything my apt crew and I had.

Ultimately, LW had 85 CG dinosaur shots, almost 50 percent more than JP and more than three times the animation crew. LW required ten times more animation and rendering due to extremely complex sequences containing multiple dinosaurs and ran a full 15 minutes of CG screen time—more than twice that of JP. For our delivered work, our peers nominated us for an Academy Award.

jurassic_park_2_bg.1
A herd of Stegosaurs cross a Redwood creek bed.

vfxblog: One of my favorite sequences involved the compys – can you talk about how this was different perhaps to animating huge dinosaurs, and how you approached that first attack scene?

Randal Dutra: The Compy sequence is still my favorite of any Jurassic entry. For me, it all came together both artistically and technically in this darkly intimate drama staged deep in a Redwood forest. Ironically, with all the hulking behemoths on the island, one of the most deadly was no bigger than a domestic chicken.

It centers around macho hunter, Dieter, who believes he is in control…suddenly becoming lost and disoriented in a hostile environment.  The hunter becomes the hunted. While standing tall and vertical, Dieter poses a threat and the Compys back off. But when he stumbles and falls on the slick creek bed rocks, horizontal and prone, they collectively attack swarming him mercilessly. Contained in each of their tiny brains is the instinct to kill. By the end of the Compys’ dogged pursuit, the much larger Dieter is reduced to a terrified, pathetic meal on two failing legs. Spielberg was brilliant in visualizing this sequence. A twist on David and Goliath.

Compys
A screenshot of work in progress animation for ILM’s Compys, in this scene from the opening of the film.

vfxblog: Seeing the T-Rex walk the streets of San Diego is one of my very clear memories about how incredible CG could look. How did you approach the motion of the dinosaur for those shots – was it different from the actions of the T-Rex on the island?

Randal Dutra: The T-Rex loose in San Diego was our chance to place a prehistoric icon in a modern world. An obvious nod to Willis O’Brien’s 1925 The Lost World and 1933’s King Kong. How a creature like this could behave in such foreign surroundings is exemplified by her chasing down and powerfully head-butting a “threatening” public transit bus, destroying traffic lights, and creating urban mayhem. The Rex is both confused and outraged, but gets her revenge in the end by reducing villain Ludlow to an educational snack for her baby. She is, after all, a good mother.

vfxblog: Any thoughts on dinosaur or large lizard creature animation you’ve seen since The Lost World and what works and doesn’t work?

Randal Dutra: I see a lot of animation that is merely “pushing pixels” and not convincingly conveying character—or weight and scale. It is not informed work. One advantage to working with a model is the tangible reminder of the physicality of something. When using a mouse, keyboard and monitor, animators must remind themselves of the basic properties of reality, of the effects gravity.

Incredible achievements in visual effects are being realized today! The best practitioners are bravely and resolutely embracing the future. Great talents doing great things. However, with the daily grind and glut of product, I also see a high percentage of derivative, uninformed, flaccid work.

LOCATION-2
Dennis Muren (left) and Randal Dutra (right) gather lighting reference on location using a Stan Winston T-Rex model.

Some advice: Study Nature. Learn something of structure and anatomy—remember: form follows function. Go outside, get some dirt under your fingernails. Don’t be sedentary—move—get off your ass. Look for fresh references, don’t rehash what has been done before. Be a pioneer in your own way. Live up to the greater promise of the medium.

vfxblog: You have always been an artist, but can you briefly mention what you are up to these days?

Randal Dutra: After having spent a period of 25 years in the effects industry, I have seen many changes. I went from the communal, gritty, artisan workshop atmosphere of Jedi creating creatures with aluminum wire armatures, clay, molds and rubber to the comparatively “clean” and hermetic workspaces of digital technology. I was at the right place at the right time in history to experience and participate in both worlds with equal weight. I started as a mold maker on Jedi and ended up being a CGI Animation Director for Spielberg and ILM. It continues to be quite a journey. Nothing remains stationary.

ANIMATIC-1
Dutra animates a Raptor for the “Raptor Kitchen” Animatic for Jurassic Park. April/May, 1992.

I am active in both the traditional and digital aspects of visuals and art, but I most enjoy interacting with rising talents—nurturing the gold in each individual, and mining potential. There exist universal truths that will not die, no matter if employing mediums known or yet to be discovered. What gives me great joy and satisfaction is to go beyond accepted norms, while continuing to learn from others.

