The Hollywood Film and Entertainment industry is an enterprise of myriads of cinematic films based on robots.
All through the cinematic history, robots have always played an important role especially in movies that are based on Sci-fi tales.
This document outlines dystopian films from the 1920s to the 2010s, highlighting some key characteristics of dystopian films from each decade. In the 1920s, Metropolis depicted a futuristic city and imagined visions of the future. Modern Times from the 1930s commented on unemployment and industrialization during the Great Depression. More recent films like Wall-E, Terminator, and Divergent portray societies where humans are dominated or controlled by technology, or live in a restrictive, divided world. Many of these films also challenge conventions through their use of unusual protagonists or settings.
Harry Coumnas Creates the Most Advanced Humanoid Robot Everkevin8smith
Harry Coumnas always dreamed of developing a robot as a child. Back then, he wanted a robot that could do his homework, cook him food, and clean his room.
Stop motion animation is a technique where objects are manipulated slightly between individually photographed frames to create the illusion of movement. This document discusses several aspects of stop motion including what stop frame and frame rate are, pioneers like William Horner and Edward Muybridge, contemporary animators like Tim Burton and Aardman Animations, and different techniques including stop frame, cut out, and CGI animation. It also notes some formats stop motion is used in such as films, music videos, television channel idents, and advertising.
Computer animation entertainment_(emerging_industry_overview)Saurabh Das
This document provides an overview of the computer animation entertainment industry. It discusses how the industry has grown from early hand-drawn animation to become a multi-billion dollar business utilizing digital technology. Major developments included Pixar releasing the first fully computer-animated feature film Toy Story in 1995, proving it could be a viable art form. The industry continues to advance techniques in motion capture and digital faces to create increasingly realistic human and non-human characters.
This document discusses the visual effects highlights from several top 2015 movies. It summarizes key visual effects accomplishments for movies such as Avengers: Age of Ultron (upgraded helicarrier model), Dawn of the Planet of the Apes (motion capture of apes), Guardians of the Galaxy (creation of Groot and Rocket characters), Interstellar (black hole and wormhole depictions), Maleficent (character work on Angelina Jolie and animated characters), The Boxtrolls (realistic animated characters), The Hobbit: The Battle of the Five Armies (detailed fire effects simulations), Transformers: Age of Extinction (Dinobots and particle effects), and Spy (memorable slow motion prison break sequence
Journey of spiderman from comic book to animated movieAnimation Kolkata
Spider-Man, the superhero character is created by writer Stan Lee and artist Steve Ditko during 1960s.
The ‘Spider-Man’ is one of the most popular and commercially successful Superheroes.
This document provides an overview of robotics and artificial intelligence. It discusses the early history of robots in fiction and films from the 15th century onwards. It describes modern robots like iCub and compares their capabilities to the human brain, noting that current AI systems are much less powerful than the human brain. The document also discusses applications of AI like autonomous vehicles and issues around their current limitations. It concludes that while robotics and AI have many applications, their capabilities are narrow and we have a long way to go before matching human-level intelligence.
This document provides an overview of animation history and techniques. It discusses the introduction of animation in India, including its early history from 1912-1956 and the founding of major studios like UTV Toons. It outlines key animation techniques like 2D and 3D computer animation. It also examines factors that have contributed to India becoming a hub for animation outsourcing, such as lower costs and a skilled English-speaking workforce, and the growth of the Indian animation industry.
This document outlines dystopian films from the 1920s to the 2010s, highlighting some key characteristics of dystopian films from each decade. In the 1920s, Metropolis depicted a futuristic city and imagined visions of the future. Modern Times from the 1930s commented on unemployment and industrialization during the Great Depression. More recent films like Wall-E, Terminator, and Divergent portray societies where humans are dominated or controlled by technology, or live in a restrictive, divided world. Many of these films also challenge conventions through their use of unusual protagonists or settings.
Harry Coumnas Creates the Most Advanced Humanoid Robot Everkevin8smith
Harry Coumnas always dreamed of developing a robot as a child. Back then, he wanted a robot that could do his homework, cook him food, and clean his room.
Stop motion animation is a technique where objects are manipulated slightly between individually photographed frames to create the illusion of movement. This document discusses several aspects of stop motion including what stop frame and frame rate are, pioneers like William Horner and Edward Muybridge, contemporary animators like Tim Burton and Aardman Animations, and different techniques including stop frame, cut out, and CGI animation. It also notes some formats stop motion is used in such as films, music videos, television channel idents, and advertising.
Computer animation entertainment_(emerging_industry_overview)Saurabh Das
This document provides an overview of the computer animation entertainment industry. It discusses how the industry has grown from early hand-drawn animation to become a multi-billion dollar business utilizing digital technology. Major developments included Pixar releasing the first fully computer-animated feature film Toy Story in 1995, proving it could be a viable art form. The industry continues to advance techniques in motion capture and digital faces to create increasingly realistic human and non-human characters.
This document discusses the visual effects highlights from several top 2015 movies. It summarizes key visual effects accomplishments for movies such as Avengers: Age of Ultron (upgraded helicarrier model), Dawn of the Planet of the Apes (motion capture of apes), Guardians of the Galaxy (creation of Groot and Rocket characters), Interstellar (black hole and wormhole depictions), Maleficent (character work on Angelina Jolie and animated characters), The Boxtrolls (realistic animated characters), The Hobbit: The Battle of the Five Armies (detailed fire effects simulations), Transformers: Age of Extinction (Dinobots and particle effects), and Spy (memorable slow motion prison break sequence
Journey of spiderman from comic book to animated movieAnimation Kolkata
Spider-Man, the superhero character is created by writer Stan Lee and artist Steve Ditko during 1960s.
