Hasta La Motion! https://hastalamotion.com Daily Motion, 3D and VFX news Thu, 16 Feb 2017 16:19:32 +0000 en-US hourly 1 https://wordpress.org/?v=4.7.2 What it’s like to attend the ‘other’ Oscars or: How I learned a whole new story I hadn’t heard before about ‘Speed’ https://hastalamotion.com/animation/what-its-like-to-attend-the-other-oscars-or-how-i-learned-a-whole-new-story-i-hadnt-heard-before-about-speed/?pk_campaign=feed&pk_kwd=what-its-like-to-attend-the-other-oscars-or-how-i-learned-a-whole-new-story-i-hadnt-heard-before-about-speed https://hastalamotion.com/animation/what-its-like-to-attend-the-other-oscars-or-how-i-learned-a-whole-new-story-i-hadnt-heard-before-about-speed/?pk_campaign=feed&pk_kwd=what-its-like-to-attend-the-other-oscars-or-how-i-learned-a-whole-new-story-i-hadnt-heard-before-about-speed#respond Thu, 16 Feb 2017 16:19:32 +0000 https://hastalamotion.com/animation/what-its-like-to-attend-the-other-oscars-or-how-i-learned-a-whole-new-story-i-hadnt-heard-before-about-speed/ “This isn’t like the other Oscars, or as I like to call them, ‘the dumb Oscars,’ where at the end of the night, 80 per cent of the people in the room are losers. You guys are tremendous. Those guys are sad.” That was actor John Cho, of Star Trek and Harold & Kumar fame, presenting […]

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89th Academy Awards, Scientific and Technical Achievement Awards

“This isn’t like the other Oscars, or as I like to call them, ‘the dumb Oscars,’ where at the end of the night, 80 per cent of the people in the room are losers. You guys are tremendous. Those guys are sad.”

That was actor John Cho, of Star Trek and Harold & Kumar fame, presenting at the Academy of Motion Picture Arts and Sciences’ Scientific and Technical Awards, which I was lucky enough to attend last night in Los Angeles.

More on the incredible work that Cho and his presenting partner and This is 40 and How to be Single actress Leslie Mann did last night at the Sci-Techs, but first a note about how this all relates to Speed (yes, really).

In case you haven’t heard, I have a serious obsession with that 1994 ‘bus movie’. And I thought I knew everything there was to know about it, from every line of dialogue to how the movie was made in the streets and studios of Los Angeles.

That is, until I went to the Sci-Techs.

After making my way to the Beverly Wilshire, navigating the packed cocktail session and finding my seat on table number 24, I found myself seated inbetween some super heavy hitters in the VFX world – Digital Domain’s Doug Roble (a two-time Sci-Tech award winner) and former DD’er Bill Spitzak (who won a Sci-Tech for, oh, you know, inventing NUKE).

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Inside the Beverly Wilshire.

Somehow the conversation got to locations in L.A. where movies had been shot, and I revealed that I, as a self-diagnosed Speed tragic, had once scoped out the area near DD’s old offices in Venice where the first bus explosion had been filmed.

“Oh, we watched that,” Doug Roble casually told me.

“What?” I asked, heart pounding.

“Yeah, well, we went down there, and we saw Keanu and everything, but they had blocked off the area because it was going to be this huge explosion.”

“Oh, wow,” I gushed, hoping there was more.

There was.

“So we all watched the explosion from the roof of Digital Domain instead. Man, when that thing exploded they literally took the whole top off that bus.”

Doug added a few more details, including his own intimate explanation of how that ‘oner’ shot showing the explosion played out. I nearly asked if anyone happened to have taken a few stills back then in what was probably 1993, but I realised this was already a pretty surreal moment, so I let it go.

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The Sci-Tech award recipients.

Meanwhile, here I was at the Scientific and Technical Awards, sitting at a table with Doug and Bill and other visual effects luminaries, including one of the award recipients from the night, Chaos Group’s Vladimir Koylazov – or Vlado – who was being recognised for the creation of V-Ray.

Having not been at an event like this before, I was initially a bit overwhelmed. But it’s something that soon subsided because of the way the Sci-Techs was run, and has been run for several years – and that’s with a very relaxed and fun approach to the award giving.

Partly that’s because the recipients on the night – who represented the worlds of digital cameras and sound, visual effects, and animation – already knew they were winners, defusing any anxiety.

Above: an excerpt from the ceremony – the presentation to Marcos Fajardo for the creative vision and original implementation of the Arnold Renderer, and to Christopher Kulla, Alan King, Thiago Ize and Clifford Stein for their highly optimized geometry engine.

And partly it’s because the presenters were simply hilarious and self-deprecating, happily making fun of their limited knowledge of complex technical ideas and terms, but always taking great pains to respect the important work that was being recognised.

Mann started things off like this: “Now let’s get started with John and I explaining technical information we don’t understand to you, the few people in the world who don’t need it explained.”

The audience loved it, and so did the presenters, too.

“The academy cares so much about you that you get your own private evening,” joked Cho. “People say, ‘Where are the celebrities?’ We didn’t invite them! They wanted to come and the academy said no.”

89th Academy Awards, Scientific and Technical Achievement Awards

Kiran Bhat, Michael Koperwas, Brian Cantwell and Paige Warner were among the recipients for the design and development of the ILM facial performance-capture solving system (one of several Sci-Tech awards relating to facial animation rig solvers).

