Showing posts with label animation. Show all posts
Showing posts with label animation. Show all posts

Tuesday, June 9, 2015

The Future of Computers Is the Mind of a Toddler






Machines contain the breadth of human knowledge, yet they have the common sense of a newborn. The problem is that computers don't act enough like toddlers. Yann LeCun, director of artificial intelligence research at Facebook, demonstrates this by standing a pen on the table and then holding his phone in front of it. He performs a sleight of hand, and when he picks the phone up—ta-da! The pen is gone. It’s a trick that’ll elicit a gasp from any one-year-old child, but today's cutting-edge artificial intelligence software—and most months-old babies—can’t appreciate that the disappearing act isn’t normal. “Before they’re a few months old, you play this trick on them, and they don’t care,” says LeCun, a 54-year-old father of three. “After a few months, they figure out this is not normal.”

One reason to love computers is that, unlike many kids, they do as they’re told. Just about everything a computer is capable of was put there by a person, and they've rarely been able to discover new techniques or learn on their own. Instead, computers rely on scenarios created by software programmers: If this happens, then do that. Unless it's explicitly told that pens aren't supposed to disappear into thin air, a computer just goes with it. The big piece missing in the crusade for the thinking machine is to give computers a memory that works like the grey gunk in our own heads. An AI with something resembling brain memory would be able to discern the highlights of what it sees, and use the information to shape its understanding of things over time. To do that, the world's top researchers are rethinking how machines store information, and they're turning to neuroscience for inspiration.

This change in thinking has spurred an AI arms race among technology companies such as Facebook, Google, and China’s Baidu. They’re spending billions of dollars to create machines that may one day possess common sense and to help create software that responds more naturally to users’ requests and requires less hand-holding. A facsimile of biological memory, the theory goes, should let AI not only spot patterns in the world, but reason about them with the logic we associate with young children. They’re doing this by pairing brain-aping bits of software, known as neural networks, with the ability to store longer sequences of information, inspired by the long-term memory component of our brain called the hippocampus.

 This combination allows for an implicit understanding of the world to get “fried in” to the patterns computers detect from moment to moment, says Jason Weston, an AI researcher at Facebook. On June 9, Facebook plans to publish a research paper detailing a system that can chew through several million pieces of data, remember the key points, and answer complicated questions about them. A system like this might let a person one day ask Facebook to find photos of themselves wearing pink at a friend's birthday party, or ask broader, fuzzier questions, like whether they seemed happier than usual last year, or appeared to spend more time with friends.

While AI has long been an area of interest for Hollywood and novelists, companies hadn't paid much attention to it until about five years ago. That's when research institutions and academics, aided by new techniques for crunching reams of data, started breaking records in speech recognition and image analysis at an unexpected rate. Venture capitalists took notice and invested $309.2 million in AI startups last year, a twentyfold increase from 2010, according to research firm CB Insights. Some of these startups are helping to break new ground. One in Silicon Valley, called MetaMind, has developed improvements to computers' understanding of everyday speech. Clarifai, an AI startup in New York, is doing complex video analysis and selling the service to businesses.




Corporate research labs now rival those in academia in terms of staffing and funding. They have surpassed them in access to proprietary data and computing power to run experiments on. That's attracting some of the field's most prominent researchers. LeCun, former director of New York University's Center for Data Science, joined Facebook in December 2013 to run its AI group. While still teaching a day a week at NYU, he has hired nearly 50 researchers; on June 2, Facebook said it is opening an AI lab in Paris, its third such facility. Google says its own AI team numbers in the “hundreds,” declining to be more specific. Baidu's Silicon Valley AI lab opened in May 2014, and now has around 25 researchers led by Andrew Ng, a former AI head at Google. The Chinese search giant employs about 200 AI specialists globally. The interest from deep-pocketed consumer Internet companies kickstarted a research boom creating “one of the biggest advances” in decades, says Bruno Olshausen, head of the Redwood Center for Theoretical Neuroscience at the University of California-Berkeley. “The work going on in these labs is unprecedented in the novelty of the research, the pioneering aspect.”

As far as tech money has pushed AI in recent years, computers are still pretty dumb. When talking to friends in a loud bar, you pick up what they're saying, based on context and what you remember about their interests, even if you can't hear every word. Computers can't do that. “Memory is central to cognition,” says Olshausen. The human brain doesn't store a complete log of each day's events; it compiles a summation and bubbles up the highlights when relevant, he says. Or at least, that's what scientists think. The problem with trying to create AI in our own image is that we don't fully comprehend how our minds work. “From a neuroscience perspective, where we are in terms of our understanding of the brain—and what it takes to build an intelligent system—is kind of pre-Newton,” Olshausen says. “If you're in physics and pre-Newtonian, you're not even close to building a rocket ship.”

Modern AI systems analyze images, transcribe texts, and translate languages using a system called neural networks, inspired by the brain's neocortex. Over the past year, virtually the entire AI community has begun shifting to a new approach to solve tough-to-crack problems: adding a memory component to the neuron jumble. Each company uses a different technique to accomplish this, but they share the same emphasis on memory. The speed of this change has taken some experts by surprise. “Just a few months ago, we thought we were the only people doing something a bit like that," says Weston, who co-authored Facebook's first major journal article about memory-based AI last fall. Days later, a similar paper appeared from researchers at Google DeepMind.


