Karate Kid’s Johnny Lawrence and Daniel LaRusso aren’t the same people they were in high school— but their rivalry hasn’t changed one bit. The Karate Kid saga continues.
Check out the first-ever released footage of Cobra Kai, the new YouTube Red Original Series, coming soon.
The Incredibles are back on June 15.
One might think that a tech company looking to summarize books would use some machine learning algorithm to break down those weighty tomes. But Blinkist has found success by going the opposite direction and keeping things deeply human.
The mysterious master of magical archery is here. Is he a wizard? No one quite knows. Our latest for Supercell’s Clash Royale! Directed and animated by Golden Wolf Produced by Blacklist
Kyra and Constantin have crafted a beautiful story for Chinese retailer JD.com. Kyra and Constantin developed the existing character of Joy, the brand’s logo, into an adorable tale of a dog, a heron and a can of worms. A co-production between Passion London and Melbourne the film is a simple story with no dialogue. Told through characterisation and animation the film makes use of facial expressions and nuanced gestures to bring the story to life. The heartwarming film tells the tale in a way only animation can, with engaging characters and stunning scenery, simple but epic.
Ever dreamt of being in an utopian land so advanced and modern; also inhibited by humongous robotic creatures and where you can realise the experience of being a part of a high-octane video game? The dream certainly becomes a reality for Wade Owen Watts (Tye Sheridan) when he becomes a part of a virtual space called OASIS, embarking on an intriguing adventure to find a hidden treasure before certain negative elements with sinister schemes do.
In the latest teaser of Ready Player One released by Warner Bros., Watts sees his life take an unreal turn when he’s thrust into the VR world and would have to compete with corporate entities in a game for the OASIS ownership as well as a whopping $500 billion cash prize. But on the way, he also discovers something more valuable in friendship, love and family.
Also starring Simon Pegg, Olivia Cooke, Ben Mendelsohn, Mark Rylance and T.J Miller, the Steven Spielberg directorial promises a rollercoaster ride that’s also a visual nirvana, as the likes of Industrial Light and Magic, Digital Domain and Territory Studio helmed the VFX.
A Warners Bros. Release, Ready Player One is based on Ernest Cline’s 2011 novel of the same name and releases on 29 March 2018.
The post Friends and family take precedence in the new teaser of ‘Ready Player One’ appeared first on AnimationXpress.
Integrated media services player Prime Focus Limited (PFL) reported 20 per cent y-o-y growth in Operating revenue at Rs 609.61 crore for the quarter ended 31 December 2017 (Q3 2018, quarter, quarter under review) as compared to Rs 508.03 crore for the corresponding year ago quarter (Q3 2017). Total Income increased 20.3 per cent y-o-y in Q3 2018 to Rs 612.21 crore from Rs 508.84 crore. However, the company reported a net loss of Rs 7.03 crore for the quarter under review as compared to a profit after tax (PAT) of Rs 28.18 crore in Q3 2017.
The company says finance charges considered for Q 3 2018 were higher by Rs 5.5 crore on account of change in accounting treatment towards redemption premium on Standard Chartered PE NCDs – expended as against capitalised in the Balance Sheet in earlier quarters.
Adjusted operating EBIDTA for the quarter at Rs 157.34 crore (25.8 percent of operating revenue) grew 27.8 per cent y-o-y from Rs 123.16 crore (24.2 per cent of operating revenue). Adjusted EBIDTA of Rs 157.34 crore for Q3 2018 includes ESOP costs of Rs 4.21 crore, forex losses of Rs 2.51 crore and Rs 10 crore of non-operating Non-cash FX charges on account of Balance Sheet translation exposure and approximately Rs 20 crore for certain one-time Montreal setup costs and conservative provisions at PFW/DNEG.
Total Expenditure in Q3 2018 increased by 25.9 percent to Rs 610.09 crore from Rs 484.43 crore in Q3 2017. Employee benefits expense in Q3 2018 increased 25.9 percent to Rs 332.61 crore from Rs 268.74 crore in the corresponding quarter of the previous year. Technician fees in Q3 2018 more than doubled (2.08 time) to Rs 15.12 crore from Rs 7.27 crore in Q3 2017. Technical Services cost in the quarter under review increased 72.4 per cent to Rs 28.45 crore from Rs 16.50 crore in Q3 2017. Finance cost in Q3 2018 increased 97.6 per cent y-o-y to Rs 45.32 crore from Rs 22.94 crore in Q3 2017. Other Expenditure in the quarter increased 14.9 per cent y-o-y to Rs 106.08 crore as compared to Rs 92.36 crore in corresponding quarter of fiscal 2017.
Commenting on the results, PFL founder, executive chairman and global CEO Namit Malhotra said, “We are pleased to report a strong quarter with continued momentum across businesses. Our creative services continued to deliver marquee projects such as recent Hollywood blockbusters – Thor: Ragnarok and Justice League which have grossed over $800 million and $600 million, respectively. Our order book includes good projects like Venom, which is the next movie in the Spiderman Franchise. In tech/tech enabled business, we added new clients and invested in new talent to strengthen our reach in North America while India FMS continues to deliver robust profitability in line with our expectations.
