Emma – The Salvation Army


Emma is the third spot in a campaign for The Salvation Army which tells three different stories about hardship and the grace that comes from individual generosity. Directed by: Moth Studio Designed by: Moth Studio, Léonie Després, Manddy Wyckens Produced by: Hornet & Moth Studio Executive Producer: Hana Shimizu Head of Production: Sang-Jin Bae Development Producer: Kristin Labriola Producer: Eva Dahlqvist & Dez Stavracos Editor: Daniele Baiardini & Stephanie Andreou 2D Animation: Carlos De Faria, Tyler DiBiasio, Anne-Louise Erambert, Anne Escot, Reg Isaac, Tucker Klein, Jennifer Zheng Cleanup by: Bianca Beneduci Assad, Carlos De Faria, Tyler DiBiasio, Lior Wolff-Epshtein, Anne-Louise Erambert, Anne Escot, Freya Hotson, Tucker Klein, Harry Slinger-Thompson, Mick O’Sullivan, Jennifer Zheng CG Animation: Luke Carpenter, Luke Doyle, Lindsay Horner Compositing: Daniele Baiardini, Qian Shi Editing Assitance: Stef Roberts Music composed, conducted and arranged by: Pierre O’Reilly Orchestra contractor: James Fitzpatrick Session Producer: James Fitzpatrick Orchestra: The City Of Prague Philharmonic Orchestra Recording Engineer: Jan Holzner Vocals: Triona O’Neill Piano: Pierre O’Reilly Recording Engineer: Tom Bullen Mixed and Mastered by: Nick Taylor Sound design: Box Of Toys Audio Post Production: 3008 Audio Engineer: Matt Cimino Online Flame Artist: Mark Sullivan Senior Producer: Jennifer Brannon Voice over artist: Susan Eisenberg – William Morris Endeavor Entertainment-LA Agency: The Richards Group

Chloe – The Salvation Army


Chloe is the second spot in a campaign for The Salvation Army which tells three different stories about hardship and the grace that comes from individual generosity. Directed by: Moth Studio Designed by: Moth Studio, Léonie Després, Manddy Wyckens Produced by: Hornet & Moth Studio Executive Producer: Hana Shimizu Head of Production: Sang-Jin Bae Development Producer: Kristin Labriola Producer: Eva Dahlqvist & Dez Stavracos Editor: Daniele Baiardini & Stephanie Andreou 2D Animation: Carlos De Faria, Tyler DiBiasio, Anne-Louise Erambert, Anne Escot, Freya Hotson, Reg Isaac, Jennifer Zheng Cleanup: Bianca Beneduci Assad, Tyler DiBiasio, Marguerite Dumans, Anne-Louise Erambert, Anne Escot, Freya Hotson, Matt Lloyd, Mick O’Sullivan, Lior Wolff-Epshtein CG Animation: Luke Carpenter, Luke Doyle Compositing: Daniele Baiardini Editing Assitance: Stef Roberts Music composed, conducted and arranged by: Pierre O’Reilly Orchestra contractor: James Fitzpatrick Session Producer: James Fitzpatrick Orchestra: The City Of Prague Philharmonic Orchestra Recording Engineer: Jan Holzner Vocals: Triona O’Neill Piano: Pierre O’Reilly Recording Engineer: Tom Bullen Mixed and Mastered by: Nick Taylor Sound design: Box Of Toys Audio Post Production: 3008 Audio Engineer: Matt Cimino Online Flame Artist: Mark Sullivan Senior Producer: Jennifer Brannon Voice over artist: Susan Eisenberg – William Morris Endeavor Entertainment-LA Agency: The Richards Group

