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Wolf spider hand jiving animation. View original size here www.flickr.com/photos/lordv/15119331847/sizes/o/ for animation. Right click on link and open in new tab
Today I experience a bit with making a animation movie with Moomin figures. I hope I can upload it soon so you can see it. What I already know is that I need to practice much more. Anyway it’s fun to do.
My new design, a cute origami face, with a 3D animation to show how to fold it: www.youtube.com/watch?v=IxN-6LawBm0
Note: this origami rabbit is very different from the most common traditional origami rabbit face model which has a completely different structure, but after designing it and making this animation I saw a Miffy origami model (with no mention of the creator) which has different proportions but almost the same fold structure.
Fearless optimist Anna meets rugged—and snow-covered—mountain man Kristoff for the first time in Walt Disney Animation Studio’s “Frozen,” which hits theaters nationwide Nov. 27, 2013. ©2013 Disney. All Rights Reserved.
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Is a realistic singing animation created by Plastic Girls. This animation was inspired from TikTok challenge. Repeat this challenge and make this video as beautiful and touching as you can!)
Animation available on SL Marketplace:
marketplace.secondlife.com/p/Red-Challenge-Animation/2122...
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▫️YouTube:
www.youtube.com/channel/UCpTeNk8gyksrioTDysXZ6Hg
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Sponsor | Bernitz's Poses & Animations Bernitz's Poses Henry Bernitz
[Bernitz's] - TIKTOK DANCE - ZOOM
Reference song:
TIKTOK DANCE - ZOOM - Jessi
Link Marketplace:
marketplace.secondlife.com/stores/244918
Store LM: maps.secondlife.com/secondlife/Gauguin/55/104/4045
TikTok: henrybernitz
Page Facebook: www.facebook.com/gaming/Bernitzsl
Henry Bernitz: www.facebook.com/profile.php?id=100070606080399
4K HD view, Enjoy!
My daughter and i have been working on a ilttle animation... finally finished!
check out the film here:
Here's an animated GIF file that is a 45-frame animation of the results of stacking 45 AVI files using Registax 3. Each stack was the best roughly 450 of 600 frames captured at 5 frames per second. The individual sets were taken between 11:42 p.m. May 11 and 3:40 a.m. May 12, 2006 using a ToUCam webcam and a Stellarvue SV152 apochromat (6" high-quality refractor telescope), with a 4X Televue Powermate to enlarge the image optically. These have not been color-balanced yet. Notice there are times when the image gets fuzzy: these occur first when Jupiter rose over the peak of the roof of my house and second when it passes above a large live oak tree next to my driveway. The unsteadiness of the air causes this fuzzines. The Great Red Spot appears near the end of the sequence. Just "ahead" of it along the dark Souther Equatorial Belt is a "wake" of dark waves from a smaller spot sliding along the northern edge of the belt.
TO WATCH THE ANIMATION: click All Sizes above the image and select Original if it does not already appear selected. Time-wise, the individual frames are between 5 and 6 minutes apart.
Scope and mount supplied by 3RF (see www.3rf.org).
The Disney Animation Building in the Hollywood Pictures Backlot of Disney's California Adventure at dusk.
Real Disney Magic, everyone knows, is animation. It was one of my dreams to go to the Florida Animation building and I got to at least see it!
animations
«Analyse this»
Grafische Interpretation zu historischen Planungskarten des Landes Rheinland-Pfalz
Gestaltungsgrundlagen 2. Semester
Prof. Anna-Lisa Schönecker
Studierende der Hochschule Mainz
Kommunikationsdesign
Soner Aktas
Kanih Demir
Pia Hoberg
Caroline Martin
Mikolaj BoguszMera
Daria Nonn
Cilia Palotas
Mirella Priolo
Lukas Röber
Claudio Roig
Paul Schmidt
Lucas Schneider
Franziska Schoebel
Simon Schüßler
Malte Schwenker
Tatsiana Trynkun
Simon Weckbach
Sophia Weider
Lisa Wolf
Corinna Wurth
Sura Yildiz
Quelle:
Rheinland-Pfalz - Grundlagen der Raumplanung
Landesplanung Johann Wiegand
Mainz 1954
Titelanimation
Soner Aktas
Mit Dank an Katja Davar und Volker Pape
© Hochschule Mainz 2016
American postcard by Disney Enterprises / Pixar Animation Studios, 2005. Image: Pixar Animation Studios. Concept art by Ralph Eggleston for Finding Nemo (Andrew Stanton, Lee Unkrich, 2003). From 'The Art of Pixar: 100 Collectible Postcards', published by Chronicle Books.
