Up and Above is a series I intend to do every NYE with aerial footage shot during the whole year in Romania. Every year should bring new landscapes from new perspectives. Shot with DJI Phantom 3 Professional. Enjoy the first episode 🙂
Assassin’s Creed Rogue Remastered est disponible à partir du 20 Mars 2018 en exclusivité sur PS4 et XBOX ONE
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Heath Ledger as the Joker in ‘The Dark Knight’
Since his creation in the early 1940s, the Joker has been one of the most iconic villains ever designed for a comic book, so much so that his appearance in movies and games have served to glorify the cult. Yet, despite the character’s fame and storied history, there are a few mysteries that are left unresolved like his true identity, his back story and who actually created him.
But wait, there’s more; DC’s Geoff Johns seemed fit to drop the biggest cliffhanger on their comic readers as seen in Justice League #42, which caused a tidal wave of mixed reactions from it fans. This comic posed as an enigma, while telling a very clever story about who the Joker really is. The narrative reveals the events that follow Batman now having the ability to sit in the Mobius chair and ask questions.
All seems to go well as the chair answers each question correctly, until the final question about the Joker reveals that there were three like him in all. This answer baffled the Dark Knight as much as it did the readers, which now simply adds to a mystery that continues to remain unresolved.
What about his back story? The evidence in the comic books that claim who the Joker was before he became the Clown Prince of Crime, appears to be another sinister plot by the writers. Before the introduction of the comic The Killing Joke, there was no story about his origins; he just existed. The comic book illustrates a failed, grief struck comedian, who had lost his pregnant wife in a car accident and is later tricked in to a crime at a factory in which he previously worked in. While trying to escape from the police and Batman, he slips and falls into a vat of chemicals, only to emerge as a disfigured man with a sadistic laugh.
The only requisite evidence of his name that is widely accepted by fans is Jack Napier, but that is also simply a speculation. In fact, in both Dark Knight movie and comics, the Joker points out that his memory is fuzzy and doesn’t really remember who he was before, as he constantly changes his story about how he got his scars.
Jerry Robinson
The concept and creation of the character is still a topic up for debate amongst comic historians. The Joker is currently known to be created by either Bill Finger and Bob Kane, Bob Kane and Jerry Robinson, Jerry Robinson and Bill Finger or only Bob Kane. Each artist had their own story of who came up with the idea for the villain and had constantly battled each other for its credit. Though it is largely believed that it was Jerry Robinson who was responsible for the Joker’s creation and Bill Finger for the characters development, unfortunately Kane, Finger and Robinson have passed away, leaving the story unresolved.
Although there is plenty of doubt and mystery present in the creation of the Joker, most fans prefer it to be this way, as it allows the character to remain diverse, unpredictable and contradictory to DC fans globally.
The post How the origins of DC’s Joker still remain a mystery appeared first on AnimationXpress.
Montreal’s VFX studio Cinesite has completed more than 800 shots for StudioCanal and Lionsgate’s The Commuter, which hits USA theatres today. The film follows Michael (Neeson), an ordinary businessman on his daily commute home – a commute that becomes anything but routine as he is unwittingly caught up in a criminal conspiracy that has life and death consequences.
The team, led by VFX supervisor Stephane Paris, worked closely with director Jaume Collet-Serra and production VFX supervisor Steve Begg from the start of principal photography in August 2016 through to delivery in August 2017. As the lead VFX studio, Cinesite delivered digital doubles, multiple continuous action shots, extensive environment builds and a full CG train crash sequence. The scope and volume of work required a global team effort with artists in Montreal and London working across various disciplines.
Prior to post-production, Paris supported Begg on-set at Pinewood and Longcross studios. He advised on lighting and filming the dressed train carriages against blue screens carefully, ensuring reflections were minimised and screens were secure to allow creative freedom to Collet-Serra when it came to working with Cinesite’s VFX teams. “It was great to have such close interaction with Steve and Jaume directly,” says Paris. “We were very artistically involved, and it was satisfying for the artists to contribute so much to the overall look of the action.”
The teams created train additions and set extensions for daylight environment shots; FX for bomb explosions, stitched multiple fight scene plates together into a single take, supported stunt work with digital doubles and created full CG environments in place of the physical underground location and Beacon yard where the CG train crash at the film’s climax takes place. “The crash was very important in the film,” Paris explains. “It had to be understandable as well as graphic and realistic, so the audience could easily follow the action and understand the immediate danger the passengers are in. We were faced with the challenge of having no physical location so we created the entire scene in CG, matching Collet-Serra’s vision in terms of action.”