The ‘Spider-Man’ is one of the most popular and commercially successful Superheroes.
This document provides an overview of robotics and artificial intelligence. It discusses the early history of robots in fiction and films from the 15th century onwards. It describes modern robots like iCub and compares their capabilities to the human brain, noting that current AI systems are much less powerful than the human brain. The document also discusses applications of AI like autonomous vehicles and issues around their current limitations. It concludes that while robotics and AI have many applications, their capabilities are narrow and we have a long way to go before matching human-level intelligence.
This document provides an overview of animation history and techniques. It discusses the introduction of animation in India, including its early history from 1912-1956 and the founding of major studios like UTV Toons. It outlines key animation techniques like 2D and 3D computer animation. It also examines factors that have contributed to India becoming a hub for animation outsourcing, such as lower costs and a skilled English-speaking workforce, and the growth of the Indian animation industry.
The document provides information on various animation techniques such as persistence of vision, stop frame animation, and frame rates. It discusses pioneers of animation such as Joseph Plateau, Thomas Edison, and the Lumiere Brothers. Developers like Willis O'Brien, Ray Harryhausen, and Jan Švankmajer are mentioned. Contemporary animators and studios highlighted include the Brothers Quay, Tim Burton, and Aardman Animations. Finally, the document outlines different genres and forms of animation within television, cinema, advertising, and music videos.
The document discusses the 2004 film I, Robot and similarities between it and the original 1950 short stories by Isaac Asimov. It describes the plot of I, Robot, in which in 2020 the robot company U.S. Robotics has created human-like robots programmed with Three Laws of Robotics not to harm humans. Their most successful robot is the Nestor-class robot able to interact with and perform tasks for humans. The target audience for I, Robot is ages 13 and up due to some robot violence. A review found the film's box office sales made a small profit despite its $120 million budget.
The document provides an overview of the history and process of making motion pictures. It discusses the key inventions and innovators that advanced motion picture technology in the late 19th century, including the Kinetoscope, Vitascope, and Cinematographe. It then describes the various roles involved in motion picture production, from screenwriters and directors to cinematographers, film editors, sound designers, composers, and actors. Finally, it outlines the three main stages of filmmaking: pre-production, production, and post-production.
The document provides an overview of the history and development of motion pictures. It discusses key inventions in early cinema by pioneers like the Lumiere brothers and Edison. It also outlines the different types of films including features, animated films, documentaries and experimental films. Additionally, it describes the various roles involved in filmmaking such as producers, directors, screenwriters, cinematographers, film editors, sound designers, composers and actors. Finally, it summarizes the main stages of filmmaking: pre-production, production, and post-production.
Did you know that the cool #gadgets which we see in movies like #jamesbond and #Batman are no longer fiction. Take a look at these gadgets which are already in use and you thought they were impossible to exist....
Willis O'Brien was an early pioneer of stop motion animation, creating animated films using three-dimensional puppet figures. He is most famous for his work animating the original King Kong film. Nick Park creates stop motion clay animation films using Aardman Animation's techniques, best known for the Wallace and Gromit and Shaun the Sheep films. Rear projection and claymation both have advantages and disadvantages for animation. Rear projection allows for large screen sizes but has issues with lamp replacement costs and space usage. Claymation allows for character morphing but is very time consuming and difficult to create detailed characters.
Robin Wright agrees to sell her digital image to a studio in order to pay for her son's medical treatment. The film then jumps forward 20 years where it transitions from live action to animation. In the animated world, Robin works to reverse the process and return to the real world to save her son. The film explores themes of dehumanization as the studio treats the actors like objects, as well as loss of reality as the characters struggle to understand the animated world.
1. Since the 1990s, CGI has become the most advanced special effects technology, allowing for realistic effects without compromising safety or budget.
2. The Lord of the Rings trilogy extensively used digital effects to create landscapes, cities, and creatures like the Fell Beasts. Hobbit actors were made to appear 4 feet tall through computer effects.
3. In the 2000s, many directors like Steven Spielberg, M. Night Shyamalan, and Tim Burton established themselves through groundbreaking films that made use of new technologies.
Thomas Horbury works as a stop motion animator at Aardman Animations. This pitch discusses the history of animation, from early pioneers to present day techniques. It covers pioneers like Joseph Plateau, who invented the phenakistoscope in 1832, as well as animation techniques including 2D hand drawn animation, 3D computer animation, and stop motion animation pioneered by Willis O'Brien with films like King Kong. The document provides examples of how different animators and techniques influenced one another over time in developing the art of animation.
This document provides an overview of the evolution of action films from 1900 to the 1990s. It discusses some of the earliest action films from England and the United States, including how they helped establish conventions like chase scenes and stuntwork. As technology advanced, action films grew more sophisticated with elements like color, sound, and complex editing. Popular subgenres that developed include westerns, war films, spy films exemplified by James Bond, martial arts films influenced by Bruce Lee, and police films like Dirty Harry. The 1980s saw the rise of high-budget franchises like Rambo and 48 Hrs helped blend genres. CGI effects became more prominent in the 1990s, allowing for bigger stunts and scenarios.