Thank you to Randal Dutra for taking the time to be part of this retro look at The Lost World. You can find out more about Dutra’s work at his website: http://www.randaldutra.com.

Animation DVDs empowering teachers and students in vernacular-medium schools

Animation can influence and bring about change. Who would’ve known that it can also empower? One man’s idea of using this medium as a tool to make someone self-reliant did the magic. This is the story of Astad Parakh, a number of other people and how they are utilising animation to bring about an educational revolution in Maharashtra; a revolution that is still silent, a revolution that needs to make noise to reach maximum number of people.

Parents of poorer families can afford only vernacular medium schools if they want their children to study, as these schools provide free primary education. English language is made a compulsory subject in these schools by the Maharashtra board. Teachers of these schools are perfectly capable of teaching other subjects but are not comfortable with the English language. Children in these schools therefore, however clever and bright, cannot dream of good jobs or higher studies due to their lack of English language skills. Astad Parakh, a social entrepreneur, observed this social injustice and came up with an idea of making animation DVDs that can make learning English extremely easy for teachers as well as students of these vernacular medium schools. It is called the English E.Teach (EET) Project.

The EET being implemented in a Zilla Parishad school in Shelar, Bhivandi

How to get EET executed? Parakh approached Tata Interactive Systems (TIS) who are experts in the field of educational animation and e-learning, “and they put their heart into it,” he said. He worked closely with Manisha Mohan, who was heading the animation team at TIS. They took the English language syllabus of Maharashtra Board (which is same throughout the state for all schools) from first to fourth grades, and page by page, converted it into animated content. “The DVDs comprise of interactive content – stories, songs, puzzles and activities – that are meant to engage children,” Mohan said. As the DVDs are played in loop, initially, children do not understand. Gradually, they start speaking along. “The whole idea is that they must enjoy,” explained Parakh. After the teacher turns off the sound, only children speak. Then she calls them to act it out. “As the class ends, they have understood, started speaking, gotten over their fear and enjoyed the whole process.” And teachers get full credit. “Running teachers down all the time is not the answer. They only need tools.”

How to make English learning enjoyable and not fearful? The answer to this came as “animation”. “The moment a child sees animation, he is hooked and wants to interact,” Parakh said. He believes that animation is the key to child’s enthusiasm as it immediately grabs his attention. “Animation has an advantage. You see, hear, understand, and in the process, learn to read.” The students enjoy the animated audio-visuals, simultaneously grasping the meaning of words and phrases. “Animation can make a big difference in improving communication skills,” Mohan added.

The DVDs are provided to vernacular medium schools (Zilla Parishad, government and municipal schools) for free so that no child is deprived of the advantage of this powerful learning method. Work on the content for fifth grade has already begun. With a spending of less than five and a half crore from 2010 till now, the EET Project has received donations from Tech-Mahindra Foundation, CITI and H T Parekh Foundation. Their budget for this year is close to two crore. “But in the field of education, this is small money,” Parakh feels. “We did not want movie quality animation as we had to keep the costs in control,” Mohan stated. She said that they reduced the cost of production and worked at a much cheaper rate than they would normally work at, “as this is for a great cause.”

Parakh was helped by BCPT (Bombay Community Public Trust) in distributing the DVDs to the schools in Mumbai. The facilitators of BCPT not only distributed the DVDs to the schools but also demonstrated and explained to the teachers the way in which it was supposed to be used. Parakh also approached NGOs in various areas of Maharashtra to help them reach out to the schools in those areas. This way, they covered 22 districts, 92 talukas and have reached a total of 2,85,832 children in Maharashtra, from 2010 till now.

“Children in rural areas are afraid of English. The EET Project has helped them overcome this fear. It has been equally helpful for the teachers,” said Harsha Parekh from BCPT. Challenges have been equal however. As Parakh said, “Any change automatically meets resistance, and takes time to adapt. Acceptability, willingness to embrace this, desire to use it, recognition of this powerful tool, have all been the major challenges.”

The existence and advantages of EET are being acknowledged by the Maharashtra Education Department and municipalities. Discussions are in progress for faster and wider dissemination of the EET content throughout Maharashtra. India’s human resource development minister Prakash Javadekar is looking to introduce one curriculum for the whole of India. If that happens, the DVDs for teaching English are already available.