Cinesite met the challenge by building a two km asset of the environment, complete with a station yard dressed with buildings, tracks, trains and general industrial content and a large curved section of track. FX were key to the crash, with flying gravel, breaking and deforming tracks, exploding sleepers, fog, dust, smoke and fire. Houdini was mainly used, with some Maya for falling pieces of train. The simulated destruction of the train was also created using Houdini. The extent of the FX was a challenge to the team, as well as ensuring that continuity was maintained in the destruction elements.
Aside from the big VFX crash and fight sequences, the body of Cinesite’s work, approximately 400 shots were daylight environments of the moving train exterior. Reflections and lighting shots with the actors often did not match the selected exterior environments, which required clean-up and extensive keying; sometimes toning down the live action was required, whereas at other times it was necessary for the artists to add additional lighting.
Cinesite also supported Collet-Serra with the opening credits, conveying the daily monotony of Michael’s commute with multiple repetitions of his journey from Tarrytown to Grand Central Terminal by combining digital matte painting using camera projection with geometry to create the Tarrytown environment, including station, carpark and surrounding houses and the time lapse scene in the iconic terminal.
The post Cinesite delivers 860 VFX shots for mystery-thriller ‘The Commuter’ appeared first on AnimationXpress.
On 8 December, 2017, AnimationXpress reported that MEAI in association with ESC will host a B2B event for the media and entertainment industry. The event, called IMEC (Indian Media & Entertainment Conclave), is set for disruptive business meetings on 24 and 25 January, 2018 from 9:30 am to 5:30 pm at Palace Grounds, Bengaluru.
IMEC is a closed door B2B matchmaking event to promote Indian IPs (animation and live action alike). Organised by the Media & Entertainment Association of India (MEAI), IMEC will see international buyers, acquisition heads, broadcasters and OTT/VOD platforms in speed pitching with Indian IP developers/sellers.
The event is co-located with ESC’s Indiasoft which will see panels and conferences on IT and related topics. However, IMEC is focused only on B2B matchmaking and there will not be any conferences as part of IMEC.
“MEAI was formed with the objective of promotion of the Indian media and entertainment industry and with IMEC we are taking strides to push the envelope of the Indian content,” says MEAI secretary Ankur Bhasin. “With quality, genuine buyers interested to procure Indian content, IMEC makes it affordable for industry players to sell their content globally, especially the small and medium scale producers.”
Buyer Profile
Based on the buying trends, the focus for this edition of IMEC has been on ASEAN and CIS countries. The buyers can largely be classified as broadcasters, OTT/VOD platforms and distributors. There is a qualification process for the buyers to ensure genuine participants interested in Indian content which should lead to promotion and business of India IP ecosystem.
Event Format
All buyers and delegates are provided access to a matchmaking platform with the possibility of delegates showcasing their properties accessible for buyers to view before the event. The matchmaking can be done through online networking portal http://meai-imec.com. Based on the finalised schedules, meetings will be conducted at pre arranged slots of 30 minutes each. There are also two networking lunches and a networking dinner for offline networking of buyers and delegates.
Delegates
IMEC is best beneficial for producers with ready content or content near completion as the buyers have indicated their preference to acquire available content. However, buyers are also willing to look at content under production.
Bhasin explains, “Over the last few years, Indian IPs have been consistently rising in popularity in the ASEAN region – due to the large Indian expats in those countries and cultural similarities and sensibilities. Keeping this in mind, our team has laid extra emphasis on inviting top buyers from these countries. IMEC is set to see buyers from China, Indonesia, Croatia, Sri Lanka, Nepal, Hong Kong, Ukraine, Vietnam, Poland, Cambodia, Singapore and Malaysia.”
Indian companies participating include major giants and SMEs alike such as Alt Digital, Toonz Media Group, Graphic India, Purple Turtle, Pencillati Studios, Bhasin Studios, Jugnu Kids, philmCGI, Epic TV, iMGenie Digital, Appu Series, Studio 56 and Magic Box Animation.
The post Bengaluru set to play host to MEAI and ESC’s B2B summit appeared first on AnimationXpress.
I spent way too much time figuring this out.
Kai Brach is a designer and publisher based in Melbourne, Australia. He is the founder and sole operator of Offscreen Magazine (http://www.offscreenmag.com/), a gorgeous print publication that shares stories about the people who shape the web. In this video, we delve deep into Kai’s journey to transition from the digital world of web design to creating and producing a print magazine that reaches thousands of people around the globe.
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The immune system is a vast network of cells, tissues, and organs that coordinate your body’s defenses against any threats to your health. Without it, you’d be exposed to billions of bacteria, viruses, and toxins that could make something as minor as a paper cut or a seasonal cold fatal. So how does it work? Emma Bryce takes you inside the body to find out.
Lesson by Emma Bryce, animation by Cabong Studios.
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