Since then, AI equipped with a sort of short-term memory has helped Google set records in video and image analysis, as well as create a machine that can figure out how to play video games without instructions. (They share more in common with kids than you probably thought.) Baidu has also made significant strides in image and speech recognition, including answering questions about images, such as, “What is in the center of the hand?” IBM says its Watson system can interpret conversations with an impressive 8 percent error rate. With Facebook's ongoing work on memory-based AI software that can read articles and then intelligently answer questions about their content, the social networking giant aims to create “a computer that can talk to you,” says Weston.


 The next step is to create an accompanying framework more akin to long-term memory, which could lead to machines capable of reasoning, he explains.If a talking, learning, thinking machine sounds a little terrifying to you, you're not alone. “With artificial intelligence, we're summoning the demon,” Elon Musk said last year. The chief executive officer of Tesla Motors has a team working on AI that will let its electric cars drive themselves. Musk is also an investor in an AI startup named Vicarious. After some apparent self-reflection, Musk donated $10 million to the Future of Life Institute, an organization set up by Massachusetts Institute of Technology Professor Max Tegmark and his wife Meia to spur discussions about the possibilities and risks associated with AI. 


The organization brings together the world's top academics, researchers, and experts in economics, law, ethics, and AI to discuss how to develop brainy computers that will give us a future bearing more resemblance to The Jetsons than to Terminator. “Little serious research has been devoted to the issues, outside of a few small nonprofit institutes. Fortunately, this is now changing,” Stephen Hawking, who serves on the institute's advisory board, said at a Google event in May.

 “The healthy culture of risk assessment and the awareness of societal implications is beginning to take root in the AI community.”AI teams from competing companies are working together to advance research, with an eye toward doing so in a responsible way. The field still operates with an academic fervor reminiscent of the early days of the semiconductor industry—sharing ideas, collaborating on experiments, and publishing peer-reviewed papers. Google and Facebook are developing parallel research schemes focused on memory-based AI, and they're publishing their papers to free academic repositories. Google's cutting-edge Neural Turing Machine “can learn really complicated programs” without direction and can operate them pretty well, Peter Norvig, a director of research at Google, said in a talk in March. Like a cubicle dweller wrestling with Excel, the machine makes occasional mistakes. And that's all right, says Norvig. “It's like a dog that walks on its rear legs. Can you do it at all? That's the exciting thing.”


Technological progress within corporate AI labs has begun to make its way back to universities. Students at Stanford University and other schools have built versions of Google's AI systems and published the source code online for anyone to use or modify. Facebook is fielding similar interest from academics. Weston delivered a lecture at Stanford on May 11 to more than 70 attending 

students—with many more tuning in online—who were interested in learning more about Facebook's Memory Networks project. LeCun, the Facebook AI boss, says, “We see ourselves as not having a monopoly on good ideas.” LeCun co-wrote a paper in the science journal Nature on May 28, along with Google's Geoff Hinton and University of Montreal Professor Yoshua Bengio, saying memory systems are key to giving computers the ability to reason about the world by adjusting their understanding as they see things change over time.

To illustrate how people use memory to respond to an event, LeCun grabs his magic pen from earlier and tosses it at a colleague. A machine without a memory or an understanding of time doesn't know how to predict where an object will land or how to respond to it. People, on the other hand, use memory and common sense to almost instinctively catch or get out of the way of what's coming at them. Weston, the Facebook AI researcher, watches the pen arc through the air and then hit him in the arm. “He's terrible at catching stuff,” LeCun says, with a laugh, “but he can predict!” Weston reassures him: “I knew it was going to hit me.”

Animation

Our team of experts works with you, take your company message and create a powerful animated marketing video that will engage viewers in the most effective way possible.Pixotri technology is a  creative house developing quality web designs, E-Commerce solution. SEO services and Gaming development .

Contact us for your 2d and 3d animation requirements email- info@pixotritechnologies.com. Visit our website: www.pixotritechnologies.com

Thursday, May 21, 2015

French Student Sets Internet on Fire with Animation Inspired by Moebius, Syd Mead & Hayao Miyazaki

The internet over in Japan was lit ablaze last month by a student film. Titled “Celles et Ceux des Cimes et Cieux” (“Girls and Guys from the Summits and the Skies”), the short is a gorgeously animated trailer for what looks like an amazing yet-to-be-made feature film. Created by Gwenn Germain, who is studying at the French art school Créapole, the animation is also a love letter to legendary filmmaker Hayao Miyazaki. You can watch it above.

“I’ve been told by a friend of mine that all the movies that I’ve made are essentially the same!” That’s what Miyazaki said to me during a roundtable for his children’s movie Ponyo. Though the stories vary from movie to movie, his world is immediately recognizable and remarkably consistent. He creates universes that are wondrous and mystical. He has an almost shamanistic reverence for nature; rocks, trees, rivers, and oceans all seem to be alive and aware.