ПЕТЕРБУРГ ГЛАЗАМИ РЕЖИССЕРОВ | SAINT PETERSBURG IN FILM


Кажется, что историю кино легко пересказать. Ларс Триер снял американскую дилогию, не выходя из здания. Мы же воспроизвели сцены из мирового кинематографа, не покидая Петербург. По формуле: иди и смотри, смотри и снимай. The history of cinema appears to be easy to do. Lars von Trier has shot the whole American dilogy without leaving the building. We’ve replayed the scenes from the world-known films within the confines of Saint-Petersburg only. Then what? Сome and see, behold and film. Written & Directed by Gregory Ignatev, Dmitry Novoseltsev Director of Photography Pavel Stanin _________________________________________________________ *All the bar scenes were shot in VNVNC: https://vk.com/vnvnc

Hungama’s Chacha Bhatija will next feature in ‘Golmaal Hai Bhai Sab Golmaal Hai’

Hungama’s famous jasoos jodi, Chacha Bhatija, have entertained young audience and in no time the animated series has become one of the loved shows on the channel.

After an overwhelming response from fans towards the series and the first Chacha Bhatija movie – Khazane Ki Khoj – Hungama TV channel is back with another feature Golmaal Hai Bhai Sab Golmaal Hai in which the detective duo go on a new investigative journey.

In Golmaal Hai Bhai Sab Golmaal Hai, the jasoos jodi is embroiled in a tricky situation. Chacha gets accused of stealing a precious stone from the historical crown and to prove his uncle’s innocence, Bhatija and Chacha both have to travel back in time through Khoji’s time machine. This double trouble filled ride is spruced with lots of chaos, confusion and humour.

This new feature will be telecast at 10 am on 19 November, on Hungama TV channel.

The post Hungama’s Chacha Bhatija will next feature in ‘Golmaal Hai Bhai Sab Golmaal Hai’ appeared first on AnimationXpress.

Rockline Group’s ‘Munirathna Kurukshetra’ has some superb VFX with Baahubali’s budget

Rockline group is a huge name in the southern industry and has forayed into Bollywood working with some of the biggest names. Founded by southern star Rockline Venkatesh, the 30 year old company has already produced 25 films including Salman Khan’s Bajrangi Bhaijaan(2015) and Rajnikant’s Lingaa(2014) in the past.

Rockline Group Managing Director Yateesh Venkatesh

Today the reigns of the flourishing company lies strongly in the hands of Rockline Venkatesh’s ambitious, talented and extremely down to earth son, Yateesh Venkatesh. He is currently the managing director of Rockline Group. Yateesh not only believes in a great storyline but also in cutting edge technology which can uplift the visual storytelling imensively! This entrepreneur is all set to take the Rockline Group to an international level.

Currently, Yateesh gears up for the release of his company’s biggest and the most ambitious project yet, Munirathna Kurukshetra. Based on epic Mahabharat’s historic 18-day battle, the upcoming war-epic will be the most expensive Kannada film till date. It has been budgeted in the scale same as that of Baahubali and will release in 2018. Southern producer and MLA Munirathna is the producer of the film and it has been directed by Naganna.

The film has been shot extensively at Hyderabad’s Ramoji Film City using the latest 3D camera technology. This eliminates the need for 3D stereoscopic conversion and everything is converted into 3D directly during the shoot itself. Good news for the industry!

In Baahubali, there were two major fights only but Munirathna Kurukshetra has seven major fight scenes which will have a huge VFX extravaganza.It seems that this film will indeed break all records and create a history of sorts! Some of India’s biggest names in the VFX industry are working for its visual effects which has not  been revealed yet.

Animation Xpress’s Swati Panda spoke to managing director of Rockline Group, Yateesh Venkatesh at MIPCOM 2017 event in Cannes, France. He shared his passion for the industry, technology, love for knowledge and his upcoming grandeur plans.

Tell us briefly about the Rockline Group.

Yateesh: We are into the production of Kannada movies since 30 years and have also touched upon other south Indian languages such as Tamil, Telugu. We are based in Bangalore and we are involved in  production, distribution and execution. We have a couple of multiplex screens in Karnataka for the exhibition and the group is also acquiring a few more in Karnataka, Andhra Pradesh and Tamil Nadu.