Finding Nemo (Andrew Stanton, Lee Unkrich, 2003) is the fifth full-length animated film by Pixar, distributed by Walt Disney Pictures. It tells the story of an overprotective clownfish named Marlin who, along with a regal blue tang named Dory, searches for his missing son Nemo. Along the way, Marlin learns to take risks and comes to terms with Nemo taking care of himself. The film was a huge success and received more than thirty awards, including an Oscar for Best Animated Feature. Finding Nemo was a huge box-office success worldwide, earning nearly $865 million.
At the beginning of Finding Nemo (2003), the clownfish Marlin and his wife Coralie have just moved to a new anemone in the Great Barrier Reef. Their happiness is short-lived as Coralie and almost all the eggs she had laid are devoured by a barracuda. Only one egg survives. Marlin decides to name the little fish from this egg Nemo, a name that Coralie had thought up. In Latin, the word "nemo" means "nobody" or "no one." It is also a reference to Captain Nemo in Jules Verne's novel '20,000 Leagues Under the Sea'. Nemo has one fin that is smaller than normal. His father and he call it Nemo's lucky fin. It is actually a kind of scar from the barracuda's attack. The incident also makes Marlin excessively neurotic and protective of Nemo. When Nemo is older, it is time for him to go to school. The timid Marlin follows Nemo, against his will, to make absolutely sure he is safe. Nemo has clearly had it with his father's behaviour. To prove there is no danger, he leaves the coral reef. However, he is spotted by two divers. One of them catches Nemo in a net and takes him away. Marlin gets over his fear of the open sea to retrieve Nemo. He meets Dory, a blue tang suffering from short-term memory loss. One of the divers has lost his goggles, and Marlin finds them. The address of the diver is written on the goggles. With the help of Dory, who can read, they find out that Nemo is in Sydney now. Dory accompanies Marlin to Sydney on his search for Nemo. The two come across, among other things, three vegetarian sharks, a school of jellyfish, and a group of sea turtles. The latter help them a great deal. Finally, Marlin and Dory are swallowed by a humpback whale that blows them out through the blowhole, which carries them the last mile to Sydney.
The inspiration for Finding Nemo (2003) sprang from multiple experiences, going back to director Andrew Stanton's childhood, when he loved going to the dentist to see the fish tank, assuming that the fish were from the ocean and wanted to go home. In 1992, shortly after his son was born, he and his family took a trip to Six Flags Discovery Kingdom which was called Marine World at the time. There, after seeing the shark tube and various exhibits, he felt that the underwater world could be done beautifully in computer animation. Later, in 1997, he took his son for a walk in the park but realized that he was overprotecting him and lost an opportunity to have a father-son experience that day. In an interview with National Geographic magazine, Stanton said that the idea for the characters of Marlin and Nemo came from a photograph of two clownfish peeking out of an anemone: "It was so arresting. I had no idea what kind of fish they were, but I couldn't take my eyes off them. And as an entertainer, the fact that they were called clownfish—it was perfect. There's almost nothing more appealing than these little fish that want to play peekaboo with you." In addition, clownfish are colourful, but do not tend to come out of an anemone often. For a character who has to go on a dangerous journey, Stanton felt a clownfish was the perfect type of fish for the character. Pre-production of the film began in early 1997. Stanton began writing the screenplay during the post-production of A Bug's Life. As a result, Finding Nemo began production with a complete screenplay, something that co-director Lee Unkrich called "very unusual for an animated film". The artists took scuba diving lessons to study the coral reef. Stanton originally planned to use flashbacks to reveal how Coral died but realized that by the end of the film there would be nothing to reveal, deciding to show how she died at the beginning of the film. Finding Nemo was the first Pixar film not to be scored by Randy Newman. The original soundtrack album, 'Finding Nemo,' was scored by Thomas Newman, his cousin. The score was nominated for the Academy Award for Original Score, losing to The Lord of the Rings: The Return of the King. Finding Nemo (2003) did win the Academy Award for Best Animated Feature, the first Pixar film to do so. It was also nominated in two more categories, including Best Original Screenplay. Roger Ebert gave the film four out of four stars, calling it "one of those rare movies where I wanted to sit in the front row and let the images wash out to the edges of my field of vision" Finding Nemo became the highest-grossing animated film at the time of its release, and was the second-highest-grossing film of 2003, earning a total of $871 million worldwide by the end of its initial theatrical run. Demand for tropical fish exploded right after the film's release, especially for clownfish and blue tang. Finding Nemo is the best-selling DVD title of all time, with over 40 million copies sold as of 2006. After the success of the 3D re-release of The Lion King, Disney re-released Finding Nemo in 3D in 2012. A spin-off sequel, Finding Dory, was released in June 2016.