The award presentations went by pretty speedily (maybe I was distracted by the revelation that a whole bunch of VFXers I probably knew had watched the filming of a fantastic sequence from my favourite film). But that just gave more time for the recipients and others within the industry to catch up.

Every explanation of the technology – even despite the humorous stumbles – was enthralling. The audience was perhaps most responsive to the animatronic Creature Effects Animatronic Horse Puppet, star of films such as True Grit and The Revenant.

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The author shamelessly posing with an Oscar statuette at the Sci-Techs.

Every speech was engaging. And heartfelt. These artists and technicians often work steadily away in the background to help produce incredible imagery and sound in the films we watch, and they’re also usually helped by many others – who they thanked, too.

I’ve listed all the recipients below – a veritable who’s who of the visual effects, animation and digital cinema industry. You will have most definitely seen or heard their work in some form or another.

All I can say is, if you get a chance to go to the Sci-Techs: do it. And just hope you’re sitting next to someone who witnessed the filming of some scene from Speed (so you can tell me about it, right?).

 


Full list of Sci-Tech Award recipients

TECHNICAL ACHIEVEMENT AWARDS (ACADEMY CERTIFICATES)

To Thomson Grass Valley for the design and engineering of the pioneering Viper FilmStream digital camera system.

The Viper camera enabled frame-based logarithmic encoding, which provided uncompressed camera output suitable for importing into existing digital intermediate workflows.

To Larry Gritz for the design, implementation and dissemination of Open Shading Language (OSL).

OSL is a highly optimized runtime architecture and language for programmable shading and texturing that has become a de facto industry standard. It enables artists at all levels of technical proficiency to create physically plausible materials for efficient production rendering.

To Carl Ludwig, Eugene Troubetzkoy and Maurice van Swaaij for the pioneering development of the CGI Studio renderer at Blue Sky Studios.

CGI Studio’s groundbreaking ray-tracing and adaptive sampling techniques, coupled with streamlined artist controls, demonstrated the feasibility of ray-traced rendering for feature film production.

To Brian Whited for the design and development of the Meander drawing system at Walt Disney Animation Studios.

Meander’s innovative curve-rendering method faithfully captures the artist’s intent, resulting in a significant improvement in creative communication throughout the production pipeline.

To Mark Rappaport for the concept, design and development, to Scott Oshita for the motion analysis and CAD design, to Jeff Cruts for the development of the faux-hair finish techniques, and to Todd Minobe for the character articulation and drive-train mechanisms, of the Creature Effects Animatronic Horse Puppet.

The Animatronic Horse Puppet provides increased actor safety, close integration with live action, and improved realism for filmmakers.

To Glenn Sanders and Howard Stark for the design and engineering of the Zaxcom Digital Wireless Microphone System.

The Zaxcom system has advanced the state of wireless microphone technology by creating a fully digital modulation system with a rich feature set, which includes local recording capability within the belt pack and a wireless control scheme providing realtime transmitter control and time-code distribution.

To David Thomas, Lawrence E. Fisher and David Bundy for the design, development and engineering of the Lectrosonics Digital Hybrid Wireless Microphone System.

The Lectrosonics system has advanced the state of wireless microphone technology by means of an innovative digital predictive algorithm to realize full fidelity audio transmission over a conventional analog FM radio link, by reducing transmitter size, and by increasing power efficiency.

To Parag Havaldar for the development of expression-based facial performance capture technology at Sony Pictures Imageworks.

This pioneering system enabled large-scale use of animation rig-based facial performance-capture for motion pictures, combining solutions for tracking, stabilization, solving and animator-controllable curve editing.

To Nicholas Apostoloff and Geoff Wedig for the design and development of animation rig-based facial performance-capture systems at ImageMovers Digitaland Digital Domain.

These systems evolved through independent, then combined, efforts at two different studios, resulting in an artist-controllable, editable, scalable solution for the high-fidelity transfer of facial performances to convincing digital characters.

To Kiran Bhat, Michael Koperwas, Brian Cantwell and Paige Warner for the design and development of the ILM facial performance-capture solving system.

This system enables high-fidelity facial performance transfer from actors to digital characters in large-scale productions, while retaining full artistic control, and integrates stable rig-based solving and the resolution of secondary detail in a controllable pipeline.

SCIENTIFIC AND ENGINEERING AWARDS (ACADEMY PLAQUES)

To ARRI for the pioneering design and engineering of the Super 35 format Alexa digital camera system.

With an intuitive design and appealing image reproduction, achieved through close collaboration with filmmakers, ARRI’s Alexa cameras were among the first digital cameras widely adopted by cinematographers.

To RED Digital Cinema for the pioneering design and evolution of the RED Epic digital cinema cameras with upgradeable full-frame image sensors.

RED’s revolutionary design and innovative manufacturing process have helped facilitate the wide adoption of digital image capture in the motion picture industry.

To Sony for the development of the F65 CineAlta camera with its pioneering highresolution imaging sensor, excellent dynamic range, and full 4K output.

Sony’s unique photosite orientation and true RAW recording deliver exceptional image quality.

To Panavision and Sony for the conception and development of the groundbreaking Genesis digital motion picture camera.

Using a familiar form factor and accessories, the design features of the Genesis allowed it to become one of the first digital cameras to be adopted by cinematographers.

To Marcos Fajardo for the creative vision and original implementation of the Arnold Renderer, and to Christopher Kulla, Alan King, Thiago Ize and Clifford Stein for their highly optimized geometry engine.