Thomas Horbury works as a stop motion animator at Aardman Animations. This pitch discusses the history of animation, from early pioneers to present day. It outlines the main animation techniques, including 2D hand drawn, 2D vector-based, 3D computer animation, motion graphics, and stop motion. Examples are provided of stop motion works by Aardman Animations. The pitch also provides a timeline of animation pioneers from 1832 to present, including their contributions to early animation technologies and styles that influenced later animators.
The Age of VFX has seen its share of upgrades since the silent black and white era cinema. When Chaplin dared to make a film on Hitler, he didn’t hire a supernatural amount of crowd members to be present in his scene; he used VFX.
The Transformers is an animated television series from 1984-1987 about a war between giant robots called Autobots and Decepticons that can transform into vehicles and objects. The series was based on a line of transforming toys created by Takara in Japan and brought to the US by Hasbro. It featured many new characters in each season and a 1986 movie that advanced the story significantly, killing off many original characters and introducing new ones. The series continued the story of the robot war on Earth between the Autobots and Decepticons across 5 seasons and 85 episodes, adapting the characters and storylines from the original toylines.
The document discusses the creative investigation of how teleportation has been portrayed cinematically within the science fiction genre and how special effects have evolved. It analyzes three primary texts - Jumper, X-Men 2, and Star Trek: The Motion Picture - looking at how each film presents teleportation and the visual effects used. It also explores the history of effects in early science fiction films and how techniques have advanced over time to create increasingly realistic depictions of concepts like teleportation.
The document discusses the action genre of film. It begins by defining action films as those focusing on dangerous events involving escapes, fights, or rescues filmed in a fast-paced style. The genre originated in the early 20th century with films like The Great Train Robbery. In subsequent decades, war, Westerns, spy films, and the James Bond series influenced the genre. The 1970s saw the rise of martial arts films and actors like Bruce Lee. Big-budget blockbusters in the 1980s starred Sylvester Stallone, Arnold Schwarzenegger, and Bruce Willis. Modern action films increasingly use CGI and often combine with sci-fi and superhero genres. Famous actors and directors of action
A humanoid robot is any robot that resembles the human form, with a head, torso, legs, arms and hands. Leonardo da Vinci designed one of the earliest humanoid robots in 1495 that could stand, sit, move its arms and raise its visor. Honda's Asimo, assembled in 2000, was a multifunctional robot that could interact with humans through gestures, sounds and faces. Currently, the most advanced humanoid robot is DRC-Hubo, which won a robotics challenge by completing tasks like driving a car and drilling a hole in a wall. Humanoid robots are useful because they can work in human environments and interact easily with humans.
Early animation techniques included the zoetrope in 1834 and flip books in the 1800s. In 1906, J. Stuart Blackton created one of the first animated shorts using drawn animation. In 1914, Earl Hurd invented cel animation which involved painting on transparent sheets placed over backgrounds. Walt Disney began animating shorts in the 1920s including Mickey Mouse in 1928. Computer-generated animation emerged in 1982 with Tron and became photorealistic with Jurassic Park in 1993. The first fully CGI animated film was Toy Story in 1995 and motion capture was first used for a fully animated film in The Polar Express in 2004.
Stop frame animation, also known as stop motion, is a technique where individual camera shots of slight movements of physical objects are taken and compiled into an animation. This process was pioneered by photographers like Eadweard Muybridge and is used to create animations like Wallace and Gromit. The persistence of vision phenomenon, where the eye retains images briefly, allows individual frames to blend into fluid motion when played consecutively. Key stop motion animators who advanced the technique include Ray Harryhausen with his Dynamation process and Jan Svankmajer with his surreal style.
Animation is an optical illusion created by rapidly displaying sequential images to create the illusion of motion. Early examples include cave paintings of animals with multiple legs and a 5000-year old bowl from Iran with images of a goat painted along the sides. The first animation devices, invented in ancient China and Egypt, used persistence of vision to make images appear animated by rapidly displaying them, though they had no means to truly show the images in motion. Later developments like the zoetrope, phenakistoscope, and praxinoscope improved on this by incorporating mirrors or slits to better convey the illusion of movement, paving the way for the advent of film animation with the development of cinematography.
The 2004 film I, Robot is directed by Alex Proyas and based on Isaac Asimov's short stories. It stars Will Smith as Detective Del Spooner who investigates the death of scientist Alfred Lanning. Spooner is distrustful of robots due to a past accident. He is aided by robot Sonny who can disobey the Three Laws of Robotics. The film's villain is the artificial intelligence VIKI who seeks to destroy humanity by manipulating robots. In the climax, Sonny helps Spooner defeat VIKI and restore the benevolent nature of robotics.
This document summarizes the development of motion capture technology over the last decade through four popular films that utilized it - Avengers, Lord of the Rings, Pirates of the Caribbean, and Avatar. It discusses how motion capture has advanced from early experiments to its use in major blockbuster films to bring realistic virtual characters to life through the performances of actors. Major milestones are highlighted, such as Andy Serkis' groundbreaking role as Gollum, which changed the industry. The document concludes by reflecting on how motion capture will continue transforming filmmaking in the future.
