ONLINE RELEASE : JUNE 18th 2017 Women are lucky, they get to have the only organ in the human body dedicated exclusively for pleasure: the clitoris! In this humorous and instructive animated documentary, find out its unrecognized anatomy and its unknown herstory. Les femmes sont chanceuses, elles possèdent le seul organe du corps humain qui sert uniquement au plaisir : le clitoris! Dans ce documentaire animé drôle et instructif, découvrez son anatomie ignorée et son histoire méconnue. Technique : gouache on paper / 2D digital Animation III, Mel Hoppenheim School of Cinema, Concordia University (Montreal, Canada) © Lori Malépart-Traversy 2016 Awards : -Winner Best Student International Short Film (Animasivo 2016) -Winner Best Animated Film (Festival du Film Étudiant de Québec 2017) -Winner Audience Award – Best Documentary (Chicago Feminist Film Festival 2017) -Winner Audience Award – Best Short Film (Festival Vues d’en face 2017) -Winner Audience Award (Festival Womanimation! 2016) -Prix de la Cinémathèque Québécoise pour l’Excellence en cinéma d’animation (Concordia Awards 2016) -Honourable Mention for Best Canadian Student Animation (Ottawa Animation Festival 2016) -Honourable Mention for Audience Award (TAIS 2016) -Honourable Mention (Cabbagetown Short Film Festival 2016) -Honourable Mention for Best Sound (Concordia Film Festival 2016) Festivals selections : -06/17 : Annecy International Animated Film Festival (Annecy, France) -06/17 : Animafest Zagreb (Zabreb, Croatia) -06/17 : Imaginaria Festival (Binéfar, Spain) -06/17 : Seoul International Women’s Film Festival (Seoul, Korea) -04/17 : Ciné-club Caserne 45 (Montréal, Canada) -04/17 : Kyev International Short Film Festival (Kiev, Ukraine) -04/17 : Festival 48 images secondes (Florac, France) -04/17 : Festival Vues d’en face (Grenoble, France) -03/17 : Short Waves Festival (Poznań, Poland) -03/17 : Festival du Film Étudiant de Québec (Québec, Canada) -03/17 : Monstra Animation Festival (Lisbon, Portugal) -03/17 : Glasgow Short Film Festival (Glasgow, Scotland) -03/17 : Queer Loox (Luxembourg) -03/17 : Glitoris – Art Gallery Benefit (New York, NY, USA) -03/17 : Red Dawns International Feminist and Queer Festival (Ljubljana, Slovenia) -03/17 : Anim!Arte International Student Animation Festival (Rio de Janeiro, Brazil) -03/17 : Lviv International Short Film Festival Wiz-Art (Lviv, Ukraine) -03/17 : Court Spira Court : Spécial 8 mars (Québec, Canada) -03/17 : Ciné-Club Cégep de Jonquière (Jonquière, Canada) -03/17 : Animac (Catalunya, Spain) -03/17 : Chicago Feminist Film Festival (Chicago, IL, USA) -02/17 : Les Rendez-vous du cinéma québécois (Montréal, Canada) -02/17 : International Film Festival ZOOM – ZBLIŻENIA (Jelenia Góra, Poland) -02/17 : Les Vidéophages (Toulouse, France) -01/17 : Festival International de films “Elles Tournent” (Bruxelles, Belgium) -12/16 : Animateka (Ljubljana, Slovenia) -12/16 : Equality Festival (Kiev, Ukraine) -12/16 : International Short & Independent Film Festival (Dhaka, Bangladesh) -11/16 : Anilogue International Animation Festival (Budapest, Hungary) -11/16 : Animage International Animation Festival of Pernambuco (Recife, Brazil) -11/16 : GIRAF Animation Festival (Calgary, Canada) -11/16 : Les Sommets du cinéma d’animation (Montréal, Canada) -11/16 : CutOut Fest International Animation and Digital Art (Querétaro, Mexico) -11/16 : Festival du Court-Métrage d’Auch (Auch, France) -11/16 : DOK Leipzig (Leipzig, Germany) -10/16 – 11/16 : Part of the exhibition of Festival Cineffable (Paris, France) -10/16 : KLIK! Animation Festival (Amsterdam, Netherlands) -10/16 : Anima Mundi (Rio de Janeiro & São Paulo, Brazil) -10/16 : Grand Rapids Feminist Film Festival (Grand Rapids, MI, USA) -10/16 : Tofuzi International Festival of Animated Films (Tbilisi, Georgia) -10/16 : Anim’est – Creepy Animation Night (Bucharest, Romania) -10/16 : FAFF – Factual Animation Film Fuss (London, UK) -09/16 : KROK International Animated Films Festival (Russia) -09/16 : Animasivo (Mexico City, Mexico) -09/16 : Libelula Animation Festival (Barcelona, Spain) -09/16 : Femmes en résistance – Festival féministe de documentaires (Paris, France) -09/16 : Anima Syros International Animation Festival (Syros, Greece) -09/16 : Ottawa International Animation Festival (Ottawa, Canada) -09/16 : Festival International du Film d’animation de Paris (Paris, France) -09/16 : Milano Film Festival (Milan, Italy) -09/16 : WFAF – World Festival of Animated Film (Varna, Bulgaria) -09/16 : Cabbagetown Short Film Festival (Toronto, Canada) -08/16 : Brand New Blinkers (London, UK) -07/16 : TAIS Animation Showcase 2016 (Toronto, Canada) -06/16 : Womanimation! 2016 (Providence, RI, USA) -06/16 : Art All Night Film Festival (Trenton, NJ, USA) Film website : http://lorimalepart-clitoris.tumblr.com
Hitman Go – Android Gameplay
Posted in: Animation
Hitman Go Android Gameplay Trailer HD – Game Play video of Hitman Go Android Gameplay Trailer HD by SQUARE ENIX Ltd.
Google Play
https://play.google.com/store/apps/details?id=com.squareenixmontreal.hitmango
Affiliated Website Site:
http://www.100doorsescapewalkthrough.com
http://techzamazing.com
Shawn Mendes embodies the Emporio Armani values with his innovative style, making him the perfect #EAConnected smartwatch ambassador.
It may be the first day of summer, but #WinterisHere on 7.16.
Game of Thrones Season 7 premieres this July.
Learn more about http://www.gameofthrones.com
It comes at night – teaser VOSTFR
Posted in: Animation
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Teaser VOST de It comes at night réalisé par Trey Edward Shults avec Joel Edgerton, Riley Keough, Christopher Abbott, Carmen Ejogo.
Le 21 juin au cinéma.
Synopsis :
Alors que le monde est en proie à une menace terrifiante, un homme vit reclus dans sa propriété totalement isolée avec sa femme et son fils. Quand une famille aux abois cherche refuge dans sa propre maison, le fragile équilibre qu’il a mis en place est soudain bouleversé.
Porn Stars Taste BJ Blast
Posted in: Animation
In this episode of Porn Stars React we ask Porn Stars to taste BJ Blast blowjob candy. Starring Leya Falcon, April O’Neil, Daisy Ducati, Cassandra Cain, Jenna J Ross, Gabriella Paltrova.
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Le retour du nécromancien sur Sanctuaire se fera le 27 juin 2017 ! Pour seulement 14,99 €, les pouvoirs des os, du sang et de la flétrissure seront à vos ordres pour combattre les démons des Enfers.
Plus d’information à l’adresse https://eu.battle.net/d3/fr/blog/20845159
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La campagne du nécromancien (FR)
Posted in: Animation
Incarnez un énigmatique nécromancien dans votre enquête sur l’étoile filante de Tristram…
Cette nouvelle classe est disponible dans le pack du nécromancien, bientôt disponible dans Diablo III. Pour en savoir plus, rendez-vous sur https://eu.battle.net/d3/fr/.
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In one incredible action scene in Alex Kurtzman’s The Mummy, Tom Cruise and Annabelle Wallis’ characters take control of an ambulance while being pursued by several undead and Princess Ahmanet (Sofia Boutella).