The novel ray-tracing algorithms unify the rendering of curves, surfaces, volumetrics and subsurface scattering as developed at Sony Pictures Imageworks and Solid Angle SL. Arnold’s scalable and memory-efficient single-pass architecture for path tracing, its authors’ publication of the underlying techniques, and its broad industry acceptance were instrumental in leading a widespread adoption of fully ray-traced rendering for motion pictures.

To Vladimir Koylazov for the original concept, design and implementation of V-Ray from Chaos Group.

V-Ray’s efficient production-ready approach to ray-tracing and global illumination, its support for a wide variety of workflows, and its broad industry acceptance were instrumental in the widespread adoption of fully ray-traced rendering for motion pictures.

To Luca Fascione, J.P. Lewis and Iain Matthews for the design, engineering, and development of the FACETS facial performance capture and solving system at Weta Digital.

FACETS was one of the first reliable systems to demonstrate accurate facial tracking from an actor-mounted camera, combined with rig-based solving, in large-scale productions. This system enables animators to bring the nuance of the original live performances to a new level of fidelity for animated characters.

To Steven Rosenbluth, Joshua Barratt, Robert Nolty and Archie Te for the engineering and development of the Concept Overdrive motion control system.

This user-friendly hardware and software system creates and controls complex interactions of real and virtual motion in hard real-time, while safely adapting to the needs of on-set filmmakers.

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The making of ‘The LEGO Batman Movie’ making of book https://hastalamotion.com/animation/the-making-of-the-lego-batman-movie-making-of-book/?pk_campaign=feed&pk_kwd=the-making-of-the-lego-batman-movie-making-of-book https://hastalamotion.com/animation/the-making-of-the-lego-batman-movie-making-of-book/?pk_campaign=feed&pk_kwd=the-making-of-the-lego-batman-movie-making-of-book#respond Thu, 16 Feb 2017 16:19:32 +0000 https://hastalamotion.com/animation/the-making-of-the-lego-batman-movie-making-of-book/ I’m a collector (some might say ‘hoarder’). Most people know about the Speed stuff, but over the years I’ve also amassed dozens of ‘making of’ film books. Which is why when DK asked me last year to consult on their The LEGO Batman Movie: The Making of the Movie book, I could barely contain myself. […]

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I’m a collector (some might say ‘hoarder’). Most people know about the Speed stuff, but over the years I’ve also amassed dozens of ‘making of’ film books. Which is why when DK asked me last year to consult on their The LEGO Batman Movie: The Making of the Movie book, I could barely contain myself.

It would involve spending time in DK’s London offices and a week at Animal Logic, the animation studio behind the film. My brief was to identify some of the main points for discussion in the book and pick out a bunch of cool imagery to show.

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I have to say, the book came out even better than I imagined. It’s a neat cross between the more common ‘art of’ books now available for animated films and the classic ‘making of’ books that I collect. Every spread does an incredible job of highlighting the huge amount of work involved, especially by Animal Logic, in bringing the film to life by showcasing concept designs, storyboards, work in progress shots and final scenes.

Also, having seen the film, the book somehow does a killer job of not spoiling the movie while still revealing so much (which is rare).  So, I hope you like the book – you can buy it at Amazon. Look out for my ‘animation consultant’ credit in the back. And I can tell you the film is awesome, too.

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How RedChillies.VFX brought realism to ‘Raees’ https://hastalamotion.com/animation/how-redchillies-vfx-brought-realism-to-raees/?pk_campaign=feed&pk_kwd=how-redchillies-vfx-brought-realism-to-raees https://hastalamotion.com/animation/how-redchillies-vfx-brought-realism-to-raees/?pk_campaign=feed&pk_kwd=how-redchillies-vfx-brought-realism-to-raees#respond Thu, 16 Feb 2017 16:16:49 +0000 https://hastalamotion.com/animation/how-redchillies-vfx-brought-realism-to-raees/ Set in the backdrop of the eighties and nineties, the action crime thriller movie Raees attracted a lot of attention right since the announcement of its poster launch by the film’s protagonist Shah Rukh Khan. SRK tweeted an image of a close-up shot of the ‘taveez’ (locket), which he sports in the poster stating: “This […]

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Set in the backdrop of the eighties and nineties, the action crime thriller movie Raees attracted a lot of attention right since the announcement of its poster launch by the film’s protagonist Shah Rukh Khan. SRK tweeted an image of a close-up shot of the ‘taveez’ (locket), which he sports in the poster stating: “This is my personal locket with my parents’ pic in it”.

This lead to a craze for it among his fans which lead to the taveez becoming identical with the character. It so happened that in the movie an entire sequence was shot without SRK wearing it.

VFX Supervisor, Ronak Sanghadia

VFX Supervisor, Ronak Sanghadia

Now the question that vexed director Rahul Dholakia: how to incorporate the taveez when the sequence had already been canned?

Voila! The answer to that was visual effects. Raees’ VFX supervisor Ronak Sanghadia was given the small yet tedious job.

We are talking about the ‘Ratha Yatra’ (Pashabhai election campaign) sequence wherein SRK can be seen fighting and moving across the road towards Pashabhai’s chariot. Though it was a small add-on, Sanghadia states, “It was challenging. We had to incorporate the taveez in about 50 shots! A lot of simulations had to be done and an entire new pipeline had to be created. CGI, background preparation and compositing had to be carried out. Since the sequence already had set extensions, fire and smoke enhancements, we had to be cautious while matching the taveez’s movement with SRK’s body.”