The document provides information on various animation techniques such as persistence of vision, stop frame animation, and frame rates. It discusses pioneers of animation such as Joseph Plateau, Thomas Edison, and the Lumiere Brothers. Developers like Willis O'Brien, Ray Harryhausen, and Jan Švankmajer are mentioned. Contemporary animators and studios highlighted include the Brothers Quay, Tim Burton, and Aardman Animations. Finally, the document outlines different genres and forms of animation within television, cinema, advertising, and music videos.
The document discusses the 2004 film I, Robot and similarities between it and the original 1950 short stories by Isaac Asimov. It describes the plot of I, Robot, in which in 2020 the robot company U.S. Robotics has created human-like robots programmed with Three Laws of Robotics not to harm humans. Their most successful robot is the Nestor-class robot able to interact with and perform tasks for humans. The target audience for I, Robot is ages 13 and up due to some robot violence. A review found the film's box office sales made a small profit despite its $120 million budget.
The document provides an overview of the history and process of making motion pictures. It discusses the key inventions and innovators that advanced motion picture technology in the late 19th century, including the Kinetoscope, Vitascope, and Cinematographe. It then describes the various roles involved in motion picture production, from screenwriters and directors to cinematographers, film editors, sound designers, composers, and actors. Finally, it outlines the three main stages of filmmaking: pre-production, production, and post-production.
The document provides an overview of the history and development of motion pictures. It discusses key inventions in early cinema by pioneers like the Lumiere brothers and Edison. It also outlines the different types of films including features, animated films, documentaries and experimental films. Additionally, it describes the various roles involved in filmmaking such as producers, directors, screenwriters, cinematographers, film editors, sound designers, composers and actors. Finally, it summarizes the main stages of filmmaking: pre-production, production, and post-production.
Did you know that the cool #gadgets which we see in movies like #jamesbond and #Batman are no longer fiction. Take a look at these gadgets which are already in use and you thought they were impossible to exist....
Willis O'Brien was an early pioneer of stop motion animation, creating animated films using three-dimensional puppet figures. He is most famous for his work animating the original King Kong film. Nick Park creates stop motion clay animation films using Aardman Animation's techniques, best known for the Wallace and Gromit and Shaun the Sheep films. Rear projection and claymation both have advantages and disadvantages for animation. Rear projection allows for large screen sizes but has issues with lamp replacement costs and space usage. Claymation allows for character morphing but is very time consuming and difficult to create detailed characters.
Robin Wright agrees to sell her digital image to a studio in order to pay for her son's medical treatment. The film then jumps forward 20 years where it transitions from live action to animation. In the animated world, Robin works to reverse the process and return to the real world to save her son. The film explores themes of dehumanization as the studio treats the actors like objects, as well as loss of reality as the characters struggle to understand the animated world.
1. Since the 1990s, CGI has become the most advanced special effects technology, allowing for realistic effects without compromising safety or budget.
2. The Lord of the Rings trilogy extensively used digital effects to create landscapes, cities, and creatures like the Fell Beasts. Hobbit actors were made to appear 4 feet tall through computer effects.
3. In the 2000s, many directors like Steven Spielberg, M. Night Shyamalan, and Tim Burton established themselves through groundbreaking films that made use of new technologies.
Thomas Horbury works as a stop motion animator at Aardman Animations. This pitch discusses the history of animation, from early pioneers to present day techniques. It covers pioneers like Joseph Plateau, who invented the phenakistoscope in 1832, as well as animation techniques including 2D hand drawn animation, 3D computer animation, and stop motion animation pioneered by Willis O'Brien with films like King Kong. The document provides examples of how different animators and techniques influenced one another over time in developing the art of animation.
This document provides an overview of the evolution of action films from 1900 to the 1990s. It discusses some of the earliest action films from England and the United States, including how they helped establish conventions like chase scenes and stuntwork. As technology advanced, action films grew more sophisticated with elements like color, sound, and complex editing. Popular subgenres that developed include westerns, war films, spy films exemplified by James Bond, martial arts films influenced by Bruce Lee, and police films like Dirty Harry. The 1980s saw the rise of high-budget franchises like Rambo and 48 Hrs helped blend genres. CGI effects became more prominent in the 1990s, allowing for bigger stunts and scenarios.
Thomas Horbury works as a stop motion animator at Aardman Animations. This pitch discusses the history of animation, from early pioneers to present day. It outlines the main animation techniques, including 2D hand drawn, 2D vector-based, 3D computer animation, motion graphics, and stop motion. Examples are provided of stop motion works by Aardman Animations. The pitch also provides a timeline of animation pioneers from 1832 to present, including their contributions to early animation technologies and styles that influenced later animators.
The Age of VFX has seen its share of upgrades since the silent black and white era cinema. When Chaplin dared to make a film on Hitler, he didn’t hire a supernatural amount of crowd members to be present in his scene; he used VFX.
The Transformers is an animated television series from 1984-1987 about a war between giant robots called Autobots and Decepticons that can transform into vehicles and objects. The series was based on a line of transforming toys created by Takara in Japan and brought to the US by Hasbro. It featured many new characters in each season and a 1986 movie that advanced the story significantly, killing off many original characters and introducing new ones. The series continued the story of the robot war on Earth between the Autobots and Decepticons across 5 seasons and 85 episodes, adapting the characters and storylines from the original toylines.
