(rough cut)


A director pressures an actress into full nudity on the morning of her first sex scene. Short Film | 2:30 | 2016 | World Premiere – TIFF 2016 See more at www.leedingladyproductions.com/blog/ Director: Walter Woodman Writers: Sidney Leeder & Walter Woodman Executive Producers: Justin De Bernardi & Kristen Maurice Producer: Sidney Leeder DP: Nikolay Michaylov Editor: Jason Kirchner Actors: Shaun Benson, Dean Armstrong, Shannon Kook & Sidney Leeder www.leedingladyproductions.com www.sidneyleeder.com http://www.shy-kids.com www.viewentertainmentgroup.com

Let’s all move to LA, in 2049

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Los Angeles in 2049 is an over-populated metropolis, threatened by rising sea levels, and featuring vastly different scale buildings, from sprawling favelas to mile high pyramids. That’s how the city is presented in Blade Runner 2049, which had to show a location 30 years into the future from the original Blade Runner and had the benefit of using modern visual effects to make it possible.

Overall visual effects supervisor John Nelson was tasked with helping to realise much of that imagery. He and director Denis Villeneuve would push for LA views to be crafted via a combination of real photography, miniatures and CG. Some aerial plates were filmed in Mexico City, miniatures were crafted by Weta Workshop, and most of the CG shots and visual effects for LA were completed by Double Negative.

Here, Nelson tells vfxblog about the philosophy behind that approach and some fun details about combining real, miniature and digital.

Designing the future

John Nelson: Los Angeles in that big opening from the film is really based on, well you know, Denis is from Montreal. I’m from Detroit. Denis said, ‘I want this to feel like sort of Montreal on a bad day in February.’ I said, ‘I get it. I know. I’ve lived through that. I know it.’ And he told me, ‘I want it to feel like it’s one solid city.’ Basically from San Francisco to Los Angeles so there’s no negative spaces there. It needed to feel completely packed and carpeted with buildings.

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I wanted to shoot as much as I can shoot. I come out of the camera department so I really like shooting as much as I can shoot. I know Denis and Roger Deakins, the DOP, feel the same way. What we did there is Denis had a picture of Servile in Mexico City. We took a look at Mexico City and then we scouted when it would be cloudy, which is only at a certain time of the year. We planned our shoot around when we had the highest probability of clouds. Then what I did is I completely scouted through Google Earth all the flight tracks that I wanted to fly on. I pumped that over to Dylan Goss, our aerial camera man who had worked with Roger before. He went down and scouted those areas and some others.

We shot Mexico City. At that point, we shot one helicopter following another helicopter in Mexico City. We got overcast skies and really what we were going for is back-lit overcast. It was a far cry from the final shots – if you see what those shots are before what we did to them and after what we did to them. It’s a far cry. The balance there is that we tried to really make our cities look like Beijing. You know, where atmosphere’s completely even and just really, really choking. The design of the buildings themselves are brutal. In design, in pre-pro, when we were going through art for the cities, generating the art because Denis did the work on the cities. This is me working with Dneg art department.

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We started with 1940’s architecture because we were going for a film noir look. Then we put in more brutalistic architecture with what Dneg would refer to as heavy top buildings where buildings would come up and be heavier at the top, like sort of a slab at the top and then a vertical column going into it. He wanted the feel for the cities to be very brutal. What we did is we added into our concept art, we started with 40’s architecture, then added in more brutalistic buildings, then added more snow and more snow and more snow. Then finally, what we did is we went in and sort of jump the scale. Normal cities have one scale and then another little higher scale, then a higher scale. We had one scale, then a medium scale that would be a lot bigger than that. Then one that would be a lot bigger than that.

So we would have these leap frog scales with the streets lower down. That gave us more depth. Then we shot Mexico City. We added a tonne of CG to it. Then added a tonne of re-lighting to it. We were taking what was not in fog and then putting it completely in fog. And having atmosphere only go so far. The holograms also had these layered effects in them, actually, the director ended up calling that the ‘Patented Dneg holographic process’.

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When you look at what we started with and what we ended with, it’s really an amazing difference. What we were striving for, of course, what every visual effects person wants is to strive for is for it to feel natural when you look at it. That’s how we did the first scene going into the cities. We built in the sea wall on one side, which was sort of where the 405 would be in Los Angeles.