Though this sequence was a minor one to work on, this clearly showcases the immense detailing work that might have gone into the making of the movie. Sanghadia explains to AnimationXpress that Redchillies.VFX was brought on board since the principal photography began on the movie. Being set in the 80’s and 90’s era, the major work involved the removal of modern day structures like mobile network towers, buildings, AC split units in order to bring realism to the film.

With about 400 artists working on the movie, overall Raees consists of 1495 VFX shots which accounts for 80 minutes of the film’s runtime (142 minutes). It took about six months for the RCVFX team to complete the project.

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Moharram chase sequence

Raees features four major action sequences wherein VFX work was required: the blood work observed in the first action sequence when Raees goes to Mumbai, the Moharram chase sequence, post Laila song and when Raees uses his specs as a weapon in the climax .

Says Sanghadia:  “The rooftop sequence wherein the Makar Sankranti (kite-flying) festival could be observed was a challenging sequence due to multiple factors. In this scene we can observe an interaction taking place between Raees and Jairaj on the rooftop where Raees was flying kites. Since it’s a widely popular festival in Gujarat, it would have had been difficult to control the crowd at the actual location. So we had to shoot it in Mumbai and later recreate the whole environment using VFX.”

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To accomplish that, the team went to Gujarat during Makar Sakranti and did their R&D by taking references like how the kites behave, how the sky look likes with kites, and the terraces. Actors were shot on terrace where there was an empty sky with chroma screen behind them. 40 artists worked on this particular sequence for a period of one month.

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We can also observe the boat sequence in the movie during which Raees smuggles the liquor using water transport instead of land. The scene required multiple boats but only four to five of them were filmed. Additional boats were incorporated using CGI. This was preceded by pre-visualisation. “It was a tricky shot as the camera had to move right across the bridge to SRK for which a test was carried out using a drone,” says Sanghadia.

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Apart from this, there’s a sequence in the beginning of the movie where viewers can observe Raees travelling on a motorbike on the popular Elllis bridge located in Ahmedabad. The bridge though was used heavily during the 80s and 90s, is currently shut so it wasn’t possible for the team to shoot on it. The entire bridge had to be recreated in CGI and several references were taken from the archives to get the exact structure.

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Sanghadia says cinematographer K. U. Mohanan and the RCVFX team worked together to achieve the best possible output which would make Mohanan’s visuals look even better. There was a constant exchange of ideas. He recalls, “There’s this particular shot when Raees steps out of his car before the Laila song and for that we had to create the exterior of the set. Since this shot involved the combination of visual effects and live-action; the cinematographer, VFX supervisor and production designer all worked hand-in-hand to blend the shot seamlessly with the whole sequence.”

Sanghadia is currently working on director Anshai Lal’a Phillauri whose trailer recently got launched and has been widely acclaimed. Along with that, he is busy with the R&D process for Shah Rukh Khan’s movie wherein we will get to witness King Khan in a dwarf form.

Surely,  VFX will play a giant’s role in that film.

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Nelvana to produce preschool series ‘Happy Art Happy Life’ inspired by iconic pop-artist Romero Britto’s work https://hastalamotion.com/animation/nelvana-to-produce-preschool-series-happy-art-happy-life-inspired-by-iconic-pop-artist-romero-brittos-work/?pk_campaign=feed&pk_kwd=nelvana-to-produce-preschool-series-happy-art-happy-life-inspired-by-iconic-pop-artist-romero-brittos-work https://hastalamotion.com/animation/nelvana-to-produce-preschool-series-happy-art-happy-life-inspired-by-iconic-pop-artist-romero-brittos-work/?pk_campaign=feed&pk_kwd=nelvana-to-produce-preschool-series-happy-art-happy-life-inspired-by-iconic-pop-artist-romero-brittos-work#respond Thu, 16 Feb 2017 16:16:49 +0000 https://hastalamotion.com/animation/nelvana-to-produce-preschool-series-happy-art-happy-life-inspired-by-iconic-pop-artist-romero-brittos-work/ Corus Entertainment’s Nelvana announced a new development deal with Grey Matter and United Talent Agency (UTA) to produce vibrant preschool series, Happy Art Happy Life (working title), inspired by the brilliant and bold works of iconic pop-artist, Romero Britto. The announcement was made on 14 February, 2017, at the Kidscreen Summit in Florida. Romero Britto […]

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Corus Entertainment’s Nelvana announced a new development deal with Grey Matter and United Talent Agency (UTA) to produce vibrant preschool series, Happy Art Happy Life (working title), inspired by the brilliant and bold works of iconic pop-artist, Romero Britto. The announcement was made on 14 February, 2017, at the Kidscreen Summit in Florida.

Romero Britto is an international artist who uses vibrant, bold and colourful patterns to reflect his optimistic view of the world and as a visual expression of hope and happiness.

“We are thrilled to work with Grey Matter and UTA to share Romero Britto’s signature and dazzling visions with young audiences,” said Nelvana Studios, head of department, Athena Georgaklis. “His inspirational art serves as a profound reminder of the limitless world of creativity, and we’re proud to show children that art lives and breathes everywhere – especially from within.”