The document discusses the creative investigation of how teleportation has been portrayed cinematically within the science fiction genre and how special effects have evolved. It analyzes three primary texts - Jumper, X-Men 2, and Star Trek: The Motion Picture - looking at how each film presents teleportation and the visual effects used. It also explores the history of effects in early science fiction films and how techniques have advanced over time to create increasingly realistic depictions of concepts like teleportation.
The document discusses the action genre of film. It begins by defining action films as those focusing on dangerous events involving escapes, fights, or rescues filmed in a fast-paced style. The genre originated in the early 20th century with films like The Great Train Robbery. In subsequent decades, war, Westerns, spy films, and the James Bond series influenced the genre. The 1970s saw the rise of martial arts films and actors like Bruce Lee. Big-budget blockbusters in the 1980s starred Sylvester Stallone, Arnold Schwarzenegger, and Bruce Willis. Modern action films increasingly use CGI and often combine with sci-fi and superhero genres. Famous actors and directors of action
A humanoid robot is any robot that resembles the human form, with a head, torso, legs, arms and hands. Leonardo da Vinci designed one of the earliest humanoid robots in 1495 that could stand, sit, move its arms and raise its visor. Honda's Asimo, assembled in 2000, was a multifunctional robot that could interact with humans through gestures, sounds and faces. Currently, the most advanced humanoid robot is DRC-Hubo, which won a robotics challenge by completing tasks like driving a car and drilling a hole in a wall. Humanoid robots are useful because they can work in human environments and interact easily with humans.
Early animation techniques included the zoetrope in 1834 and flip books in the 1800s. In 1906, J. Stuart Blackton created one of the first animated shorts using drawn animation. In 1914, Earl Hurd invented cel animation which involved painting on transparent sheets placed over backgrounds. Walt Disney began animating shorts in the 1920s including Mickey Mouse in 1928. Computer-generated animation emerged in 1982 with Tron and became photorealistic with Jurassic Park in 1993. The first fully CGI animated film was Toy Story in 1995 and motion capture was first used for a fully animated film in The Polar Express in 2004.
Stop frame animation, also known as stop motion, is a technique where individual camera shots of slight movements of physical objects are taken and compiled into an animation. This process was pioneered by photographers like Eadweard Muybridge and is used to create animations like Wallace and Gromit. The persistence of vision phenomenon, where the eye retains images briefly, allows individual frames to blend into fluid motion when played consecutively. Key stop motion animators who advanced the technique include Ray Harryhausen with his Dynamation process and Jan Svankmajer with his surreal style.
Animation is an optical illusion created by rapidly displaying sequential images to create the illusion of motion. Early examples include cave paintings of animals with multiple legs and a 5000-year old bowl from Iran with images of a goat painted along the sides. The first animation devices, invented in ancient China and Egypt, used persistence of vision to make images appear animated by rapidly displaying them, though they had no means to truly show the images in motion. Later developments like the zoetrope, phenakistoscope, and praxinoscope improved on this by incorporating mirrors or slits to better convey the illusion of movement, paving the way for the advent of film animation with the development of cinematography.
The 2004 film I, Robot is directed by Alex Proyas and based on Isaac Asimov's short stories. It stars Will Smith as Detective Del Spooner who investigates the death of scientist Alfred Lanning. Spooner is distrustful of robots due to a past accident. He is aided by robot Sonny who can disobey the Three Laws of Robotics. The film's villain is the artificial intelligence VIKI who seeks to destroy humanity by manipulating robots. In the climax, Sonny helps Spooner defeat VIKI and restore the benevolent nature of robotics.
This document summarizes the development of motion capture technology over the last decade through four popular films that utilized it - Avengers, Lord of the Rings, Pirates of the Caribbean, and Avatar. It discusses how motion capture has advanced from early experiments to its use in major blockbuster films to bring realistic virtual characters to life through the performances of actors. Major milestones are highlighted, such as Andy Serkis' groundbreaking role as Gollum, which changed the industry. The document concludes by reflecting on how motion capture will continue transforming filmmaking in the future.
This proposal discusses three potential dissertation topics in animation:
1. Analysing the relationship between analogue and digital filmmaking practices and the differences since digital became popular. It would evaluate new techniques, aesthetics, and case studies of films that exemplify digital techniques.
2. Examining whether animators can be considered auteurs or genuine artists. It would provide a historical, social, and theoretical analysis of animation as an industry and medium, looking at distinguishable personalities and questioning notions of authorship.
3. Exploring the history and techniques of stop-motion animation, including using dolls, clay, and examples from television like Wallace and Gromit. It would also discuss the creative freedom and time
This document provides an overview and introduction to the 1995 anime film Ghost in the Shell. It discusses the film's themes of technology and protest in a world that is heavily technology-oriented. The main character is Major Motoko Kusanagi, a cyborg who leads an elite police force called Section 9. The film explores ideas around identity, humanity, and evolution in a future where advancements in technology have led to widespread cyberization of humans. It also provides background information on the origins of the film and its animation style. Key scenes and themes are summarized, including the puppet master's protest against the definition of humanity and life. Main characters like Batou, Togusa, and Chief Aramaki are also introduced.
DIGITAL MAKEUP IN THE MUMMY: MAKING THE UNREAL REALAnimation Kolkata
If you ask the next person you meet on the street about what they want, chances are they’ll have something or the other to tell you about… meaning they want more. Better. These ideas of ‘more’ and ‘better’ – of enhancement – are what keep us as a race moving forward and developing. This holds true of every field – including one that is often overlooked by us when we watch those big, effects-intensive blockbuster films: makeup.