Just thinking of the change that can be brought about by this initiative swells our hearts with pride. Though, Parakh feels that “we are still scratching the surface. We want to take it on a massive scale.” If they are successful in getting this idea approved for the whole of India, it will indeed change the landscape of education in vernacular medium schools. And we, look forward to this revamp. Hats off to Astad Parakh, a truly humble, passionate and an inspiring individual!

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Blizzard to celebrate Overwatch’s first anniversary with brand new offerings

It has already been a year since Blizzard launched its character-based, multiplayer shooter, Overwatch.

The game has been one of the most prominent highlights throughout the community over the year. Replete with various events rewarding various in-game cosmetics and fresh map and hero releases, the game has been pretty active and kept the players hooked to it. Furthermore, a game like Overwatch does not necessarily have a back story. Overwatch, however, has been able to weave a rich and intricate lore through comics and animated shorts. The game title has also managed to reach 30 million player base within one year of its release.

Now as the game reaches close to its one year anniversary, the makers have some stuff lined up for the players with its anniversary event which will be running from 23 May through 12 June.

Firstly, as discussed earlier, three maps for the arena mode have been teased which look like extensions of already existing maps, Temple of Anubis, Eichenwalde and Dorado.

Other than that, the event is also set to bring new skins, some of which has been teased already. New voicelines and dance emotes are also on their way.

In a recent interview with Polygon, game director, Jeff Kaplan said that they might be looking to explore two of the game’s not-so-talked characters, Pharah and Symmetra, so we might be getting animated shorts or some sort of added lore for these two characters.

A lengthy stream for the event has also been planned which will be starting in Europe at 1 am PDT on 24 May and running through 11 am PDT.

We should expect some more reveals during the event, however even as speculations are flying; a new hero is highly unlikely. To celebrate the event, the game would also be free to play over all platforms from 26 to 29 May.

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Common myths and misconceptions about online slots

No matter how long you have been playing free online video slots, the fact still remains that you are still looking for the secrets to maximise the outcome of your gameplay. Some people actually do believe that there are secrets or rules that guarantee more winning on online slots. Most time those “secrets” turn out to be myths and misconceptions concerning online slots.

Below are 6 False Beliefs About Online Slot Machines:

1. A close call indicates a greater chance of success

In reality, each spin has nothing to do with the other spins. Your chances of winning are always the same for every spin. Predicting accurately when a slot machine is going to pay out is really impossible. A close call simply means nothing but a close call.

2. It takes a long period of time to win a jackpot repeatedly after it has been hit

Online slot machines can payout in two or more spins simultaneously if you are lucky. Anything is possible, including hitting two jackpots in a row as every spin doesn’t relate to another.

3. A slot machine is the worst bet in casinos

Most people who do not get lucky with slot machines always tend to believe that it’s the machine that is the cause of their misfortune, hence, they call it “the worst bet in a casino”. The slot machine can be played by anyone regardless of their level of experience and still enjoy themselves while actually having a chance to win.

4. Impossible to win real money at an online slot machine

Among others, this right here is the most popularly preached misconceptions about online slot machines. There is actually a huge opportunity of winning lots of cash playing slots online. Not only that, online slots are generally more generous than slots in real casinos. For example, some websites offer free online video slots, which allow one to enjoy their favourite games without spending a dime.

5. Online slot machines are a means of bamboozling people

Everyone is aware of fraudulent online slots and this calls for online players to be careful when selecting a domain to play on. The fact still remains that there are fewer scam online domains than reliable online casinos. If at any point in time, you are in doubt of a particular website, you should quickly check if it’s among the blacklisted casinos.

6. A slim chance of winning when playing with bonuses

People, without any validation, began to preach that playing slot with bonus reduces the chances of winning compared to playing without bonus. There is no evidence backing this notion. It’s a misconception that scares people from not accepting free bonuses.

Getting informed about the misconceptions and false ideologies about online slot machines prepares you mentally for what to expect and this will always be of use to any prospective player.

 

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Global Animation Industry Report 2017: Driven by increase in broadcasting hours through cable and satellite TV

Research and Markets has announced the addition of the ‘Global Animation Industry 2017: Strategies Trends & Opportunities’ report to their offering. The report, titled ‘Global Animation Industry 2017: Strategies Trends & Opportunities’, has identified the animation industry as one of the world’s fastest growing industries.

The growth is the result of rising demand for animated entertainment due to the increase in broadcasting hours by cable and satellite TV along with the growing popularity of the Internet. The rapid advancement of technology has made computer animation available to the masses and the animation industry is one of the fastest growing industries.