Sources: Wikipedia (Dutch and English), and IMDb.
December is Pixar month at EFSP!
We produce 2D & 3D animations for corporate & entertainment clients. We produce marketing explainer videos that skim your whole business USP's into a short comprehensive & intelligent videos. We produce whiteboard animations for marketing packages & campaigns. We're very efficient in 3D character modeling, animation & texturing
These are some images from a short animation I´ve done. It´s for an upcoming book project where artists been asked to a do a creative task they´re not familiar with. So I did an animation...
A cheat sheet of animation principles that can be applied to the field of interaction design. Based on a presentation at Devoxx '09 that you can find over at Parleys: www.parleys.com/#st=5&sl=43&id=1578
Free Download Merry Christmas Animation Images
Free Download Merry Christmas Animation Images
Free Download Merry Christmas Animation Images
Free Download Merry Christmas Animation Images
Free Download Merry Christmas Animation Images
www.l4lol.com/free-download-merry-christmas-animation-ima...
Slowly working towards face animation based on only official LEGO printed faces (stilly waiting for Sleepyhead from bricklink for a proper O-U mouth shape) You can see an early test here
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Is a realistic singing animation created by Plastic Girls. This animation was inspired from TikTok challenge. Repeat this challenge and make this video as beautiful and touching as you can!)
Animation available on SL Marketplace:
marketplace.secondlife.com/p/Coffin-Challenge-Animation/2...
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Follow me on:
▫️ Instagram:
www.instagram.com/girls_in_the_simcity/?igshid=oefuw9syp0zk
▫️ Tiktok
▫️YouTube:
www.youtube.com/channel/UCpTeNk8gyksrioTDysXZ6Hg
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Television Commercial for GILLETTE RAZORS
1950s Original PRODUCTION CEL Drawing
Item: Rare Original HAND DRAWN Layout by HERB KLYNN
THIS IS THE ACTUAL PRODUCTION ARTWORK, that was used to CREATE the 1960s TV COMMERCIAL
Featuring: Warrior with his DULL BLADE
Size: Approx 12.5 x 10.5
Condition: Excellent
Type: Production Layout Drawing
Circa 1950s
Shipping Notes: (PLEASE READ)
We ship ONCE a WEEK on usually MONDAYS OR TUESDAYS
We offer a combined shipping rate for Multiple AUCTIONS. (Depends on the Auctions; Size and Contents)
We accept PAYPAL as well as other forms of Payment
NOTES:
Gillette is a brand of Procter & Gamble currently used for men's safety razors, among other personal care products. Based in Boston, Massachusetts, United States, it was one of several brands originally owned by The Gillette Company, a leading global supplier of products under various brands, which was merged into P&G in 2005. The original Gillette Company was founded by King Camp Gillette in 1901 as a safety razor manufacturer.[1]
Under the leadership of Colman M. Mockler as CEO from 1975 to 1991, company faced down three takeover attempts, from Ronald Perelman and Coniston Partners. On October 1, 2005, Procter & Gamble finalized its merger with The Gillette Company. As a result of this merger, the Gillette Company no longer exists. Its last day of market trading—symbol G on the New York Stock Exchange—was September 30, 2005. The merger created the world's largest personal care and household products company. In addition to Gillette, the company marketed under Braun, Duracell and Oral-B, among others, have also been maintained by P&G. The Gillette company slogan is "The Best a Man Can Get".
The Gillette Company's assets were initially incorporated into a P&G unit known internally as "Global Gillette". In July 2007, Global Gillette was dissolved and incorporated into Procter & Gamble's other two main divisions, Procter & Gamble Beauty and Procter & Gamble Household Care. Gillette's brands and products were divided between the two accordingly
United Productions of America, better known as UPA, was an American animation studio of the 1940s through present day, beginning with industrial films and World War II training films. In the late 1940s, UPA produced theatrical shorts for Columbia Pictures, most notably the Mr. Magoo series. In the late 1950s UPA produced a television series for CBS hosted by Gerald McBoing-Boing. In the 1960s UPA produced several Mr. Magoo and Dick Tracy series and specials, the most popular of which was Mr. Magoo's Christmas Carol. UPA also produced two features, 1001 Arabian Nights and Gay Purr-ee, and distributed Japanese films from Toho Studios in the 1970s and 1980s. The latest animated series is with Gerald McBoing Boing (2005-2007), licensed and co-produced by Cookie Jar Entertainment and DreamWorks Classics, for Cartoon Network.