Given the significant growth we have witnessed in our creative services business and continued momentum visible going forward, the Board has decided that Vikas should focus all his energies toward helping manage this growth and maximise the potential at PFW/DNEG. Vikas has relocated to London and will now be fully focused on his role as the CFO of PFW/DNEG. Nishant Fadia has now been re-appointed as the CFO of PFL. As you may know, Nishant has been with Prime Focus for the last 18 years and was the CFO of PFL till 2014 and since then has been the COO for the Group. I wish them both the very best as we look to take the Prime Focus Group to greater heights in the years ahead.
We are happy to continue to deliver performance ahead of plans and look forward to ending FY18 on a higher note.”
The post Prime Focus reports revenue growth for third quarter appeared first on AnimationXpress.
On this day a decade ago, veteran Bollywood director Ashutosh Gowarikar opened his magnum opus Jodhaa Akbar, which would eventually go on to become a blockbuster of epic proportions, setting new records and reaching new milestones at the box-office. The grandiose scale, lavish opulence and skilled craftsmanship not only propelled the maverick director, but also re-established a genre in the Indian cinema that was fast fading back then.
But amid all the fanfare, the movie also brought to the fore the kind of VFX that the conventional Indian audience wasn’t witness to. And remember, this was the era before the Bahubalis and Padmaavats, and the one where the facilities weren’t as rich as they are today. Pulling off a project of this standard was a hard enough task, but helming the visual effects, more so.
Visual Computing Labs, the animation and VFX arm of Tata Elxsi, delivered over 1000 shots in what was an intensive work, and VFX producer on the project Kunal Rasal reminisces the reservations they had on pulling it all off given the tools constraint. He says, “We were pretty skeptical as the technology we had at the time weren’t as cutting-edge as we have today while the shots were quite difficult. However, we had to deliver all the requirements put forth by Ashutosh sir without having to compromise on the quality of work which made it all the more challenging.”
To be more precise about the limitations, Rasal explains, “Today, we use softwares like My Army and upgraded versions of Nuke and Maya for executing several shots such as crowd simulation, but weren’t available at that time and given the fact we had to simulate the crowd in various scenes, that became a sort of impediment in our work.”
But the complications weren’t confined to just that. Besides technology, time was also a pressing concern as the shots were to be delivered within the stringent deadlines given, and the crew apparently had to walk the extra mile to execute visual effects shots for particular scenes including the climax, that were shot at Mandkeshwar. The movie begins with a war sequence and ends with another, although both are just as magnificent to witness. Rasal feels the implementation complexities could be alleviated had it shot in today’s times, given the better camera options available and the lucrative features that come with it.
So given the luxury of VFX and CG paraphernalia ten years later, which aspect of the effects could be done better than what was in the movie? “There are a lot of things. But particularly, I feel blending live-action with CG could be done in a much better way today,” explains Rasal.
Besides probing an exquisite tale of one of India’s most renowned Mughal emperor and his tryst with a Rajput princess, Jodhaa Akbar was also a visual delight, portraying vast landscapes and large scale battles that truly elevated the overall cinematic experience. As Rasal puts it, “The VFX requirements for Jodhaa Akbar seemed visionary and very large scale, as very few movies resorted to visual effects back then.”
Jodhaa Akbar as a movie can be remembered for reasons more than one, and its VFX supervisor too has one of his own – “I think working with Ashutosh sir was the best part about this project. Very few directors enter the office with a vision and clarity. It’s always a pleasure to work with such directors.”
The post Flashback Friday: 10 years of ‘Jodhaa Akbar’ and its VFX ordeal appeared first on AnimationXpress.
With the world increasingly becoming platform agnostic in terms of content, the complete meta-scenario has changed over the past decade. Putting that in place, India has joined the bandwagon of travelling the globe with its offering of content. Is that time near when India would be a global powerhouse, content-wise?
Watch Devika Kawle in conversation with Asia Head- MIP MARKETS, Reed Midem Paul Barbaro; Founder, CEO and Editor-in- chief, Indian Television Dot Com Group and AnimationXpress Dot Com Anil Wanvari; Founder Creative Director, One Life Studios, Siddharth Kumar Tewary and Lattu Kids CEO, Vivek Bhutyani.
Here’s the complete video of the panel discussion:
The post Watch: How India is becoming a global powerhouse, content-wise appeared first on AnimationXpress.
StarMotionz Media is a leading Animation Studio which is into the business of Animation & VFX.
We are currently hiring for the following positions for Mumbai/Pune/Nashik.
Experience:1 Year- 5 Years
Salary: Based on experience,will Vary between INR 8000 TO INR 40000
Experience: 1 Year- 5 Years
Salary: Based on experience,will Vary between INR 8000 TO INR 40000
Salary: Based on experience,will Vary between INR 8000 TO INR 40000
All applications should be sent to the following email ID: starmotionzstudio@gmail.com
The post StarMotionz Media appeared first on AnimationXpress.
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