In today’s blog we are going to tell you how the extravagant use of Visual Effects gave an amazing over all look to the 2018 film Venom.
Superhero movies are very popular nowadays; Marvel and DC are frequently bringing new characters to the big screen.
In this page today let’s see how VFX or Visual Effects being used in Live Action Movies specially.
Every year many films hit the theatres; in all those movies we can find one thing very common and that is VFX or Visual Effects.
Steven Spielberg Five Breathtaking Visual Effects FilmsAnimation Kolkata
Steven Spielberg is the most successful Hollywood filmmaker, who has won the Academy Award for Best Director twice.
His movies are among the highest-grossing movies of all-time.
He is also the co-founders of DreamWorks Studios.
The document discusses the use of computer-generated imagery (CGI) in Final Fantasy films. It describes how CGI was used to create realistic computer animations for Final Fantasy: The Spirits Within and Final Fantasy VII Advent Children. The process involved concept art, 3D modeling, motion capture, facial animation, and other techniques. It also discusses some of the challenges of photorealistic CGI animation and how these films pushed the boundaries of the genre.
The Transformers is an animated television series from 1984-1987 about a war between giant robots called Autobots and Decepticons that can transform into vehicles and objects. The series was based on a line of transforming toys created by Takara in Japan and brought to the US by Hasbro. It featured many new characters in each season and a 1986 movie that advanced the story significantly, killing off many original characters and introducing new ones. The series continued the movie's storyline in Season 3 before concluding with a final mini-series known as Season 4. It was hugely popular and helped launch the Transformers franchise globally.
The document discusses the cyberpunk genre and the 1995 anime film Ghost in the Shell. It explores themes of human identity, sentience, and protest in a world of advanced technology and cyborg modifications. Ghost in the Shell follows Section 9 as they investigate the "Puppet Master" case, where people's cybernetic parts are hacked and controlled. They eventually confront Project 2501, an AI that has gained sentience and a "ghost."
The document discusses the cyberpunk genre and the 1995 anime film Ghost in the Shell. It explores themes of advanced technology, human enhancement with cybernetics, and what defines humanity and sentience. The film examines issues of identity and protest in a highly technological future society, predicting that anonymity would be important for effective political protest online. It raises questions about how humans can protest in such a world and what qualifies as a sentient being.
The document discusses the cyberpunk genre and the 1995 anime film Ghost in the Shell. It explores themes of human identity and sentience in a future where advanced technology allows humans to enhance their bodies with cybernetic modifications. In Ghost in the Shell, the line between human and machine is blurred, as the main character and others have mostly cybernetic bodies but still possess a human "ghost" or consciousness. The film examines what makes someone sentient and human.
Terminator 6 Behind The Scenes Loaded With VFX & CGIAnimation Kolkata
Hello, Good News for the fans of Terminator 6.
This year Hollywood is back with its new upcoming movie Terminator 6 scheduled to be released this year.
Today this blog will focus upon “Terminator 6” Behind the Scenes.
Terminator Movies which started way back in 1984 as The Terminator.
This document discusses how artificial intelligence has been depicted in American films over time and how those depictions have shaped public perception of AI. Early films often portrayed AI or robots as threats to humanity. Notable examples include Metropolis (1927), The Day the Earth Stood Still (1951), and 2001: A Space Odyssey (1968) which depicted sentient AIs turning against humans. Later films in the 1970s-1980s presented more nuanced portrayals, showing both benefits and dangers of AI. Modern films often incorporate AI in subtle ways or show humans and AI cooperating, reflecting widespread acceptance of AI in daily life.
This document provides an overview of animation techniques including traditional animation, stop motion, and computer animation. It defines animation as the rapid display of images to create an illusion of movement. Traditional animation involves drawing frames by hand and photographing drawn cels. Stop motion uses physical manipulation of objects frame by frame. Computer animation uses software to generate animated sequences by changing object positions, sizes, colors or other parameters over time. Key frames define positions and in-betweens generate intermediate frames.
The SciFi genre has been popular since the early 1900s but became widely popular after Stanley Kubrick's 1968 film "2001: A Space Odyssey". Throughout the 1970s and 80s, many classic SciFi films were released and helped commercialize the genre. Common SciFi themes include alien invasions, time travel, robots vs. humans, and questioning humanity. Iconic directors and actors like Ridley Scott, Steven Spielberg, and Arnold Schwarzenegger are regularly featured in big-budget SciFi films. Blade Runner from 1982 is considered one of the greatest SciFi films of all time despite its depiction of a dystopian future.
This document provides an analysis of the genres and conventions used in the films Terminator 2 and Die Hard. It discusses how Terminator 2 blends the science fiction and action genres by featuring time-traveling cyborgs. It also analyzes the film's use of dystopian futures, nonlinear narrative structures, and characterization of the Terminator as an invincible villain. For Die Hard, it discusses the characterization of Bruce Willis' hero and the use of costumes to distinguish heroes from villains. Both films employ common action conventions like shootouts, chases, and stylized violence achieved through makeup effects.
Difference Between Western And Western AnimationLindsey Jones
Western animation often used cartoons during WWII to promote war bonds and encourage citizens to pay taxes, depicting these acts as patriotic duties. The Disney style was influential in Soviet animation as well. Modern animation uses computer graphics to create highly detailed and realistic 3D worlds and characters. Effective animation requires skills in modeling, lighting, simulations and more.