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Executive produced by Grey Matter’s Lawrence Grey and Ben Everard, and written by Emmy Award winner Judy Rothman Rofé (Madeline), the character-driven sketch show blends live action, animation, and remote videos to introduce young audiences to the colourful world of the visual arts, while celebrating diversity and promoting inclusiveness through spirited, dynamic, and relatable characters.

“I hope my story and my colours can inspire kids and families to make the world a better place,” said Romero Britto. “I’m excited to bring my art to life on screen and share it with children around the world.”

Happy Art Happy Life follows Romero, a cool and sharp-dressed bulldog (Britto’s alter ego) who lives, paints and sculpts in an exotic art studio. Alongside Romero is an animated ensemble of friends, all of whom are all budding artists in various disciplines, such as finger painter, paper maché sculptor, found object designer, and street muralist. Each 11-minute episode presents an array of inspiring and visually stunning standalone segments created to empower kids through art.

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Industry veteran Craig Zerouni joins Deluxe as the head of technology https://hastalamotion.com/animation/industry-veteran-craig-zerouni-joins-deluxe-as-the-head-of-technology/?pk_campaign=feed&pk_kwd=industry-veteran-craig-zerouni-joins-deluxe-as-the-head-of-technology https://hastalamotion.com/animation/industry-veteran-craig-zerouni-joins-deluxe-as-the-head-of-technology/?pk_campaign=feed&pk_kwd=industry-veteran-craig-zerouni-joins-deluxe-as-the-head-of-technology#respond Thu, 16 Feb 2017 16:16:49 +0000 https://hastalamotion.com/animation/industry-veteran-craig-zerouni-joins-deluxe-as-the-head-of-technology/ Deluxe has named long-time media technology executive Craig Zerouni as the head of technology, Deluxe Visual Effects (VFX). In this role Zerouni will focus on continuing to unify software development and systems architecture across Deluxe’s Method studios in Los Angeles, Vancouver, New York, and India, and its Iloura studios in Sydney and Melbourne, as well […]

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Deluxe has named long-time media technology executive Craig Zerouni as the head of technology, Deluxe Visual Effects (VFX). In this role Zerouni will focus on continuing to unify software development and systems architecture across Deluxe’s Method studios in Los Angeles, Vancouver, New York, and India, and its Iloura studios in Sydney and Melbourne, as well as Deluxe VR, based in Los Angeles, in an attempt to integrate and expand global production capacity.

Based in Los Angeles and reporting to Deluxe VFX and VR, president and GM, Ed Ulbrich, Zerouni will lead VFX and VR R&D and software development teams and systems worldwide, working closely with technology teams across Deluxe’s Creative division to benefit from and contribute to the pool of IP, knowledge, and resources across the global Deluxe technology organisation.

Ulbrich said, “Our VFX work serves both the features world, which is increasingly global, and the advertising community, which is increasingly local. Behind the curtain at Method, Iloura, and Deluxe in general, we have been working to integrate our studios to give clients the ability to tap into integrated global capacity, technology and talent anywhere in the world, while offering a high-quality local experience. Craig’s experience leading global technology organisations and distributed development teams, and building and integrating pipelines is right in line with our focus. He has done amazing work improving workflow and optimising systems at VFX and animation companies of all sizes, and he’s a great team leader.”

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Zerouni has been working in media technology and production for nearly three decades, joining Deluxe most recently from DreamWorks, where he was director of technology at its Bengaluru, India facility, overseeing all technology. Prior to that he spent nine years at Digital Domain, where he was first head of R&D responsible for software strategy and teams in five locations across three countries, then senior director of technology overseeing all aspects of technology including software, systems, production technology, technical directors and media systems. He has also directed engineering, products and teams at software / tech companies Silicon Grail, Side Effects Software, and Critical Path, and was a co-founder of pioneering London computer animation company CFX. Zerouni’s work has contributed to features including TRON: Legacy, Iron Man 3, Maleficent, X-Men: Days of Future Past, Ender’s Game and others, and more than 400 commercials, TV idents and titles. He is a member of BAFTA, ACM/SIGGRAPH, IEEE, the Visual Effects Society, has served on the AMPAS Digital Imaging Technology Subcommittee, and is the author of the technical reference book “Houdini on the Spot.”

Zerouni said, “I’m excited to come on board with Deluxe right at this time – the company is expanding and integrating its VFX studios around the world and what comes through strongly is a commitment to growth and innovation. There’s a great opportunity to harness all of the worldwide VFX talent and technology skill sets across these companies to support clients on an even bigger, broader scale.”

Artists from Iloura have been recognised with Academy Award nominations for ‘Visual Effects’ two years running, for Mad Max: Fury Road and Deepwater Horizon, and earned the 2016 VFX Emmy Award for work on Game of Thrones. Recent work from Method Studios includes VFX Academy Award-nominated Doctor Strange, along with Fantastic Beasts and Where to Find Them, Captain America: Civil War, and award-winning commercials. Method is currently in production on Guardians of the Galaxy Vol. 2, Knights of the Round Table: King Arthur and other features and advertising projects.