Going miniature

On this movie too, I wanted to use matte paintings and miniatures to also broaden the scope of the look of the film. It would be a mixture of different media. So going into the city as you fly up to the LAPD building, the LAPD building is actually a 1/48th scale miniature that is about 15 feet tall. With a tonne of CG, again, a tonne of CG put on top of it. Of signs and whatnot and smoke coming out of it.

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Alex Funke, via Weta Workshop’s Facebook page.

What I tried to do with a lot of that stuff was I would use miniatures of the destination. I’d start with CG over an aerial plate and then move into a miniature plate. So as you’re going into it, it would all change. It would change from one field to the next. We’ve seen, in other movies, with the legacy of Blade Runner, there’s often been a thing where, ‘I’m just going to keep adding signs and signs and colours and junk.’ We tried to be restrained on that because after a while, it just gets to be visual annoyance.

When they shot the miniatures at Weta Workshop – which was led by Alex Funke – I wasn’t there. They shot them with a Canon still camera on a motion control rig. They shot it on a computer controlled smoke room. There was an infrared beam used to analyse the level of smoke and constantly reinforce the level of smoke when they were shooting it.

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Image via Weta Workshop’s Facebook page.

When you shoot miniatures, you shoot the lights separate but the move is repeatable so you can do it again. You’re able to shoot with different lights – the white lights and coloured lights – and then a smoke room to get different levels of smoke, which I think is really important.

How office lunch breaks inspired Rocket Science Animation’s series ‘RAT RACE’

Charity begins at home; and so do creative ideas. In this case, it was the workplace, but nonetheless, the source of a small idea that went on to become big- as big as a series.

Gautam Singh and his team at Rocket Science Animation (RSA) sit together for lunch daily. It is a daily groove to joke around, tease and pull each other’s leg at the table. All kinds of discussions and debates happen as the employees are from various parts of the country, obviously with varied backgrounds and completely different outlooks.

“Every lunch used to be so hilarious that we started thinking of creating something based on our own office scenario,” says Rocket Science Animation co-founder Gautam Singh, whose team created RAT RACE, an episodic comedy animation series which airs on Happii-Fi, the YouTube channel of SAB Group. “So we were inspired by people who work with us on everyday basis.”

RAT RACE tells tales of quintessential workplace struggles of employees with their demanding boss. “The idea was born and co-incidentally at the time, SAB was starting its digital platform,” Singh shares. Through Singh’s contact with someone from the content team, the idea reached SAB but they were not able to visualise it.

“We then decided to create a pilot whether anyone liked it or not, and sent it to the group.” The SAB team was so impressed with the content that they decided to be a part of it, and came on board as producers. The cost of production is borne by them and they co-own the IP with RSA.

“The concept had a seamless match with Happii-Fi’s objective of offering highly differentiated humour content to the youth of India,” explains SAB Group group CEO Manav Dhanda. “And with the idea being fresh and relatable, the characterisation including their design, voicing, et cetera being fantastically showcased, the association with the team was apt.”

Before SAB Group picked up the show for Happii-Fi, RSA had plans to produce it themselves. Due to a tight budget, they decided to keep the animation style minimal and simple, sticking to Flash animation.

The look and names of the characters of this 2D series are also based on the employees. “They all have their backstories. For instance, Guddu (from studio) who hails from a small village in Madhya Pradesh has a completely different take of life than this other Delhi guy who comes from a rich family,” Singh laughs. “The worries of the Delhi guy will be what food he should order while Guddu’s predicament is how he shall pay the month’s rent.”

Guddu’s sense of humour is excellent and his snide comments on others are spontaneous and sharp. The same is hence incorporated in RAT RACE’s Guddu.

The RSA team also wanted to add a studious and hard-working character who does not meddle in office politics and other affairs. Thus was born Nobin.

Once the characters were set, they came to the stories. Again, the stories were picked from the situations that arose in the office. For instance, when the team shifted to a bigger office, there was only split AC and to save money, “we didn’t want to invest in another split AC. Hence we made everyone sit in the heat for a few days, and they used to grab a place where the cool air hit the most,” he recalls. Thus, the first episode – AC Ki Hawa – caters to the exact issue.

Production on the show started in January-February this year and 19 episodes of the show have been rolled out on Happii-Fi yet.

“RSA has made a mark in the animated arena in a very short span of time, having built an outstanding client portfolio and reputation to go with it. We look forward to continuing this association with a mutual vision of growing RAT RACE and developing lot more animated content for the channel,” reveals Dhanda.