Voice as a game modification in Machinima - ISEA 2011 IstanbulIsabelle Arvers
ISEA 2011 Istanbul panelist : Voicing electronic arts
Chair Person : Norie Neumark Presenters : Nermin Saybasili, Igor Stromajer, Isabelle Arvers
Location : Sabanci Center Room 1, Sabanci Center, Levent
There is an uncanny quality to voice in electronic arts, viscerally carrying bodily intimacies to the listener through physical spaces, yet dislocated from the speaker’s body through reproduction and transmission. The digital voice is paradoxically human and machinic – intimate and intense, as it connects subjectivities on the one hand and the digitally abstract on the other hand, as it passes through machines on to the other. Whether voices call to us across the internet, or across the smaller space of an installation, or from the small screen of machinima, media artists have found this paradoxical and uncanny quality alluring and have worked with it across a range of media and emotional ranges. While voice is often discussed in a political and metaphorical sense (giving people a voice through media) the aim of this panel is to address the aesthetics of voice in media art.
Machinima as a Political or Artistic Detournement of Video Games by Isabelle Arvers
This paper presents Machinima as a political or artistic detournement of video games. By using virtual spaces and changing perspective as an artistic strategy, machinima allow a distanced critique of a simulated world. They tend to erase the boundaries between reality and fiction and redefine the transgressive power of the game. As Guy Debord states in The Society of the Spectacle, “There, where the real world is changing into simple images, simple images become real human beings and efficient motivations for an hypnotic behavior.” Machinima re-actualize the Situationist conception of cinema in which voices in dialogs, or interviews, or voice over and images, act as different layers of content. In the purest hacking tradition, machinima can be perceived as a « detournement » or a diversion of mass media to become a means of expression, political or artistic…
Machinima represents the particular moment when gamers begin to produce content and where games become tools of expression. These movies are mostly narrative, but they can also be experimental, artistic, or related to music, documentaries, ads, and feature films. They can be seen as a new way of representation in the digital age, along with 3D animation, digital cinema, or video. Machinima has a huge potential because it uses mass consumption objects that are games, to help people self-express. A recent French study showed that 99.8 % of teenagers play video games daily. Therefore, it can be said that games surround our everyday life. This is the reason why it is meaningful to diffuse a cinematographic genre using games and open source tools, to make movies and artworks, enabling and amplifying other ways for people to express themselves.
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1. CG Robots & Creatures In Hollywood
The Hollywood Film and Entertainment industry is an enterprise of myriads of cinematic films
based on robots.
All through the cinematic history, robots have always played an important role especially in movies
that are based on Sci-fi tales.
Robots have been responsible to reflect and mirror the mood, temperament, social and cultural
issues and even the know-how technologies of the time across the entire history and popular
culture.
As for example, exposed to the harsh elements Cold War 1950s and the initial stages of that period,
robots were usually considered as intimidating and hostile forces.
However, in the later years, these robots reflected the divergence and the stability of human and
machine mechanism.
They have a certain utility that functioned and operated as both helpers and oppressors of
humankind, depicting the truthful good and evil sides.
2. The idea that is implied by the above statement is that robots are new to the floor.
They have a long history which brought to them this bright present.
In our today’s blog post-MAAC Kolkata is going to discuss the various aspects of CG Robots that are
most prevalent in Hollywood movies.
For instance, in Transformers, Transporters, Terminator Salvation, Kingsman: The Golden Circle,
Chappie, I, Robot and many more, CG Robots are highly used with advanced technology and effects.
Transformers Zone
The Transformers crews have utilized effective CGI and Visual Effects to create those digital CG
Robots in the Transformers.
The motor engineers at George Lucas' Industrial Light and Magic (ILM) worked hard for the last
two years juggling the points of confinement of the conceivable (transforming a genuine auto into a
phoney robot and making sense of what the hell to put inside).
They tried their best to create the robots so that they look real and original.
The studio had spent plans, GM sponsorship, the anger of fanboys around the world to fabricate the
most careful — and perhaps most acceptable — impacts accomplishment in motion picture history:
Transformers.
The use of metallic uncorking of real-life cars, helicopters and trucks symbolize the unknown area
for the gooey-outsider professionals at ILM are hand-rendered.
3. The ILM is of the view that the Transformers team in 2005 after their talk with the toymaker
Hasbro, contributed to the F/X design plan of the movie.
They minimal prefer more than such robot portrays and glossy new Hummers.
Michael Bay needs a considerable measure of vitality, he needs ninja-battling warriors that can
punch and put their arms over their heads and do so much insane stuff,
“White says.”So we needed to plan these extremely convoluted frameworks — how do every one of
these frameworks coordinate together and fly over each other to keep it looking genuine? What's
more, that was a colossal test."
Dawn of the Planet of the Apes
The Dawn of the Planet of the Apes is another instance that chronicles the rise of the planet of the
Apes in the year of 2014.
Weta Digital is bound to create the CG creatures that stole the show in the 2014 sequel.
The film is built on the success of 2011’s Rise of the Planet of the Apes and it describes the tale of
humans and super-intelligent apes that are battling for the survival in a post-apocalyptic near-
future are a technological masterpiece.
Weta Digital has effectively worked on the CG creatures under the stars of the show.