What’s the story behind naming your company ‘Rockline’ Group?

Yateesh:We had a well known business that was famous as Rockline in Bangalore. Most of the directors and producers knew my father as the owner of the place and started calling him Rockline Venkatesh and soon our company got the same name as well.

How was your MIPCOM 2017 experience?

Yateesh: This was my first visit to MIPCOM 2017 as I wanted to explore the global market. ABAI’s joint secretary B.S. Srinivas encouraged and guided me for visiting here, so I am really thankful to him. Due to constraints of technology, the  movie industry is very restricted. But MIPCOM provides the opportunity for producers to showcase their films. I really wanted to learn more and more as a person and as the managing director of my company. I believe knowledge and technical knowhow takes you several notches higher.

Do you see people from the overseas ready to invest in India now?

Yateesh: Yes, there are many US production companies that have entered the Indian market. They have started distributing their movies in Indian languages and it has helped in developing the market. Many of the foreign countries from the production front are very keen on learning about the Indian market. Now that’s a win-win situation for both parties.

How do you decide the story of a project?

Yateesh: We decide on the basis of how the market is going, how people respond to scripts now and in the future as well. If we have a story in mind we inform a scriptwriter and they take it from there. Most of the time,there are good scriptwriters that come to us. And that’s how we take things forward. Other cases would be remake of movies that can be inspiration for us and can also get in good terms with the audience.

Is this the first time, that a direct 3D camera is being used for movie production in your industry? Who did the VFX for the movie?

Yateesh: We were the first to use 3D camera technology in the country with the film Katari Veera Surasundarangi which was hugely successful. The second movie using this technology is also our production titled as Munirathna Kuruskshetra. It has a high budget and will release next year in March or April. The film is based on the Mahabharata war and is the costliest movie ever made in 3D. It involves a lot of VFX and cutting edge technology. The shooting is still on going and only 30 per cent of the movie has been completed.

How have you improved the technology in movie production ? What would yield a better quality movie – shooting directly 3D or conversions?

Yateesh: Technology-wise, we are the first production house to shoot a movie directly by a 3D camera. Yes, there was no 3D stereoscopic conversion. That’s a technology we brought in and the movie did well. It was a big budget movie and the post production expenses were high. Conversions won’t yield a better quality. Shooting straight in 3D gives a much better clarity and has a very good sharpness as well.

Did you recover the finances invested in making the 3D movie?

Yateesh: We recovered the first investment. There were high expectations due to the fact that the movie was shot in 3D. Everyone, including people from the rural parts of the state were keen on watching it on the big screen. We released the movie in every single rural area of Karnataka simultaneously. We had it screened through projectors and on a silver screen instead of the usual white screen. That is how we introduced 3D films to the Kannada industry.

From where did you procure this technology? Is there any particular scene in the movie where technology is prominently used?

Yateesh: There is a well-known person from the US who has this technology and has shot a couple of Hollywood movies.They have worked on our second movie as well with the upgraded technology.

What keeps you interested in the technology side of a film? How does it add value to your production?

Yateesh: I am very passionate about advanced technology, hence I like to explore anything new. Whether it is a new camera or a new lens, we upgrade it every three to four years. We have our own outdoor unit and also possess all kinds of lights, cameras, lens.

Yateesh Venkatesh

What are your upcoming projects?

Yateesh:We have recently signed Bollywood’s legend Amitabh Bachchan for a leading role in a feature film.From the co-production front, we have signed a new Hollywood movie with Abbas Alizada, famously known as the ‘Afghan Bruce Lee’. We have formed tie ups and will do a movie with them next year. Since we can do co-productions, the scripts we receive from different countries needs to suit Indian and global markets.