‘The Simpsons’

In the past, animation series were aimed at children aged nine and below. In recent years however, TV stations have been producing animation series for teenagers, adults and the whole family. Animation series like The Simpsons and King of the Hill have been successfully aired on primetime TV. The major markets include the United States, Canada, Japan, France, Britain and Germany. The current animation industry is influenced by large multinational studios as well as TV broadcast companies and cable channel companies. They are engaged in activities from pre-production to distribution, as well as new sources of revenue such as DVD sales and intellectual property licensing.

The multinational studios leverage various forms of partnership, co-production and joint ventures with global partners. Several countries subsidise their national film industries, including animation and therefore, strategies such as co-production have been adopted to explore global market opportunities and production subsidies. Co-production has emerged as a popular strategy for studios in many countries. Funding flows for co-production, from Hollywood to other countries and vice versa are very common.

As co-production has increased, animation studios in China and India have become popular co-production partners of studios in Europe, Japan, and North America. From the point of view of the major studios, co-production can provide flexibility while working with small studios and bring fresh creativity from other countries.

The size of the global animation industry was about US $244 billion in 2015. The major animation markets include the United States, Canada, Japan, China, France, Britain, Korea and Germany. Most of the segments in the animation industry are growing at the rate of 5 per cent YoY (year-on-year). The outsourced computer animation production market is increasingly being tapped by North American and European film and television program producers.

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Delegates at Cannes apprised of opportunities in film industry in India

India has invited some masters of world cinema to conduct master classes and workshops in Film Bazaar at the International Film Festival of India in Goa in November and visit different locations in India.
 
Addressing foreign and Indian delegates to the India Pavilion at Cannes, Information and Broadcasting Ministry Joint Secretary (Films), Ashok Parmar said this was “in sync with our Film in India initiative under the aegis of the Film Facilitation Office. We also had the opportunity to speak about international collaboration between talent and co-creation of content since we have signed coproduction treaties with several countries.
 
He said the meeting with the various delegates enabled the Ministry to introduce internationally celebrated filmmakers to IFFI, which is in its 48th year and thus showcases the latest critically acclaimed films. “We would be delighted to have these eminent personalities”, he added

He went on to inform the filmmakers that setting up of the National Centre of Excellence in Animation, Gaming and Visual Effects in Mumbai and a new Film and Television Institute in the North Eastern State of Arunachal Pradesh will enhance the skill of the film sector.
 
The delegates were informed of the Ministry’s National Film Heritage Mission through the National Film Archives based in Pune and the National Museum of Indian Cinema in Mumbai under the aegis of Film Division, as an endeavour on the part of the Government’s effort to preserve the century old cinematic heritage of the country. 
 
The meeting also discussed how the Directorate of Film Festival could promote Indian cinema across various cities in the UK and Poland and at the same time give their films a footprint in India.  
 
The National Film Development Corporation which conducts the Film Bazaar tied up with Pingyao International Film Festival, artistic director, Marco Muller to introduce various initiatives to acclaimed international filmmakers and representatives of various national bodies from countries that have an international co-production with India.
 
Indian Ambassador to France, Mohan Kumar said, “We had very useful discussions centered around two fundamental objectives: how to achieve greater visibility for Indian cinema worldwide and how to promote India as a destination for foreign movies. Discussions with directors, producers andpPolicy-makers from UK, Italy, Poland Germany and China proved fruitful and a possible road map to increase the global footprint did emerge”.
 
The delegates in attendance included Fatih Akin (Director/Producer – Germany);
Nurhan Sekerci (Producer – Germany); Bady Minck (Director/Producer – Austria/Luxembourg); Simone Gattoni (Director/Producer – Italy); Heather Stewart (Creative Director – British Film Institute; Izabela Kiszka-Hoflik (Head of Film production and Project Development – Polish Film Institute; and Michel Pradier and Marielle Poupelin – Telefilm Canada 
 
The India Pavilion is organized by the NFDC on behalf of the Ministry and is a fully equipped and functional business centre during this period and provides Indian delegates with an opportunity to meet and conduct business with leading members of the international film fraternity.
 
The Pavilion will host knowledge sessions with various filmmakers and also facilitates the publicity of films produced by Indian filmmakers. The Corporation has published an India Guide with details of Indian professionals registered with the Cannes Film Festival & Market.
 