 And he populates his world with shape-shifting creatures like the ravenous masked blob No-Face in Spirited Away; the Great Forest Spirit in Princess Mononoke, which looks like it was yanked straight out of Japanese mythology; and perhaps his most delightful creation, the Cat Bus from My Neighbor Totoro, complete with headlight eyes, a Cheshire grin and a warm, womb-like interior. It was this whimsical creation that reportedly impressed The Emperor himself – Akira Kurosawa.

It’s no wonder why Japanese netizens went crazy for “Celles et Ceux des Cimes et Cieux.” Germain’s short seems sprung from the same world as Miyazaki. The giant bugs look like something out of Nausicaa of the Valley of the Wind. The ambiguously European architecture looks like something from Kiki’s Delivery Service and those purple amorphous worms look like something from Spirited Away.  Heck, Miyazaki himself even seems to be in Germain’s short – that bearded old guy at the end of the movie is a spitting image of the famed animator.

Germain credits other influences aside from Miyazaki: Syd Mead, the concept artist who created those flying cars in Blade Runner and the city of the future in the upcoming Tomorrowland, and particularly the boundlessly imaginative French illustrator Moebius. Their influence might not be as obvious as Miyazaki’s, however.

In any case, I am seriously looking forward to seeing a feature length version of “Celles et Ceux des Cimes et Cieux.”


Animation

Our team of experts works with you, take your company message and create a powerful animated marketing video that will engage viewers in the most effective way possible.Pixotri technology is a  creative house developing quality web designs, E-Commerce solution. SEO services and Gaming development .

Contact us for your 2d and 3d animation requirements email - info@pixotritechnologies.com. Visit our website: www.pixotritechnologies.com

Tuesday, May 19, 2015

Video: More recycled scenes from different Disney animation movies


Here are more recycled and reused scenes that Disney lifts from previous animation movies and then adds to its others movies. You can see how the same general movement and scene constructions are used but just with different characters across different movies. It’s both very revealing and endlessly interesting to compare how similar they are.

In this video we see how Bambi scenes were used in both Alice in Wonderland and The Fox and the Hound, how The Jungle Book ties in with Winnie the Pooh and The Sword in the Stone, and much more.This is the second in a series showcasing Disney recycled scenes by Movie Munchies. You can see the first video here.
Animation
Our team of experts works with you, take your company message and create a powerful animated marketing video that will engage viewers in the most effective way possible.Pixotri technology is a  creative house developing quality web designs, E-Commerce solution. SEO services and Gaming development .Contact us for your 2d and 3d animation requirements info@pixotritechnologies.com. Visit our website: www.pixotritechnologies.com

What Should We Expect from Tim Burton’s ‘Dumbo’?

I’m sure you’ve heard the news by now. Tim Burton is going to direct a live-action remake of the 1941 animated Disney film Dumbo. What did you think when you heard this choice of director? Or of the idea of a remake itself? Disbelief? Fear? Intrigue? I felt all three. This is coming from someone who loves Tim Burton and who loves Disney. But is the prospect of them colliding for this project a good idea? And what should we come to expect from a movie that will henceforth be known as Tim Burton’s Dumbo?



What do we know so far?

We know the film is going to be part live-action and part GGI. I’ll give you one guess as to who is going to be computer animated. This makes me wonder what a CGI Dumbo will look like. Does anyone remember Dumbo in the movie Who Framed Roger Rabbit? His cameo appearance was pretty much all for the sake of the joke, “He works for peanuts,” but he actually blends fairly well in this movie. There are a few reasons for that. Our suspension of disbelief was already achieved in the set up of the movie where Toons live amongst us. But I believe the main reason was that he was still represented as a two-dimensional drawing. We recognize him from Disney’s animated film because he is the exact same design. But could a CGI Dumbo look as cute and endearing as the drawing?



He will most likely look more like a real elephant as our suspension of disbelief will have to be pushed a little further if we’re to see a big-eared flying elephant in live-action. What about the other characters? In my humble opinion it would be a mistake not to include Dumbo’s supporting pal Timothy Q. Mouse. If featured, he could be similar to the mice character in the latest live-action remake of Cinderella. These little creatures had a realistic design and yet their subtle actions every so often were human-like. Could we expect something like this?



Disney and Live-action

We know there is a new surge of live-action remakes of Disney animated movies recently, but back in the day Walt Disney did love his live-action projects too. All you have to do is look at Treasure Island or 20,000 Leagues Under the Sea to know the studio was more than capable of delivering spectacular, and yes I’ll say it, masterpieces. A studio has to keep on top of its game somehow. So why not utilize its previous successes like Beauty and the Beast and Dumbo to create something we’re both eager to revisit and curious to rediscover.

When I imagine a live-action Dumbo movie I remember those fantastical Disney movies from the 1970s. Those comedy dramas that usually starred Dean Jones with a talking cat from outer space or a living VW Beetle. There’s also Pete’s Dragon, which had both live-action actors and a giant 2D animated dragon. But there is always something that warms your heart in these live-action Disney movie. So it’s safe to say they’ll be emotional scenes as well as light-hearted moments. Let’s just hope they don’t reuse the ‘Baby Mine’ song from the original movie or I’ll end up using all my tissues. Regardless of the song, can’t you just envision that in live-action? A scene where humans lock away the elephant mother from her baby? This is why I’m sure the remake of Dumbo will still pull at our heartstrings.