We have many Kannada-oriented movies which many countries find it apt to buy the dubbing rights. That is one of the main reasons that we want to pitch the movies we are producing.  Some of the upcoming movies we have, can establish international contacts before we release them.

Any new technologies you’re eyeing upon?

Yateesh: At MIPCOM 2017,  I witnessed a couple of technologies such as 8K resolution pictures. These are certain things that are coming up and must be implemented in our Indian entertainment industry.New technologies are 8K resolution pictures. Before getting them, I should get to know more about it, stay prepared and ready to accept it later. Although there’s no point implementing it now, we must be geared up for future. We need to concentrate on upgrading our exhibition side to showcase the 8K technology.

Do you have plans to open a new VFX studio?

Yateesh: We are planning to build an in-house team so that we could monitor our own quality, whether we are achieving it the way we want it. Yes, we are planning to having our own VFX studio very soon.

Do you stick to a particular genre?Could you mention some of the genres you’ve worked on?

Yateesh: There’s no particular genre that we stick to, we are open for all kind of films. Right now, we have done mostly action based movies or those films that connect with the masses. We also focus more on multi-starrer movies, getting all the good actors onboard together . We want families to be able to connect with our films.

That was Yateesh Venkatesh for you. Rockline group is indeed going great guns! The 3D camera technology will definitely shorten the period of time for creating a 3D film and is a new revolution indeed! Stay updated with us for more news on Munirathna Kuruskshetra and Rockline Group.

The post Rockline Group’s ‘Munirathna Kurukshetra’ has some superb VFX with Baahubali’s budget appeared first on AnimationXpress.

Learn what it’s like to be an animator in China with iAniMagic judge, Basil Chen

Basil Chen (Po-Chung Chen) is an animator and storyboard artist in China, as well as the winner of the iAniMagic animation contest in 2016 and 2015. He has worked on many films and animation projects; including the famous motion picture, Monkey King: Hero is Back. In this interview, he shares his insights on the animation industry in China.

What led you to become an animator?

I have always been a fan of comics and animation. When I was about 11 or 12 years old, I learned from a TV show that the Communication University of China had an animation program. I was determined to go there and study animation one day. I can’t believe I actually made it!

What kind of animation interests you?

I have a broad taste in animation. If I have to pick one, I will say the comics that describe people’s passion. I like the vibrancy in these stories and how it makes the passion contagious.

Can you tell us about your recent projects, and the roles you play in those projects?

Well, we tried to make a motion picture for a children’s book, but sadly we failed to get the copyright. I have been working on the new Kung Fu Bunny project. We need to create a couple of new characters, do storyboard testing, and also some frame structure of the scripts.

How do you plan the content for the local market in China? Can you share a few experiences?

When we were making the first season of Kung Fu Bunny, we held several movie trials on campus. We also sent out questionnaires to both adults and children, to gain some statistical background on audience demands. However, we positioned Kung Fu Bunny as a more international and family-friendly kind of animation – which should be acceptable by the market.

On making ‘Kung Fu Bunny’

What are the biggest challenges for the animation industry in China?

Animation production techniques wise, I think the Chinese studios are just as good as their counterparts worldwide. In fact, it’s quite common that Hollywood film companies outsource the post-effect production to Chinese studios. Top animation studios like Pixar and Walt Disney set a pretty high standard for visual design, but I think we can catch up someday.

Compared to the studios mentioned above, I think the major problem in the Chinese animation market is that we lack good stories. The myth that animation is only for children still widely exists in China; hence the storylines are often simple, childish, and even illogical. The lack of good stories is the biggest challenge for us in the Chinese animation industry.

The negative stereotype about locally-produced Chinese animation is a drawback as well. There is more and more imported animation content in China, some of it being big-budget feature motion pictures. We need to work very hard to bring high-quality animation to audiences to replace that misconception.

Most people agree that Monkey King: Hero is Back is a big breakthrough for the Chinese animation industry, in terms of its marketing and aesthetic design. Can you share your experience of working on this project?