And as we read, members at RSA will be delving into another of their daily lunch session and probably taking down ideas on the paper for their next episode!

The post How office lunch breaks inspired Rocket Science Animation’s series ‘RAT RACE’ appeared first on AnimationXpress.

MIPJunior 2017: Toonz Media seals a worldwide deal with Nickeledeon for ‘Zelly Go Gone’

A veteran of the animation industry CEO Toonz Media Group P. Jayakumar is all smiling today. The distribution division of Toonz that is Spain based Imira Entertainment has cracked a worldwide deal with Nickeledeon for ‘Zelly Go Gone’. The very down-to-earth Jayakumar was a pleasure to talk at MIPCOM 2017 at Cannes. He told Animation Xpress about  his upcoming shows as well the MIPCOM and MIPJunior experience.

How was MIPJunior?

It is always a great platform associated with kids producers. Those who are in the kids business come and get to know about the latest trends. It is quite beneficial for kids producers because I don’t think the time has ever been suitable like this. We wanted to make sure that we grab the opportunity and also qualitatively address it.

We launched several shows at MIPJunior for example we did a Korean and Russian show. Also, we have our production facility in New Zealand, Oakland. We launched 4-5 shows in MIPJunior like ‘Smighties’. It is all about putting it all together. I think the projects are almost closed. This year has been fantastic.

Toonz IP ‘Zelly Go Gone’

How was your MIPCOM 2017 experience?

My meetings have been very good. I have been coming here since 20 years. Once you have come here for that number of times then you know people well and also how to effectively utilise your time. Selling as well as networking with creators was great.

Has any deal been signed?

We have sold our animated show ‘Zelly Go Gone’. All deals are under our distribution body Imira. We signed a worldwide deal with Nickeledeon for ‘Zelly Go Gone’. It’s a worldwide deal except for Korea with 104 episodes.

Tell us about your upcoming shows.

‘Kiku Riki’ is a very famous Russian project. Now we have launched it in China. It is doing extremely well. We are now distributing it all around the world except for Russia. It is an acquisition. These are our own production.

Toonz has acquired Imira based in Spain. It distributes third party content and all that Toonz produces. Its core responsibility is distribution. ‘Baby Riki’ is a show which belongs to producers in Russia. It has the distribution rights for certain markets in Europe, Latin America and Spain. It has projects distributed in Korea,Italy and Spain. So it is a wide range of catalogue. The Imira team is based in Spain and it is looking for a wide range of products.

According to Imira, it speaks to a lot of people in MIPCOM and has been here since long so it knows the pulse of the market and it knows what buyers want. MIPCOM and MIPJunior is the most important market for them and Imira attends around 14 markets globally.

The post MIPJunior 2017: Toonz Media seals a worldwide deal with Nickeledeon for ‘Zelly Go Gone’ appeared first on AnimationXpress.

Gags from the garbage – An interview with Garbage Bin Studios co-founder Shah Nawaz

(From left) Faisal Mohammed and Mohammed Shah Nawaz – The architects of the ‘bin’

It takes more than just a few wisps of audacity to publicly call yourself or your work equivalent to a garbage bin. But Faisal Mohammed and Mohammed Shah Nawaz, the founders of Garbage Bin studios, possess immense humility.

Started in 2011 with a few comic stripes on Facebook, Garbage Bin could only muster a mere two ‘likes’ on its page in its first month of operation. Not a great start by any accounts, but the duo weren’t to be cowed down by the underwhelming initial responses.

The gags continued to pour on their pages, and soon, they were viral. Today, Garbage Bin boasts as much as one million ‘page likes’ and just as much followers on Facebook.

Talking of some of their prominent works, the shenanigans of Guddu, his best bud Shan and the rest of the gang, has endeared to the readers no end, whilst another strip ‘Pyaari Maa’ has struck a chord with people of all age groups.

Garbage Bin, today, is more than just a social media page; it’s a rage. And Shah Nawaz holds nothing back in this exclusive interview with Animation Xpress, where he takes us down the memory lane to recall their humble beginnings, the crests and troughs they surmounted on the road, and what’s in the ‘bin’ for its readers in the coming days.

How did the journey of Garbage Bin begin?

In 2011, Anna Hazare’s anti-corruption movement made waves in the country and we developed this game called Angry Anna in three days to capture it. The game was played by over a million people around the globe. Soon, we caught the media’s eye and even received funding offers, but weren’t ready for it at the time.