Disney and Tim Burton

The collaboration of Tim Burton and Dumbo sounds more shocking than Sam Raimi directing Oz: The Great and Powerful, but it really shouldn’t. Not when you think about the controversial horror movies Raimi has made compared to Burton movies that are simply deemed ‘dark’.

Think about this for a moment: why does Disney keep using Burton? Let us take a look at Burton’s work at Disney to help us out. He worked for Disney in the 1980s on movies such as The Black Cauldron and The Fox and The Hound. Not surprisingly the latter kind of ‘cutesy’ animation was not his forte, so he looked for other projects elsewhere. It was with the success of the live-action movies Edward Scissorhands and Batman that Disney welcomed him back to make his own stop-motion animation project in 1993. Though he did not direct The Nightmare Before Christmas – that can be credited to Henry Selick – his influence and creativity is prominent in the movie. He returned to Disney and stop-motion in 2012 for Frankenweenie, this time as director. I’m sure Disney were after another financial success similar to Nightmare, especially when it came to merchandising. But this wasn’t to be.

Unfortunately, there were more than enough Sparky plushes left in the stockroom. It just didn’t have the unique charm that Nightmare had. However, it did get positive reviews and was nominated for an Oscar so it wasn’t all bad for Burton and Disney. Now Tim Burton’s Alice in Wonderland in 2009 on the other hand was a huge success. Something about that film maker’s name above that familiar story peaked audience’s interested. The story of Alice in Wonderland, even the Disney animated version from 1951, is whimsical and a little dark at times. So it easily lends itself to Burton’s macabre style. This is why when you think about Dumbo in the hands of Tim Burton you can understand why he was chosen in terms of financing. It’s a very well known name. It’s not much of a gamble to hire him because of the basic fact that people see his movies. But from a creative point, is he the best choice?

The Other Side of Burton

There is a lighter more child-friendly side to Burton that is actually perfect for Disney movies. I know Charlie and the Chocolate Factory is a little strange and creepy at times but can you deny that it’s a children’s movie? I’ve never thought of that movie as being too dark or creepy for kids. And it’s proof that he’s no stranger to the magical and surreal. But Burton always seems to know what he’s doing.

He’s not going to push a character or a certain piece of imagery so far that it will enter your nightmares for weeks, particularly when it’s a family movie. And when I think of ‘the other side of Burton’ I go directly to the movie Big Fish. It’s a fairytale pastoral paradise. It’s so bright and colorful at times that it could easily have been a children’s coloring book. His latest movie Big Eyes even strayed away from the grim and Gothic. It’s because of movies like these that actually make me stay positive for the movie’s potential.



Animation

Our team of experts works with you, take your company message and create a powerful animated marketing video that will engage viewers in the most effective way possible.Pixotri technology is a  creative house developing quality web designs, E-Commerce solution. SEO services and Gaming development.
Contact us for your 2d and 3d animation requirements email- info@pixotritechnologies.com. Visit our website: www.pixotritechnologies.com

Friday, May 15, 2015

Disney has been recycling the same footage in its beloved animated movies for years

If you've ever watched one of your favorite animated Disney classics like "Robin Hood" and have felt like you've seen it before, you may be right.


A lot of the scenes in the film are from older Disney movies including 1967's "The Jungle Book" and 1937's "Snow White and the Seven Dwarves."

Here's Maid Marian ("Robin Hood") and Snow White both clapping in tune to a group of critters and dwarves, respectively, singing and dancing.

Little John from "Robin Hood" and Baloo ("The Jungle Book") not only shared a voice actor, Phil Harris, but also looked similar, with the same crazed eyes in the scenes below.

Disney via Movie Munchies

While that may seem alarming, it's not. The Mouse House often recycled its old animated footage to save costs on film. 

Called rotoscoping, the process involves animators drawing and tracing over old footage to create anew.



Earlier this week, an HD video we first spotted on /film broke down a lot of similarities between a number of classic Disney films.

While the HD video is new, if you're a Disney fan, this isn't anything new.

A search for "Disney reused animation" on YouTube brings up over 10,000 results. The Daily Mail first wrote about it in 2009.

Regardless, it's still stunning to see the side-by-sides if you're just hearing this for the first time.

Dancing was repeated a lot in films. Here you can see a similar sequence in both the endings to 1959's "Sleeping Beauty," where fairies are shifting the color of her dress between blue and pink, and 1991's "Beauty and the Beast."



A scene of Maid Marian dancing in "Robin Hood" was previously seen in 1970's "Aristocats."

That famous drum-banging scene in marketing for "The Aristocats" was also used in "Robin Hood."

Another video, entitled "The Disney Deja Vu" shows a lot of other animation that was reused across films.

Among them is a scene from 1961's "101 Dalmatians" that can also be seen in 1963's "The Sword in the Stone."