I only participated a little in its production. However, I think no matter which role you have in the crew, the ultimate goal is presenting the scene and spirits which exist only in the director’s head to the audience. I feel the director, Tian Xiao Pong, conveyed his ideas to us clearly and take good control of the production. He is very logical and easy to communicate with. When you have limited budget and time, making smart decision becomes very important. I’m honored to have joined the production.

How do you capture inspiration for character design and stories?

I believe art comes from everyday life. I record troubles and good things from my daily life and then add a little twist, exaggeration, or extend it a little bit to become a story. Thanks to technology and mobile devices it has become easier and easier to collect these ideas. Although, sometime I still use a traditional notebook.

A hand-drawn animation storyboard by Basil Chen with iPad app Animation Desk

You were the winner of the iAniMagic animation contest in 2015 and 2016, and a judge for the contest this year. Do you have any expectations of the submissions received?

Yes, I participated in the contest twice. You could say I’m addicted. I noticed that the rules have changed, and participants can create animation with any software. With this change I look forward to seeing more diverse works from Animation Desk and other software. I also expect to see submissions that exceed the quality of the previous years.

The post Learn what it’s like to be an animator in China with iAniMagic judge, Basil Chen appeared first on AnimationXpress.

Prime Focus Limited releases its financial report for last quarter

 

Prime Focus Limited (PFL), a global leader in media and entertainment services, declared its financial results for the quarter ending Sep 30, 2017. The company reported consolidated revenues at Rs. 5.69bn, up 18 percent YoY, EBITDA up 54 percent YoY at Rs. 1.42bn and a PAT of Rs. 219mn driven primarily by robust performance in Creative Services.

Key financial highlights Q2 FY18 (Consolidated Financials) are

 Revenue at Rs. 5,686 million up from Rs. 4,837mn in Q2 FY17 driven by 26% YoY growth in creative services

 Creative and tech/tech enabled services contributed 77 percent and 15 percent to revenues, respectively

 Adjusted EBITDA* up 54% YoY at Rs. 1,421mn (Q2 FY17: Rs. 924mn), with margin at 25.0% (Q2 FY17: 19.1%) o Operational efficiency continue to increase, Personnel cost as % of revenue down to 56% (Q2FY17: 61%)

 PAT of Rs. 219 mn as against Rs. (395) mn YoY, PAT margin of 3.8% o Includes Non-Cash Esop charge of Rs. 139 mn (Q2 FY17: Rs. 65 mn) (Note: *Adjusted for ESOP charges) 6M FY18 (Consolidated Financials)

 Revenue for the period up 8% YoY at Rs. 10,928mn (6M FY17: Rs. 10,112mn)

 Adjusted EBITDA* up 32% YoY at Rs. 2,560mn (Q2 FY17: Rs. 1,941mn), with margin at 23.4% (6M FY17: 19.2%)

 PAT** of Rs. 249 mn as against Rs. (320) mn YoY, PAT margin of 2.3%  Includes non-cash Esop charge of Rs. 255 mn (Note: *Adjusted for ESOP charges, ** 6MFY17 loss after tax is adjusted for Exceptional gain) Media Release BSE: 532748 NSE: PFOCUS Prime Focus Ltd CIN: L92100MH1997PLC108981

Operational highlights for the quarter Creative Services:

 Movies delivered: Dunkirk, Geostorm, Blade Runner 2049, American Assassin and Final Portrait, among others

 Order book at $250mn+ with projects like, The New Mutants, Ant-Man and the Wasp, Avengers: Infinity War, M:I 6 – Mission Impossible, Godzilla: King of Monsters, Pacific Rim: Uprising, Justice League and Fantastic Beasts and Where to Find them 2, etc.

 DNeg TV gaining strong traction on the back of exclusive content offered by OTT platforms like Netflix, Sky, etc.