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Disney’s ‘Tangled: The Series’ renewed for Season 2 ahead of Season 1 premiere https://hastalamotion.com/animation/disneys-tangled-the-series-renewed-for-season-2-ahead-of-season-1-premiere/?pk_campaign=feed&pk_kwd=disneys-tangled-the-series-renewed-for-season-2-ahead-of-season-1-premiere https://hastalamotion.com/animation/disneys-tangled-the-series-renewed-for-season-2-ahead-of-season-1-premiere/?pk_campaign=feed&pk_kwd=disneys-tangled-the-series-renewed-for-season-2-ahead-of-season-1-premiere#respond Thu, 16 Feb 2017 16:16:49 +0000 https://hastalamotion.com/animation/disneys-tangled-the-series-renewed-for-season-2-ahead-of-season-1-premiere/ Disney Channel has announced that their upcoming animated show Tangled: The Series has officially been renewed for a second season ahead of its first season premiere. Disney Channels Worldwide, president and chief creative officer, Gary Mash announced the renewal of the series. The series, based on Disney’s 2010 animated film Tangled, is set to premiere […]

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Tangled

Disney Channel has announced that their upcoming animated show Tangled: The Series has officially been renewed for a second season ahead of its first season premiere. Disney Channels Worldwide, president and chief creative officer, Gary Mash announced the renewal of the series.

The series, based on Disney’s 2010 animated film Tangled, is set to premiere on 24 March, 2017 on Disney Channel. The story takes place between the events of the 2010 movie and the 2012 short film Tangled Ever After.

The show which finds Mandy Moore and Zachary Levi reprising their roles as Rapunzel and Eugene (Flynn Ryder) respectively follows Rapunzel on her adventures as she acquaints herself with her parents, her kingdom Corona and its people.

Tangled: The Series is developed by Chris Sonnenburg and Shane Prigmore, with Sonnenburg serving as executive producer and supervising director. Benjamin Balistreri is supervising producer and Kevin Kliesch serves as score composer. The show also reunites the team of Disney veteran and Academy Award winning composer Alan Menken and lyricist Glen Slater.

The show’s cast includes Julie Bowen as Queen Arianna (Rapunzel’s mother), Clancy Brown as King Frederic (rapunzel’s father) and Broadway’s Eden Espinosa as Cassandra. Also among the voice-cast are: Jeff Ross as Hook Foot, Richard Kind as Uncle Monty, Jeffrey Tambor as Big Nose, Paul Tompkins as Shorty, M.C. Gainey as Captain of the Guards, Sean Hayes as Pete the Guard, Diedrich Bader as Stan the Guard, Peter MacNicol as Nigel the Advisor, Adewale Akinnuoye-Agbaje as Xavier the Blacksmith, Charles Halford as Pub Thug Vladimir, Steve Blum as Pub Thug Attila Buckethead, James Monroe Iglehart as Lance Strongbow, Jeremy Jordan as Varian and Jonathan Banks as Quirin (Varian’s father).

The first season’s premiere is just two weeks after the debut of Disney Channel original movie Tangled Before Ever After, premiering on 10 March, 2017.

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The upcoming update of ‘Pokémon Go’ to add 80 new Pokémons and more https://hastalamotion.com/animation/the-upcoming-update-of-pokemon-go-to-add-80-new-pokemons-and-more/?pk_campaign=feed&pk_kwd=the-upcoming-update-of-pokemon-go-to-add-80-new-pokemons-and-more https://hastalamotion.com/animation/the-upcoming-update-of-pokemon-go-to-add-80-new-pokemons-and-more/?pk_campaign=feed&pk_kwd=the-upcoming-update-of-pokemon-go-to-add-80-new-pokemons-and-more#respond Thu, 16 Feb 2017 16:16:49 +0000 https://hastalamotion.com/animation/the-upcoming-update-of-pokemon-go-to-add-80-new-pokemons-and-more/ Niantic’s Pokémon Go had become an overnight phenomenon since its initial release last year. Grabbing headlines throughout the globe, the game made its presence felt across all spheres. The game was launched in India in December, last year. However, the initial hype subsided after a while and the game was just at the back on […]

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Niantic’s Pokémon Go had become an overnight phenomenon since its initial release last year. Grabbing headlines throughout the globe, the game made its presence felt across all spheres. The game was launched in India in December, last year.

However, the initial hype subsided after a while and the game was just at the back on everyone’s mind rather than the initial days when everyone were on their phones to catch Pokémon and creating stories in the process.

Now, after a while, the alternate reality game would be getting one of its biggest updates this week. The upcoming update will bring in 80 new Pokémons from the second generation of the Johto region along with other updates as well.

The new Pokémon include the starter ones Chikorita, Cyndaquil and Totodile accompanied by more from the same region. Along with the new Pokémon joining the roster, the game will also bring in evolutionary items and two new kinds of berries.

The two new berries are Nanab Berry and Pinap Berry. The Nanab Berry will assist a player in slowing down a Pokémon, making it easier to catch, while the Pinap Berry will help players get almost double the candies if their next Pokemon catch is successful.

Players will also be able to further customise their characters with “a new selection of hats, shirts, pants, and other items”.

The new evolutionary items will help players evolve their generation one Pokémon into generation two, however not much is known about them.

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Former Sony online head and ‘EverQuest’ creator teams up with Amazon Gaming Studios https://hastalamotion.com/animation/former-sony-online-head-and-everquest-creator-teams-up-with-amazon-gaming-studios/?pk_campaign=feed&pk_kwd=former-sony-online-head-and-everquest-creator-teams-up-with-amazon-gaming-studios https://hastalamotion.com/animation/former-sony-online-head-and-everquest-creator-teams-up-with-amazon-gaming-studios/?pk_campaign=feed&pk_kwd=former-sony-online-head-and-everquest-creator-teams-up-with-amazon-gaming-studios#respond Thu, 16 Feb 2017 16:16:49 +0000 https://hastalamotion.com/animation/former-sony-online-head-and-everquest-creator-teams-up-with-amazon-gaming-studios/ Amazon seems to be taking the game-development business rather seriously as during last year’s TwitchCon, the company announced the first three titles to be released under Amazon Gaming Studios’ name. The company has now announced their latest gaming studio in San Diego, which is being headed by industry veteran, John Smedley, the co-creator of EverQuest. […]

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Amazon seems to be taking the game-development business rather seriously as during last year’s TwitchCon, the company announced the first three titles to be released under Amazon Gaming Studios’ name.