The high-octane chase sees Nick Morton (Cruise) and Jenny Halsey (Wallis) out-run their attackers, but then dramatically crash the ambulance, before being confronted by Ahmanet. Staging the sequence involved a mix of practical stunts, the last-minute addition of motion capture, computer generated undead, and a bunch of other effects work, as vfxblog finds out from production and MPC visual effects supervisor Erik Nash, and fellow MPC visual effects supervisor Greg Butler.
Interestingly, the scene was originally envisaged with actors playing the undead in costume (to be later augmented with CG character parts, as MPC did for some other undead sequences in the film). However, due to several factors, including space constraints in the ambulance cabin, the filmmakers decided to shoot the plates clean and rely on motion captured performances to add in completely digital undead.
“They went to shoot the scene,” recalls Butler, “and the first thing Tom did on the first rehearsal was say, ‘We’re not going to do this with the stunt guys.’ They had been rehearsing it with stuntmen playing the undead so that all of that physical interaction would be real and we would do what we did for most of the movie, which was replace their heads and hands and do various things to turn the stunt guys into undead people. But Tom decided on the spur of the moment that the whole thing was going to be done virtual and that he and Annabelle would just mime the attack, which really threw us for a loop because that wasn’t the plan. It meant we had to re-conceive how even the animation would be done because we weren’t planning on animation or mocap or anything.”
“Thankfully,” notes Nash, “our stunt coordinator Wade Eastwood, who had choreographed all the action and knew it inside and out, was able to talk Tom and Annabelle through the beats and give them eye lines and guide them through it. ‘Where is the guy? What is he trying to do? Here’s where you should grab him. Here’s how hard you should hit him.’”
MPC matchmoved the scene and inserted proxy CG characters for Nick and Jenny, before the scene was turned over to Digital Domain for motion capture of the undead. “As we did the motion capture,” explains Nash, “we were able to see live composites of the motion that we were capturing in sync with the plate, which meant I could direct the motion capture performer to behave appropriately for what Tom and Annabelle were doing.”
“By doing the undead with motion capture,” adds Nash, “we got a number of benefits. It was really fast, you do several takes in a matter of minutes, and then you pick one. You basically have your animation. All the context had to be cleaned up and there’s a big key frame component to it, but we able to in three days capture everything we needed for sequence and then that immediately gave us temps that the editors could use to refine the cut.”
The motion capture became a foundation for MPC’s animators to deliver the CG undead characters who try and stop Nick and Jenny while the ambulance is in motion. That culminates in the vehicle crashing down a slope and ejecting Tom Cruise, who rolls down the hill and is narrowly missed by the tumbling ambulance.
“In the end, whatever Tom’s reasons might have been, it was a great call,” suggests Butler. “Although we had to scramble and come up with a motion capture shoot in the middle of the schedule, if we had had to use stuntmen to do it, then I think we would have always been struggling with this bulky performance working in a very enclosed space with lots of things blocking other things, with very difficult paint outs. As soon as we could go fully digital with the undead, it was a lot more animation work, but it solved so many other problems because they weren’t even problems anymore. We just got to insert digital characters and invent a lot of things in post, rather than having to figure it out in the intensity of a bluescreen shoot.”
Parts of that shot were handled in a spinning gimbal rig devised by special effects supervisor Dominic Tuohy. On location, Cruise also performed the resulting tumble in the forest. “Tom was pretty remarkable doing that,” recalls Nash. “I think we only did two or three takes and Tom has this incredible ability to find the camera, and so, as he’s rolling down the hill, I think what makes the shot so special is he bounces off the ground and he rolls over and his face is there on camera and you see, as clear as day, ‘Oh that’s Tom Cruise.’ It’s not a stunt performer.”
MPC added a digital ambulance and some ground interaction effects. “But it was Tom Cruise and he’s really doing it,” re-affirms Nash. “That’s one of the huge perks you get doing a Tom Cruise movie – he does all that stuff and you get huge value out of it.”
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