Animation

Our team of experts works with you, take your company message and create a powerful animated marketing video that will engage viewers in the most effective way possible.Pixotri technology is a  creative house developing quality web designs, E-Commerce solution. SEO services and Gaming development .

Contact us for your 2d and 3d animation requirements email- info@pixotritechnologies.com. Visit our website: www.pixotritechnologies.com

Monday, May 11, 2015

FMX Wraps 20th Edition; APD, Stuttgart Show Results


The 20th anniversary edition of FMX in Stuttgart, Germany, is in the books as an event worthy of celebrating two decades of spotlighting the best in the art and technology of visual effects and animation.


Capping with a special screening of Avengers: Age of Ultron, the four-day event reports 3,200 attendees from 55 countries flocked to FMX on a daily basis. The percentage of professionals compared to the students amounted to 61 percent, and there were 270 speakers from 22 countries who delivered presentations, workshops and panel discussions.

Meanwhile, the concurrent Animation Production Day reported that a contract for a European co-production was signed at the event — a first for the show. Jan Bonath of Scopas Medien AG, Germany, and Mark Mertens of Grid Animation, Belgium, signed a coproduction agreement for the project Marnie’s World.

APD drew 120 participants from 12 different countries that discussed and negotiated co-operations for the 37 selected animation projects showcased in this year’s APD in Stuttgart’s L-Bank in over 450 one-to-one meetings.

The total production volume of these projects is around 130 million euros, equivalent to $145 million.

The 22nd Stuttgart Festival of Animated Film — another related event — honored the best productions in the field of applied animation at the Animated Com Award.

The main prize was awarded to Arnaud & Jérôme from France for League of Legends: Warriors.

Within the advertising category, Manvsmachine from Great Britain won with their commercial Nike Mercurial Superfly IV.

The Award for technology was awarded to Ghost Peloton by Mark Huskisson, Great Britain.

Smart Ampelmännchen by Marten Persiel from Germany won the award for spatial communication.

Nate Theis of the United States and his production Driving won a special prize called Future Needs Derivation – Mobility in a Digital World, presented by Daimler AG, which includes 2,500 euros.

The Lapp Connected Award — also including at 2,500 euro prize — was given to Pass It On, by Teresa Cruz.


Animation

Our team of experts works with you, take your company message and create a powerful animated marketing video that will engage viewers in the most effective way possible.Pixotri technology is a  creative house developing quality web designs, E-Commerce solution. SEO services and Gaming development .

Contact us for your 2d and 3d animation requirements email- info@pixotritechnologies.com. Visit our website: www.pixotritechnologies.com

Gluckman’s pat for Indian animation

When DreamWorks Studios, the American film production company, first planned on setting shop in other markets, they launched a sort of international location scouting, before zeroing in on Bengaluru , back in 2008. Creative Director Philippe Gluckman says the diverse culture in India was one of the key factors which led them to take that decision.


“I feel the culture here lends itself to creative things. Also, there is a large native talent pool in animation here. The knowledge of English also helps. Cost-effectiveness was a factor, but not the dominant reason,” says Gluckman, who was in the city this weekend to participate in the Animation Masters summit organised by the Toonz Media Group.

In the initial days of the DreamWorks Dedicated Unit in Bangalore, the team was producing animated commercials. TV specials, high-quality material produced exclusively for television, happened later.

Just six years later, in 2014, they produced their first full-length feature Penguins of Madagascar .

“Making major parts of Puss in Boots here was a big deal for us. With Penguins… , we went a step ahead. We worked right from building the characters, the look of the film, to the production phase. Though we planned to produce the entire film here, the last part had to be shifted out owing to scheduling issues,” he says.

Working with a young team of 240, a majority of whom are from India, reminds Gluckman of his earlier days in the industry, of working with small dynamic teams.

Downside

“The only downside here is working so far from the U.S., and the problems of different timelines. But, coming to India changed me, artistically and personally. I am a runner and of late, I have been going into villages and the visual culture there is so fascinating. Also, the people are very welcoming and warm. I am also interested in learning languages. We now speak Hindi at home. We also watch Hindi films occasionally, like the Munnabhai series or 3 Idiots .”

Working on Indian content is something that he looks forward to, although the studios are yet to warm up to it. Plans were there to produce a ‘Bollywood-style’ musical on Ramayana, which did not take off. “I have seen some of the animation films produced here. Some are interesting and some are dated. But I feel we need to continue to give opportunities to people from here. With the kind of talent pool here, it is unfortunate that the artists here think that they have to go outside the country to make it. This scenario should change.”

He feels that some of the animation films being produced internationally follow a stale formula. “In the initial days, we were making very ambitious expensive films. But, we have to move beyond this one model of making animation films. We now have more diverse markets, and we have to make targeted films.”

Animation

Our team of experts works with you, take your company message and create a powerful animated marketing video that will engage viewers in the most effective way possible.Pixotri technology is a  creative house developing quality web designs, E-Commerce solution. SEO services and Gaming development .