The company has now announced their latest gaming studio in San Diego, which is being headed by industry veteran, John Smedley, the co-creator of EverQuest.

The aforementioned studio is apparently working on “an ambitious new project that taps into the power of the AWS Cloud and Twitch to connect players around the globe in a thrilling new game world.” Smedley will be heading an ‘all-new team’.

Everrquest
In a statement, Amazon said, “John’s pioneering work helped define the modern MMO, and his influence can be felt in thousands of games that followed,” further adding, “He helped create the blueprint for fusing massive game worlds with vibrant player communities, a vision that we share at Amazon Game Studios.”

Apparently the project that the team at San Diego studio is working on is still in its ‘early days’. Given that Smedley has had prior experience in MMO (massively multiplayer online) games, the upcoming project might be on similar lines.

Smedley worked with Sony Online Entertainment for 20 years and lead the team for 15 years. He stepped down from his position of CEO and president of Daybreak Game Company in 2005 and initiated Pixelmage Games. However, in 2016, both Pixelmage Games and its RPG (role playing game), Hero’s Song shut down.

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Meet Damian Perea: The stalwart who spearheaded the International Film Festival ‘Animayo’ https://hastalamotion.com/animation/meet-damian-perea-the-stalwart-who-spearheaded-the-international-film-festival-animayo/?pk_campaign=feed&pk_kwd=meet-damian-perea-the-stalwart-who-spearheaded-the-international-film-festival-animayo https://hastalamotion.com/animation/meet-damian-perea-the-stalwart-who-spearheaded-the-international-film-festival-animayo/?pk_campaign=feed&pk_kwd=meet-damian-perea-the-stalwart-who-spearheaded-the-international-film-festival-animayo#respond Thu, 16 Feb 2017 16:16:48 +0000 https://hastalamotion.com/animation/meet-damian-perea-the-stalwart-who-spearheaded-the-international-film-festival-animayo/ In 2006, on the islands of Gran Canaria, a film-festival was born, which opened the doors of animation, visual effects and gaming, for artists all around the world. Damian Perea, the producer and director of the festival Animayo, whose first film as a child was Star Wars: The Empire Strikes Back, was fascinated with cinema […]

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In 2006, on the islands of Gran Canaria, a film-festival was born, which opened the doors of animation, visual effects and gaming, for artists all around the world. Damian Perea, the producer and director of the festival Animayo, whose first film as a child was Star Wars: The Empire Strikes Back, was fascinated with cinema at a young age. After watching Indiana Jones and the Temple of Doom, when he enquired about who the filmmaker was to his father, the first thing he said was, “I want to be Steven Spielberg.” At the mere age of five he decided that he wanted to be a director.

Young Perea started making short-films with his friends. However, his enthusiasm and fascination exceeded that of his friends and he soon found himself the only one excited to make films. One day he saw a ball of clay, and tired of convincing his friends to make films, he thought, “If I cannot have actors, I am going to build my own actors.” That’s how his journey in stop-motion animation began.

Damian Perea

Damian Perea

In his teenage years, as it was difficult for him to create films, he decided to form Animayo – a festival for the animation, visual effects and video gaming industry – when he establishes himself in the industry. So how did Perea manage to create a name for himself?

12 years ago, it was very difficult to create films in Spain. Perea, who is the current ambassador of Spain for the European Animation Émile Awards, did his first animated film It Could Be Worse in Canary Islands (Gran Canaria). The island has a sheer population of two million and is popular as a tourist destination where animation industry is quite unpopular. However, the film was nominated for Goya Awards – Spain’s National Annual Film Awards. “Making films is difficult, but making films on an island in the middle of nowhere is an arduous task.” He had to record the film digitally on the Island, send it to Madrid for development and then get it back to the Island for some tests. That is why he tells his students, “If I did it, you CAN do it too!” He believes that when there are obstacles, “you can find a way to be original and creative”. And that’s how Perea rose to fame, carving a niche for himself in the industry.

The summit, conference and international film festival – Animayo – includes an Official Awards event, resulting from an annual competition of 2D animation, 3D animation, visual effects, experimental, publicity pieces, animation spots, video clips, video game kinematics, visual effects series and animation series. During the festival, the winning films – Palmarés – are also projected. There are master classes conducted by international artists, workshops, training spaces, outdoor activities; and a European forum for co-production, financing and tax incentives for professionals.

