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The fourth installment in the beloved “Toy Story” franchise achieves a level of detail and realism unseen in any Disney/Pixar project yet. See how it all came to life at the legendary Pixar studios, step by step: beginning with the story and artwork stage, onto 3D computer modeling, shading and surfacing, layout, voice acting, character animation, simulation, lighting, effects, scoring, sound mixing, and the final render.
Pixar has been at the forefront of 3D animation innovations for nearly 30 years, developing new methods and technologies with nearly every new project. With their newest feature film “Elemental” hitting theaters, we take a look back at the ways Disney/Pixar has evolved over time. The studio has made advancements in how characters move, going from robotic motion in 1995’s “Toy Story” to characters who can intricately play music in “Coco” and “Soul.” In the early Pixar days, human characters were hidden in the shadows, but breakthroughs in movies like “The Incredibles” and “Brave” paved the way for more believable human characters. And clothes, which were once stiff, took center stage in “Onward” thanks to innovations from movies like “Monsters Inc.”
Aardman Animations is a legendary animation studio that has created classics like ‘Wallace & Gromit’ and ‘Chicken Run.’ See how they put together their latest move, ‘Early Man.’
When the Lord created the sky, the earth, and the water, he was content. But soon, he began to feel lonely. He brooded for a moment, and then he began to knead a bit of clay. He opened the oven and started to bake a man…
The Green Animation Guide was released at this year’s MIFA and is the first international reference guide for sustainable practices in animation. It provides peer-driven actionable recommendations tailored to the specific needs of studios, producers and artists, enabling them to implement meaningful changes adapted to their realities. The guide is a collaborative effort led by Ecoprod, Green Film and Cine Regio with the support of several regional film funds.
How can we adapt an animated film project for the game industry? Roman Vizvary presents the work principles of the company Butterfly Effect, which is involved in the field of developing games and applications on assigned topics. The writers of the successful TV series and TV special “MIMI AND LISA” compare the approaches used for animated works and for games.
Film to think about borders and freedom. Children of Calini Primary School taking inspiration from a Piet Mondrian painting invented the story.
Forest 500 is the world’s first ratings agency for rainforests. It tracks how key companies, investors and governments are performing in the race to remove deforestation from global supply chains. ‘Forest 500’ was produced for the COP 21 Climate Conference in Paris, 2015. It is the third film Moth has made for the Global Canopy Programme, a tropical forest think tank working to demonstrate the scientific, political and business case for safeguarding tropical forests as natural capital.
Q&A with Gints Zilbalodis, director of FLOW, at Toronto International Film Festival.
Festival Q&A with the Best Animated Film Award Nominee THE WINTER (Australia) at Arpa International Film Festival. Filmmaker: Xin Li (Film Director). Moderator: Hrag Meguerditchian (Festival Programmer).
In this webinar, award-winning stop-motion director Martin Smatana (The Kite, Berlinale 2019) will take you on a deep dive into the creative applications of artificial intelligence in animation. Known for his hands-on work with textile and paper, Martin will explore how AI can complement traditional artistry. He’ll showcase various tools such as Dall-E, and Runway, offering practical insights into how these technologies can aid in generating ideas, optimizing workflows, automating tasks, and enhancing creative processes. Whether you’re designing storyboards, generating visuals, or working on sound design, this session will give you concrete strategies to integrate AI into your animation projects, helping you streamline repetitive tasks while maintaining your unique artistic voice.
Based on a major exhibition at the Ashmolean in Oxford, Tokyo Stories spans 400 years of incredibly dynamic art – ranging from the delicate woodblock prints of Hokusai and Hiroshige, to Pop Art posters, contemporary photography, Manga, film, and brand-new artworks that were created on the streets. The exhibition was a smash-hit five-star success and brought a younger and more diverse audience to the museum. The film uses the exhibition as a launchpad to travel to Tokyo itself, and explore the art and artists of the city more fully.
In Syria they take exam stress to a whole new level.
This animated short follows an unwanted baby who is passed from house to house until he is taken in and cared for by two homeless men. The film is the Canadian contribution to an hour-long feature film celebrating UNESCO’s Year of the Child (1979). It illustrates one of the ten principles of the Declaration of Children’s Rights: every child is entitled to a name and a nationality.
Once upon a time, there was a crawling tortoise. The tortoise was told that as long as it keeps going, it will reach the goal. But, why reaching the goal? The story is a reflection of the education system in Asia. High school students aimlessly pursue the one and only goal – getting into the perfect university. But what is next?
The interview with Yonak Kibreab, the voice of Elio in Pixar’s summer film.
Júlia Farkas is the first Hungarian artist who made a short for Adult Swim Smalls, a series dedicated to young artists who can realize their own vision. Júlia is an animation film director who is also an accomplished art teacher and active in the field of new media, her popular gifs have reached more than 2 billion views on her Giphy’s site. In this masterclass Juli will tell us about how to create an auteur animation even if it is a commissioned work. She will tell us how she came up with the initial idea, how to experiment during the production and let new ideas be born even in the later stages and how can you fit these into the original concept. Afterwards, she will examine why the extra short films and animation go well together and why it is interesting to work in this format and how a strange surreal humor feeds her work. She will also tell about the new challenge she faced, when she started to explore the relationship between the visuals and creative sound design.
This lecture by Professor Maura McDonnell will give a light introduction to the emergence of visual music from early beginnings, through various technologies and mediums to present day practices.
Interview with directors Kata Gugic and Cliona Noonan referncing their works: Cockpera by Kata Gugic (2020) and Wet & Soppy by Cliona Noonan (2020).