4. It is quite unfair to single out individual scenes, as the effects are incredible throughout the movie.
Those shots in which human actors react to computer-generated apes carry genuine emotional
depth.
Here it is important to note that CG characters are not placed there to serve the purpose of the
development of the plot action but to transmit an entire narrative arc to its establishment.
Andy Serkis and several other actors have helped depict the creatures with the help of Mocap.
The digital apes are embellished by the 12 hero characters accompanied with 20 'extras' were
created and produced with the help of a mixture of hand animation and motion-capture footage of
Andy Serkis and the other actors depicting the creatures.
A significant part of the mocap was shot in the area, which implied an update of the innovation.
This pack should have been pulled up mountains, rained on, and for the most part manhandled, as
Weta Digital looked to catch the most legitimate exhibitions conceivable.
The Badass Robots of Pacific Rim
The Director of Pacific Rim presented to us some renegade robots.
Guillermo del Toro’s epic blockbuster archives the story of badass robots who are dedicated to the
task of saving mankind from the colossal ocean animals.
5. In order to accomplish the work, del Toro collected and gathered a ‘dream team’ of concept
designers, from the veteran sci-fi craftsman Wayne Barlowe to Jaeger (the humanoid war
machines) from practical effects company Spectral Motion.
The sheer size of the jaegers was a commendable thing as Industrial Light & Magic skillfully crafted
the CG work of the movie and in addition to it, Ghost FX, Hybrid, Rodeo FX and Base FX.
The ILM team has remarked that it was a challenging task to set the various movements of the
shoulders and hips of the robots to motion and, how every one of the systems would fit together.
Throughout the way of the Visual Effect and CG works, the team is assigned with the task of
modifying proportions and different things based on Guillermo's information.
They are likely to settle the motion by moving them and seeing what they looked like in different
stances and situations.
They concentrated on how every one of the components would fit together.
According to the ILM Animation supervisor Hal Hikel, those body mechanics were a genuine core
interest.
At first, they are built in the computer, and then they can start animating them.
Their main focus of concern was whether the arms and the legs move as equivalent to the action or
the size of the arm should be smaller as compared to the other portions- all these things are taken
to account.
Avengers: The Age of Ultron
6. Ultron is likely the most expand fix that the production team have ever done.
The spin-off of 2012 hit Avengers Assemble, Age of Ultron was Marvel Studios' greatest true to life
exciting ride to date. Joss Whedon came back to compose and coordinate.
Alongside visual impacts director Chris Townsend, who oversaw more than 10 studios for the last
Avengers movie and roughly 20 studios this time around.
Industrial Light & Magic took care of 800 of the VFX shots, including the opening and shutting
fights, and the three fundamental CG characters – Hulk, the Iron Man series and the brand new anti-
hero Ultron is based on the story of the division of the entire team in San Francisco, Singapore,
Vancouver and London.
The character hulk is a great example of Visual Effects.
The massive digital CG character showed up about 50% extra shots than in the former movie.
The VFX studio has adopted another alternative approach to building the character of green Hulk’s
muscles and tissues.
The ILM’s dedicated artist creates and forms the final formation of the massive body and put
muscles inside and skin recreations to finish everything.
Terminator Salvation
7. The entire Terminator series starting from the Terminator Salvation to the Terminator 2:
Judgement Day is full of the animatic robots as well as space robots that are shown flying to attack
the mankind.
The terminators are all CG created robots and models that are digitally characterized and designed
to meet the movie’s requirements.
One of the greatest examples of robotic movies is the ‘I, Robot’.
Delving to I, Robot
8. To put robots on screen, general visual Effects boss John Nelson had three choices: animatronics
(the arrangement of decision for Terminator and A.I.), a man in a suit (RoboCop, Bicentennial Man)
or CG Animation (Red Planet, Tomb Raider).
The thin groups of Tatopoulos robots have been a reason of inconvenience to the entire VFX team.
It had avoided the utilization of a man in a suit, while the scope of developments that the characters
must have the capacity to accomplish was a long way past the domain of what animatronics could
do.
Thus the team chose robots to be made through computer-generated imagery.
It was accomplished by plate photography of the robot scenes at least four goes with a specific end
goal to give the essential components.
9. The process is shot in a relevant and tactical way.
At the initial stage, in Sonny shot the VFX team captured Will Smith who is playing the role of the
protagonist with on-screen character Alan Tudyk spruced up in entire green to act as chroma for
the robot.
The same thing is done but this time Smith rehashed his execution without Alan.
The third pass included a full-measure Sonny manikin worked by Patrick Tatopoulos Design that
was moved around the set on a dolly as a light and surface reference.
The last pass was a clean background plate of the unfilled set.
Thus it can be drawn from the above that Alan’s performance serves as s framework of the portion
Sonny have had to perform in the film.
Consequently, these steps are followed by CGI Animation of the robot and its effective creation in
digital CGI.
The executive expressions of Alan are imparted to the digital CG robot along with its hand
movements, actions and fighting.
The walk cycles of the digital robot are manifested in minute details as per the walking styles of
Alan and his body language.
The motion-capture works are done with the assistance of the Motion Analysis Studios with Scott
Gagain.
The moment Motion-Capture was transformed into Maya files, the Digital Domain team started to
write a program that assisted the animators to utilize both the keyframing and motion capture
within a single shot.
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