 Opened new facilities in Chennai (India) and Montreal (Canada), in line with strategic initiative to increase delivery from cost advantageous locations tech/tech enabled services

 Added new clients like Take 5 Productions, distribution house Nordisk, IMG Reliance and Multivision Media

 Also added contracts from existing clients like AETN, Sony Pictures Network, Sony Music, Lionsgate and HOOQ

 Unveiled a host of industry-first upgrades to CLEARTM Media ERP at NAB New York 2017 and IBC 2017. Media Asset Management (MAM) includes new functionality for Endto-End Work Order Management

 CLEARTM has been awarded the prestigious AS-11 UK DPP certification from the Advanced Media Workflow Association (AMWA)

 Steady order book at ~$200 mn to be executed over next 3-5 years. Commenting on the results,  Namit Malhotra, founder, executive chairman and global CEO, Prime Focus Ltd said: “It has been a robust quarter for Prime Focus with strong growth in both revenue and profitability. Our creative services reported accelerated growth delivering marquee projects and adding many more to the order book. Our cost optimisation strategy to deliver higher proportion from cost advantageous locations took firm shape and have taken EBITDA Margin to 25 percent.

Our tech/tech enabled continue to add new contracts, new certifications and win new industry accolades while outlook for India FMS business continues to look buoyant. We successfully redeemed nonconvertible debentures amounting Rs 1.9 bn to Standard Chartered Private Equity ahead of time. We look forward to a promising second half with great optimism as holiday season kick

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Discovery Kids India to premiere ‘Sunny Bunnies’ in November

Discovery Kids today announced a deal with the London-based content distribution company Media I.M. to premiere the hit animation series Sunny Bunnies in India.

Under the three-year deal, which covers the pay-TV, simulcast and catch-up rights, Discovery Kids will air seasons one and two of the short format non-dialogue comedy starting this November. Discovery Kids is the first Indian broadcaster to take Sunny Bunnies, bringing the total number of territories across the world to air the series to more than 160.

Discovery Kids India head Uttam Pal Singh

Talking about the deal, Discovery Communications India Discovery Kids head Uttam Pal Singh said, ‘’We are delighted to offer differentiated content like Sunny Bunnies and be a part of the world premiere of this unique comedy series. This fascinatingly crafted short format series and the mischievous characters, has all the elements to captivate and engage with the kids in India.”

The Sunny Bunnies are five beaming balls that can appear anywhere there is a source of light, from sunshine to moonlight. In each episode, the cheeky creatures bring their fun and games to a different location — a circus, a sports stadium, a park — embarking on mischievous adventures and spreading laughter and happiness. And at the end of every episode, the fun continues with a collection of bloopers.

Media I.M. co-founder Maria Ufland said, “Introducing Sunny Bunnies to Indian kids has long been an ambition, and Discovery Kids is the dream partner to launch our little friends on their Indian adventure. India is not only one of the biggest, most vibrant and exciting markets in the world but it’s also an extremely challenging one to break into, which makes this deal a genuine milestone for Media I.M. And we know Indian children will love this show as much as their counterparts around the world.”

This latest announcement follows the recent launch of another global franchise – Angry Birds Blues, on Discovery Kids. Sunny Bunnies will add to the growing content slate of Discovery Kids with an aim to entertain the young viewers in India.

The post Discovery Kids India to premiere ‘Sunny Bunnies’ in November appeared first on AnimationXpress.

Greyscalegorilla Podcast Ep. 84 “Project Breakdown”

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Recently, Chris and Chad created a fully CG spot for the Happy Toolbox Model pack and in this Podcast episode, they talk all about the process of getting that piece done. Everything from the layout to the animation, to lighting and all the hurdles in between.

Show Notes
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Greyscalegorilla Live

Twitch Greyscalegorilla

The Happy Toolbox Model Pack

The Happy Toolbox Model Pack Spot

Laika stop motion behind the scenes

 

 

 

 

 

 

 

Untapped