Contact us for your 2d and 3d animation requirements email-info@pixotritechnologies.com. Visit our website: www.pixotritechnologies.com

Anti-Aging Measures for Disney’s Animation Cels


The hand-drawn animation cels used to create cartoons before the advent of computers have aged poorly. Their cellulose and polyester backings have buckled, cracked and yellowed, and the watercolor paint is peeling. To determine the best way to prevent further damage, the Disney Animation Research Library, which owns millions of these works, is collaborating with the Getty Conservation Institute.

Michael R. Schilling, a senior scientist at the Getty institute, said researchers are studying which protective materials to wrap around the cels, what temperature are best for storage and how to reattach lost paint.

The original opaque paints were designed to be durable and flexible enough to withstand rough treatment as the cellulose sheets were passed around during filming sessions. Disney animators mixed the paints themselves instead of buying commercial brands that might not have adhered to the plastic. “Too much was at stake when they made these movies to leave anything to chance,” Mr. Schilling said.

Researchers will subject tiny cel samples to lab tests to simulate years of exposure to conditions like extreme temperatures, light, moisture and air. The results will also be useful to conservators working on 20th-century sculptures that contain plastics, Mr. Schilling said.

The Getty’s efforts will help preserve the animation collection not only for historians interested in Disney studies but also for future generations of cinephiles.

In September, a four-hour documentary about Walt Disney will air on public television. Sarah Colt, the director and producer, said the movie will have footage of animators at work. “It just took an army of artists” to make the early films, she said.

Cels from Disney productions have ended up on the market, selling for as little as a few hundred dollars each.

Heritage Auctions in Dallas, which regularly offers them, notes occasional condition problems in its catalogs, such as wrinkles and cracks.

SHAKESPEAREAN OBSESSION

Biographers only recently started poring over the voluminous documentation that Henry Clay Folger and his wife, Emily, made of their purchases of Shakespearean works. “The Millionaire and the Bard: Henry Folger’s Obsessive Hunt for Shakespeare’s First Folio,” due out on Tuesday from Simon & Schuster, by Andrea Mays, explains how the couple divided up responsibilities in their shared mania.

The Folgers built their Shakespeare collection with little input from others. From the 1880s to the 1920s, they invested Mr. Folger’s Standard Oil earnings in hundreds of thousands of publications, manuscripts and paintings. They paid tens of thousands of dollars each for rarities, including editions of plays printed in 1623, known as First Folios. When the Folgers traveled, they took along boxfuls of file cards of their cataloged acquisitions. To ensure everything would stay together, they built the Folger Shakespeare Library in Washington.

“Emily read thousands of booksellers’ catalogs, marking them with dog-eared corners and making pencil squiggles in the margins,” Ms. Mays writes in “The Millionaire and the Bard.” Henry Folger negotiated with dealers and tracked what was for sale around the world. “He took meticulous notes on condition, completeness, binding, provenance, and prices paid,” she continues.

One of the couple’s favorite dealers was A. S. W. Rosenbach, whom Stephen H. Grant, the author of “Collecting Shakespeare: The Story of Henry and Emily Folger” (published last year by Johns Hopkins University Press), describes as “the most erudite rascal in the book business.” When Mr. Rosenbach needed quick cash, Mr. Grant writes, he would show an associate “something printed in the Shakespearean period and plead: ‘Can you make this into Shakespeareana? I want to sell it to Folger.’ ” References to Denmark and Falstaff’s basso singing were sometimes enough to persuade Mr. Folger to write checks.

Next year, for the 400th anniversary of Shakespeare’s death, the Folger library will team up with the Cincinnati Museum Center and the American Library Association on exhibitions of the 1623 First Folios, which will travel to all 50 states.

Daniel De Simone, head librarian at the Folger, said that despite the recent biographies, the Folgers’ innermost thoughts and feelings remain a mystery.

“The nature of their private relationship is even unknown to us,” he said.

Animation

Our team of experts works with you, take your company message and create a powerful animated marketing video that will engage viewers in the most effective way possible.Pixotri technology is a  creative house developing quality web designs, E-Commerce solution. SEO services and Gaming development.

Contact us for your 2d and 3d animation requirements email-info@pixotritechnologies.com. Visit our website: www.pixotritechnologies.com

Middle school student wins prestigious art award for animation

What began as fiddling with his mother’s iPad has turned into a national award for Chickahominy Middle School eighth-grader Pablo McCrimmon.


Pablo, 14, won a gold medal in film and animation from the Scholastic Art & Writing Awards for “The Thanksgiving Song” and is one of 16 recipients of the award in various categories in the Richmond region.

Winners of the award hail from Canada to Croatia to South Korea, and Pablo is one of five recognized for film and animation, including home-schooled student Abby Goss, 17, of Ashland, who won the silver medal in the category. There were 70 gold and silver medal winners in Virginia for 2015.
Scholastic Art & Writing Awards started in 1923 to recognize artistic talent in addition to traditional athletic achievements in schools and has since become a prestigious honor with alumni such as Andy Warhol and Robert Redford.

Pablo got his start in animation on a simple app when he was in sixth grade and used it for projects his teachers assigned with some creative freedom. He later saved up $200 for an animation tablet to draw with a pen instead of a mouse and took over his family’s spare room for his workspace.
He said he gets illustration inspiration from “Eddsworld,” a YouTube video series, and Matt Groening, the co-creator of “The Simpsons.” Pablo’s creations include music videos, anecdotes inspired by classroom happenings, and “Pablo’s Life,” for which he is on the third installment.