Angry Anna – The game

Strangely, this proved to be a blessing in disguise because Faisal worked on his sketching and came up with two cartoon characters called Guddu and Shan and started making comics based on them to vent out the frustration. This garnered a lot of positive feedback and thus Garbage Bin was officially started.

Why have you named it Garbage Bin?

The name Garbage Bin is inspired by Mad Magazine as the artists behind it call themselves the ‘Usual Gang of Idiots’ and their work as ‘Garbage’. The Mad Magazine Team is Faisal’s inspiration, so we picked up the name from there.

They say the character of Guddu is inspired by Faisal and Shan by Nawaz. How exactly are you guys and the respective characters relatable? What are the commonalities?

There are a lot of similarities between the duo (Guddu and Shan) and real life Faisal and Shah Nawaz. First of all their appearances – Guddu is chubby with curly hairs, something that resembles Faisal, whereas Shan is lean and hairs with spikes. Now we both are in our thirties, so appearance of the characters is not relatable anymore because of beard and changed hair styles!

Guddu and Shan are fans of video games, while we grew up playing video games like Mario, Contra, Road Rash and Tekken. Guddu and Shan also love to read comics, and we too read a lot of comics in our childhood like Raj Comics, Manoj Comics etc. Guddu and Shan are very fond of watching cartoon shows, whereas we still love to watch cartoon shows despite being in our thirties!

What’s the story behind creating ‘Pyaari Maa’, your most popular comic strip till date?

Actually there is no story behind it. Everyone loves his/her mother and it was started based on the same.

You have often resorted to using some common slangs in your illustrations. Hasn’t that ever landed you in hot water?

Luckily, we never managed to land in any type of controversy. We admit that we’ve used some common slangs here and there, but we always tried not to hurt any particular community or any individual’s sentiments.

When you sit to sketch a new comic strip, how do you go about it? What’s the thought process?

Usually, the gags are born out of ordinary conversations. We make a note of them immediately it is mouthed. When Faisal is working on a gag, he goes to these ideas and thinks on devising something on these lines. He then starts designing the rough gag on his laptop.

Once complete, he sends the rough gag to his close circle of friends via messenger or Whatsapp. If responses are positive, then we go ahead with cleaning and finishing the gag. But if they are negative, he goes back to his laptop to redesign.

Who’s your inspiration?

Faisal is heavily inspired by the artistes from MAD magazine, who have always labelled themselves as garbage, despite their work being top notch.

You have over a million followers today on Facebook. Did you ever anticipate reaching this far when you started out?

We don’t even know how we got here. We think that the success of Garbage Bin gags is to make one realise that every middle-class kid during the 1990s lived a similar life with almost the same everyday incidents and accidents.

A comic strip of your own that’s your personal favourite or close to your heart?

My favourite gag is when Guddu’s mother unveils her talent of making a rough notebook using clean pages from last year’s notebooks.

What are you currently working on?

We are currently working on animation series of Guddu and gang with popular YouTube channel TVF. It is expected to be completed by the end of this November.

What advice would you give to the budding cartoonists and illustrators?

Be yourself and don’t let others demotivate you. And also work hard!

The post Gags from the garbage – An interview with Garbage Bin Studios co-founder Shah Nawaz appeared first on AnimationXpress.

Everything is awesome, until it isn’t

In this Motionographer Guest Post, Adam Plouff gives a sobering look at what it’s like getting called up to the big leagues, then reassessing what matters most when life happens.

Complaining about Complaining

Political Lamp – Parse/Error


The connected cloud lamp that reacts in real time to the tweets from Donald Trump, and other political events on Twitter. More info on my portfolio: http://parseerror.ufunk.net/

Wes Anderson / Color


Video essay showing color palettes of Wes Anderson’s movies Made only for educational purposes. List of films used: – The Grand Budapest Hotel – The Royal Tenenbaums – Moonrise Kingdom Music: The Society of the Crossed Keys – Alexandre Desplat The Grand Budapest Hotel (Original Soudntrack) Made by: Andrés Peña ( Weirdtoast in reddit, hello)

Standard Energy Promotion Film


Client – Standard Energy Director & Motion Graphic & Design – Goh seongwoo Sound – sunwooshawn Kim All Design & Creative by WOOT Creative. Work process Behance – https://www.behance.net/gallery/57239063/Standard-Energy-Promotion