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Syoss Thief in Morning Commute

Syoss, Henkel’s international hair care brand, is being promoted in Switzerland with “The Thief”, a commercial drawing on the daily struggles commuters go through. The Syoss Thief commercial focuses on how merciless the morning commute can be by stealing our sleep, breakfast and time it takes to do our hair. Time poor commuters struggle with bad hair, envious of the one woman whose coiffure remains unruffled, thanks to her use of Syoss.

Syoss Thief passenger with hat

Pius Walker, Creative Director at walker Zurich, said: “With this film we wanted to create something that was different to the usual mould that hair ads stick to. We’re lucky enough to have a client who allows us to do this and push away from the conventional.”

Syoss Thief passengers
Syoss Thief woman

Syoss Thief Credits

The Syoss Thief campaign was developed at walker Zurich by creative director Pius Walker, copywriter Roger Beckett, art director Stefanie Huber, strategist Catherine Elf, account director Cornelia Nünlist, and at Inhalt&Form by CEO Dominik Stibal, creative director Karin Estermann, project manager Manuela Marty, working with Henkel Beauty Care marketing manager Christian Volk.

Filming was shot by Joachim Zunke via Cobblestone with director of photography Philipp Gerhardt, art director Franziska Krentzien, executive producers Pieter Lony and Juri Wiesner, stylist Imke Hille, make up and hair stylist Nadin Wagner, editor Alex Kutka, compositing artist Sven Schönmann, post production supervisor Tanja Bruhn, sound designers Michael Krüger & Christopher Szillat.

Music was by Lukas McNally and Tim Knapp.

Watermelon Bread Recipe/烤西瓜面包


This is an easy way to make a popular Chinese decorative
bread recipe. It is a delicious novelty food that you can now
bake for yourself. It tastes great but the watermelon colors
and shapes make this look so beautiful too.
2 1/2 cups all purpose flour (350 g)
3/4 cup water (170 ml)
1 egg (50 g)
1 tsp yeast (5 g)
3 tbsp sugar (30 g)
1/4 tsp salt (2 g)
3 tbsp butter (30 g)
food coloring
raisins

10 Worst Animated Movies Of All Time


You thought Cars 2 was bad. These 10 animated movies really take the biscuit! From nausea inducing animations to terrible plot lines that make no sense at all, here we bring the worst of the worst. You have been warned!

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DISCLAIMER: We claim no ownership of intellectual property used in this video. All footage is the property of its respective owner. It is used under Fair Use laws permitting the use of copyrighted material for the purposes of commentary and parody.

Organa (Official video by Sabine Volkert)


From the album ‘Emergence’ out now Buy ‘Emergence’ http://MaxCooper.lnk.to/Emergence For more information about the Emergence project visit http://emergence.maxcooper.net Follow on Spotify: https://MaxCooper.lnk.to/FollowOnSpotify “For this chapter of the Emergence story I wanted to escape the computational and data-driven approaches often used in other parts of the project, and try something more humanised. I found an amazing artist called Sabine Volkert, who hand-draws every frame of her videos, which creates a very particular sort of feeling, and one that seemed to me to fit with the feeling of the music and of the concept involved – the tinkering of animal development via random mutation to create a rich variation of forms on which natural selection can act – the mechanism of Darwinian Evolution. Sabine told this story with warping morphologies, exploring the range of animal structures we see around us. All of these different structures have many shared underlying principles, such as segmentation (units built around analogues of a spinal cord), modularity (organs as individual units), and bilateral symmetry (mirrored body structure to give directionality for senses). There are many more of these common principles shared amongst animal forms, which are coded for and created by shared molecular mechanisms like the genetic code and gene regulation, which guide the process of development to create each different animal. Because of this mechanism of conserved systems and principles, random mutations in small regions of DNA can produce large scale, coordinated changes in bodily structure. It’s evolution of evolvability – nature has set up system which is likely to produce a wide range of potentially viable, but different animals, as the best bet for survival in an unpredictable world.” Max Cooper “For Max’ beautiful track Organa I grounded the video’s visual concept and stylistic choices in its thematic background, while leaving a lot of room for experimentation throughout the entire process. Following only a set of rules for the standalone animation chains and a rough overall structure, everything was pieced together gradually, evolving into the final compositions guided by the musical cues as everything unfolds over time.” Sabine Volkert http://sabinevolkert.com/ Follow Max Cooper https://www.facebook.com/maxcoopermax https://www.instagram.com/maxcoopermax https://twitter.com/maxcoopermax https://soundcloud.com/max-cooper