“I really like YouTube because it gives me a platform to get feedback and share with my audience,” Pablo said. He has attended animation workshops held at the Virginia Museum of Fine Arts, gaining mentors and peers in the craft. He’s working on making his animation more fluid and cleaning up his design, he said.

The song in the award-winning animation was itself inspired by his mother’s prodding when he sat at the Thanksgiving table getting increasingly antsy waiting for the food.
“What should I do?” Pablo recalls asking his mother, Catherine Ingrassia. “There’s not many Thanksgiving carols.”

It was his third animated video ever, and he completed it in a little more than a week. His mother found out about the Scholastic contest and encouraged him to enter it.
“So I guess the moral of the story in animation is to listen to your mother,” he said with a smile. “It’s really exciting because I never thought my animation would be award-winning.”
Pablo and other winners will attend an awards ceremony in New York City in June.

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Thursday, May 7, 2015

Warner Bros. Animation King Bruce Timm Weighs in on Suicide Squad’s Harley Quinn


Created by Paul Dini and Bruce Timm for Batman: The Animated Series, Harley Quinn has taken on a unique place in fandom through the years. We’re finally getting to see her brought to life for live-action thanks to Suicide Squad, but her look is certainly a far cry from her original Harlequin costume. Timm has some thoughts on her latest portrayal.

Speaking with press about his upcoming web series Justice League: Gods and Monsters (which sees a return of the classic Timm animation style) for Machinima, Timm was asked to weigh in on the recent reveal of Harley Quinn from the Suicide Squad cast photo. He gave this reaction to Polygon:


“It’s interesting,” Timm answered immediately. “It’s weird. Myself — being somebody who’s taken characters that pre-exist and putting my own spin on them in my own little universe — I’m very aware of how when a character that I necessarily created shows up in other media that they have to adapt it and do different things with it than I would do. So I’m very open to it to see what they’re going to do. I’m actually really excited. I just today, just before the show started, saw the first image of Harley Quinn from the Suicide Squad movie, and I thought ‘Woah. She looks actually pretty cute!’ I was actually kind of worried I thought ‘Oh, she’s going to look really, really bizarre and skanky’ but nah, she’s not too bad. So I’m often mistaken.”

Your mileage may vary, of course, but it’s interesting to see Timm’s take. He also said this to io9: “I was frankly a little nervous about what Harley would look like, but I thought she looked really cool. So I’m optimistic, we see.” He also went on to talk a bit about her evolution and the current solo comic at DC from Amanda Conner and Jimmy Palmiotti:

It’s funny, because she started off as just like a one joke idea and she’s gained all these different dimensions from all the stories we did, and the stuff that happens in the comics. I think bottom line the most important thing about her is that she’s funny. One way or the other regardless of what her backstory is, or whether she’s in an abusive relationship with the Joker, or if she’s off on her own, or hanging out with Poison Ivy, or whether she’s a villain or a hero.

 I think bottomline her stories always have to be fun, if not flat out hilarious (but that would be even better). That’s one of the things I like about the current comic. They understand that, they’re not treating her as another angsty bizarre superhero type character. She’s really weird and funny and kind of chaotic.
That’s pretty much in line with what I said in response to the first photo, it really is all going to depend on her personality. Still keeping my fingers crossed…

Animation

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Classic DC Animation Makes The Batman V Superman Trailer So Much Cooler

DC has always been one step ahead of Marvel in the animation department. This may be an unpopular opinion, but the Justice League and Batman animated series, even spin-offs like Young Justice, were top notch, and their straight-to-DVD releases are always highly anticipated events. So, perhaps, that teaser trailer for Batman v Superman could be just a little bit better if it were animated. 



For the folks at JST Entertainment, a movie and multimedia production studio based in Oregon, that statement was true. They used the Batman v Superman footage as a template and then sprinkled in moments from the animated versions of Batman and Superman, as well as quotes from characters like Lex Luthor and Bruce Wayne’s butler Alfred to spice things up a bit. 

Ever since Warner Bros. released this first look at the superhero showdown, tech-savvy fans have been putting their own spins on the trailer. There was that retro trailer featuring footage of Adam West from the original Batman TV series and Christopher Reeve from the older Superman movies, as well as the Honest Trailer, poking fun at the layering of voices, and a LEGO reimagining. All are pretty impressive, considering how much time and effort it takes to put something like that together, and the animated version we see here joins the higher ranks of Internet stardom. 

Following the events of Man of Steel, Batman v Superman: Dawn of Justice will handle the repercussions of Kal-El revealing himself to the world. Some will think him their savior, some a false God and some, like Luthor (played here by Jesse Eisenberg), will see him as a demon. All this chatter, which we hear in the first half of the official trailer, no doubt influence how Wayne see this figure. Seeing him more as a tyrannical space invader than a child of light, he suits up in a Power Suit to face off against the man who seemingly cannot bleed. Watch the original trailer below.