Animayo

Animayo

“It is created to give all the opportunities that I never had in my life,” said Perea, who formed Animayo about 12 years ago as he desired to teach animation. His idea was to bring the biggest stars of animation industry under one roof to impart knowledge to the aspiring artists. Some well-known artists seen at Animayo as speakers are: co-founder of Blue Sky Studios and director of Ice Age, Carlos Saldanha; character technical director at Walt Disney Animation Studios who has worked in Big Hero 6, Zootopia and Frozen, Luis San Juan Pallares; concept artist and winner of two Emmys for Game of Thrones, Tobias Mannewitz; visual effects artist for The Chronicles of Narnia, War Horse and The Dark Knight, Jan Adamczyk; visual effects supervisor for Hobbit, The Rings and Captain America, Alex Lemke; VFX supervisor in Mission Impossible III, Kevin Blank; storyboard artist of Spiderman and Iron Man, Ryan Woodward; animator and character designer for Hercules, The Jungle Book and Zootopia, Borja Montoro.

The festival receives 1500 works from across the globe for its competition each year out of which about 80 works are preselected for the categories like Best short film 2D, 3D Best Short Film, Best Independent Short Film, Audience Award, Best visual effects work, and many more which are screened during the Festival. It presents the Winning Works Awards called “The Best of Animated” in studios like DreamWorks Animation, The Walt Disney Animation, Disneytoon Studios and Sony Pictures Animation.

When asked how he feels when he sees people all over the world exploring animation and making animated films, he said, “I feel happy because all these students come to me for inspiration. It is like the more you give, the more you achieve. When I help them create their own films, I feel better.” He is also recreating the education system in Spain – teaching animation to kids, getting them to make their own films and later screening them.

According to him, animation is a combination of all arts. “It is not just drawing. It is art, expression, music, composition, movement. It is a very powerful tool of communication.”

Talking about which course to take as one faces the dilemma of choosing between their passion for animation and earning for a living, he laughingly said, “The conflict is always there. Working for commercials gives you money and industry experience, which makes it possible to fund your own projects. There has to be a balance between your education, doing your own projects and commercials. This way you can be independent. This is the way I did.”

Perea is currently working on a short film, and developing and writing two feature films. So for now, though he loves India and has plans to make a Bollywood film in Mumbai, he doesn’t have any plans to collaborate with the Indian studios. He also revealed his plan of bringing his education system to India – of developing multiple intelligence as a part of his project.

Quoting Khalil Gibran from one of his favourite books ‘The Prophet’, he said, “Work is love made visible”. Dedicated, passionate and always optimistic, Perea concluded, “Don’t do things for others. Do them for yourself.”

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Galaxy Chase for Love and Chocolate https://hastalamotion.com/animation/galaxy-chase-for-love-and-chocolate/?pk_campaign=feed&pk_kwd=galaxy-chase-for-love-and-chocolate https://hastalamotion.com/animation/galaxy-chase-for-love-and-chocolate/?pk_campaign=feed&pk_kwd=galaxy-chase-for-love-and-chocolate#respond Thu, 16 Feb 2017 16:14:02 +0000 https://hastalamotion.com/animation/galaxy-chase-for-love-and-chocolate/ Galaxy Chocolate Valentine’s Day commercial, “Galaxy Chase”, follows Cupid in pursuit of a young woman rushing through life. Through the busy streets of London, our female protagonist hurriedly cycles through traffic, narrowly missing cupid’s arrow. The breath-taking chase continues to build suspense through London’s landmarks, as she continues to move too fast for the arrows […]

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Galaxy Chocolate Valentine’s Day commercial, “Galaxy Chase”, follows Cupid in pursuit of a young woman rushing through life. Through the busy streets of London, our female protagonist hurriedly cycles through traffic, narrowly missing cupid’s arrow. The breath-taking chase continues to build suspense through London’s landmarks, as she continues to move too fast for the arrows to reach her; but striking others in her path. The film concludes when our heroine finally pauses in the moment and we see loves first strike. The film ends with a relevant message for today’s generation: “Rush Less. Feel More”. The Galaxy Chase commercial is designed to provide a soulful and modern take on the classic love stories we’ve come to expect at Valentine’s. It reflects the simple reality of our increasingly busy lives and the importance for us all to make time to find pleasure in the world around us.

Cupid with bow and arrow in Galaxy Chase commercial

Olivia Cheng, Galaxy’s UK Marketing Director says:
“With chocolate being the second most popular gift to give on Valentine’s Day, it’s the perfect time of year for GALAXY to be showing the benefits of its silky smooth chocolate and what can happen when people choose to find time to enjoy a GALAXY moment, in our modern take on the classic Cupid story.”

AMV BBDO collaborated with Juan Cabral and MJZ for the production, Creative Directors Nadja Lossgott and Nicholas Hulley said,
“It’s a modern fable. In our increasingly busy, do it all and have it all lives, it’s a reminder that sometimes we need to take a moment for pleasure.”

Bust hit by arrow in Galaxy Chase commercial
Statue with bow arrow in Galaxy Chase commercial
Man smitten with arrow in Galaxy Chase commercial

Galaxy Chase Credits

The Galaxy Chase campaign was developed at AMV BBDO by creative directors Nicholas Hulley and Nadja Lossgott, copywriter Caio Giannella, art director Diego de Oliveira, agency planner Cat Collins, agency producer Darapen Vongsa-nga, account management team James Drummond, Robyn Rieu, Callum Raines, working with Galaxy UK marketing director Olivia Cheng and marketing manager Nigel Lorimer.

Media was handled at MediaCom.

Filming was shot by director Juan Cabral via MJZ with producer Stephen Johnson.

Editor was Rick Russell at Final Cut.

Post production was done at MPC.

Music was produced at Soundtree by Andrew Kingslow and Peter Raeburn.

Audio postproduction was done at 750mph.

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