In addition to these two DC deities, Batman v Superman will also feature the likes of Amy Adams, Laurence Fishburne, Diane Lane, Jeremy Irons, Holly Hunter, as well as more heroes from the upcoming DC cinematic universe. Gal Gadot will make her first appearance as Diana Prince/Wonder Woman and Jason Momoa will appear as Arthur Curry/Aquaman, while folks like Ezra Miller (Barry Allen/The Flash) and Ray Fisher (Victor Stone/Cyborg) are rumored for the film. 

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Ginnifer Goodwin Joins Jason Bateman in Disney Animation's 'Zootopia' (Exclusive)

The project is being directed by Byron Howard (Tangled) and Rich Moore (Wreck-it Ralph) and co-directed by Jared Bush. It has a March 4, 2016, release date.

The script, by Bush, is set in a modern mammal metropolis comprised of neighborhoods such as ritzy Sahara Square and frigid Tundratown.

Goodwin will voice a bunny named Judy Hopps (get it?), a by-the-book meter maid with dreams of being a police officer. But being the first bunny on the force is not within reach, so when a mystery is discovered, Hopps forges an unlikely friendship with a fast-talking scam-artist fox (Bateman) to solve it. Together they will upend the predator-prey preconceptions that permeate this metropolis.

Goodwin is already a friend of the Disney kingdom. In addition to Once Upon a Time, which airs on Disney-owned ABC, she has also voiced one of the main characters in Disney's most recent installment of its popular Tinker Bell home entertainment franchise, Tinker Bell and the Legend of the Never Beast.

She is repped by WME, John Carrabino Management and Gendler & Kelly.

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Tuesday, May 5, 2015

Meerkat adds Facebook support, 'mobbing' to iOS app

Mobbing means Meerkat will syndicate popular streams to its own feed to boost viewership and interest in popular streams.



Meerkat has made a significant change to its iOS app that could help it break out from its reliance on Twitter.

The app, which lets users live-stream video to friends, now includes support for Facebook. The feature, which was launched on Saturday, means users can announce their ongoing and upcoming live streams to their Facebook friends. The app also includes support for Address Book integration, allowing users to automatically connect using Meerkat with their contacts.

The update is an important improvement. Meerkat, which has been available for the last few months, previously relied exclusively on Twitter to publish streams to friends. So, when a user would start to live-stream, a link would be automatically sent to the person's Twitter account, allowing their followers to check out the streaming video. While the feature has proven crucial to Meerkat's meteoric rise in popularity, it has also been its Achilles' heel.


In March, Twitter announced the launch of its own live-streaming platform, called Periscope. Like Meerkat, the app automatically shares a live stream link with Twitter followers.

In the month or so that Periscope has been available, it's proven popular, according to Twitter. The company said on Wednesday during an earnings call that the live-streaming service had nabbed 1 million users within its first 10 days of availability.

Though it's unknown how Meerkat was affected by the Twitter launch, Twitter has a vested interest in seeing Periscope succeed and Meerkat fail, which could prove troublesome for the live-streaming startup in the coming months.

With Facebook integration, however, Meerkat is offloading its reliance on Twitter. While the service still publishes live streams to Twitter, having support from Facebook, the world's largest social network, could be the key feature that drives some growth. Better yet, it's unlikely, given that Periscope is owned by Twitter, that it will offer Facebook support anytime soon.

That point of differentiation -- support for Facebook -- is just the latest from Meerkat. Last week, the company announced the launch of its mobile app on the Google Play store. Although the app is still in beta and needs to have some kinks worked out, it brought the app to Android before Twitter delivered its Periscope to the Google platform, giving it a first-mover advantage to nab users and keep them put.

In addition to keeping users on its service, Meerkat is looking to promote some of the more popular live feeds with a new feature it's calling "mobbing." When a stream hits a certain level of viewership, Meerkat will syndicate it to its official feed. The feature appears to be an attempt to surface more feeds to the public to draw in viewership, as well as help to promote popular streams.

Meerkat co-founder and CEO Ben Rubin said that a "mob" develops when users hit a certain level of concurrent viewers.

"For a Meerkat stream to mob it needs to pass 50 concurrent watchers and meet a certain criteria of people's engagement and retention within the stream," Rubin told CNET. "As long as the the stream meets this criteria -- it will keep mobbing."

The updated Meerkat app is available now as a free download in Apple's App Store.


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Two By Two review – plodding Euro animation




Two evolutionary outcasts, a Nestrian and a Grymp, are forced to fend for themselves – and each other – when Noah’s ark departs without them. Teaming up with what appears to be a giant slug (looking like an escapee from some misbegotten Manga), the pair must make their hazardous way to higher ground, encountering various slippy/slidey adventures en route, all the while escaping the attentions of a pair of ravenous griffins. 

Co-produced by Germany, Luxembourg, Belgium and Ireland, this bland animated Euro-pudding has little to offend and even less to excite as it follows its formulaic journey toward a communal group-hug. There are a couple of giggles along the way, but nothing you haven’t seen or heard before in the wholly superior Madagascar and Ice Age series. Local hero Chris Evans provides the voice of sticky parasite StayPut, a role that requires him to shout “woo-hoo” once too often.

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