UPA Pictures' legacy in the history of animation has largely been overshadowed by the commercial success of the vast cartoon libraries of Warner Brothers and Disney. Nonetheless, UPA had a significant impact on animation style, content, and technique, and its innovations were recognized and adopted by the other major animation studios and independent filmmakers all over the world. UPA pioneered the technique of limited animation, and though this style of animation came to be widely abused during the 1960s and 1970s as a cost-cutting measure, it was originally intended as a stylistic alternative to the growing trend (particularly at Disney) of recreating cinematic realism in animated films
Turning to television
In 1956, Steve Bosustow secured a CBS contract for UPA to produce a television series (The Gerald McBoing Boing Show, 1956-57)[3] that brought new talent to the studio, and a brand new energy emerged under the supervision of Bobe Cannon. Talents such as Ernie Pintoff, Fred Crippen, Jimi Muricami, George Dunning, Mel Leven, Auri Batalia, Ozzie Evans, and many more, gave this short lived show a wide variety of new looks in animation. But, as the major Hollywood studios began cutting back and shutting down their animation studios in the early 1960s, UPA was in financial straits, and Steve Bosustow sold the studio to a new producer, Henry G. Saperstein. Saperstein turned UPA's focus to television to sustain itself. UPA expanded the Mr. Magoo series and brought it to television, along with other animated series, including an adaptation of the comic strip Dick Tracy. The studio continued to operate, but the tight schedules and reduced budgets had devastating effects on the product. UPA was forced to churn out cartoons at a far greater quantity than the studio had done for theatrical releases or even the CBS television series; quality, particularly of the Mr. Magoo series, sank to an embarrassing level.
The UPA style of limited animation was adopted by other animation studios, and especially by TV cartoon studios such as Hanna-Barbera Productions. However, it was implemented as a cost-cutting measure rather than an artistic choice. A plethora of low-budget, cheaply made cartoons over the next twenty years effectively reduced television animation to a commodity, despite UPA's original goal to expand the boundaries of animation and create a new form of art.
One bright moment in the UPA television era came with Mr. Magoo's Christmas Carol (1963), which became the first episode of an animated TV series entitled The Famous Adventures of Mr. Magoo. Christmas Carol captured the spirit of Charles Dickens' tale in a manner that few of the many re-tellings of the story would, and it is considered to be a holiday classic of the 1960s, ranking alongside A Charlie Brown Christmas and How the Grinch Stole Christmas!.
Charles Martin "Chuck" Jones (September 21, 1912 – February 22, 2002) was an American animator, cartoon artist, screenwriter, producer, and director of animated films, most memorably of Looney Tunes and Merrie Melodies shorts for the Warner Bros. Cartoons studio. He directed many of the classic short animated cartoons starring Bugs Bunny, Daffy Duck, the Road Runner and Wile E. Coyote, Sylvester, Pepé Le Pew and a slew of other Warner characters. Three of these shorts (Duck Amuck, One Froggy Evening and What's Opera, Doc?) were later inducted into the National Film Registry. Chief among Jones' other works was the famous "Hunting Trilogy" of Rabbit Fire, Rabbit Seasoning, and Duck! Rabbit, Duck! (1951–1953).
After his extraordinary career at Warner Bros. ended in 1962, Jones started Sib Tower 12 Productions and began producing memorable cartoons for Metro-Goldwyn-Mayer, including a new series of Tom and Jerry shorts and the television adaptation of Dr. Seuss' How the Grinch Stole Christmas! He later started his own studio, Chuck Jones Productions, which created several one-shot specials, and periodically worked on Looney Tunes related works.
Film historian Leonard Maltin has praised Jones' work at Warner Bros., MGM and Chuck Jones Productions. He also noted that the "feud" that there may have been between Jones and colleague Robert Clampett was mainly because they were so different from each other. Chuck Jones' character styles were more controlled and calmed down, while Bob Clampett's were crazy, wacky and insane
Bugs Bunny
is an American animated character created in 1938 at Leon Schlesinger Productions, later Warner Bros. Cartoons.[1] Bugs is an anthropomorphic gray hare or rabbit and is famous for his flippant, insouciant personality and his portrayal as a trickster. He has primarily appeared in animated cartoons, most notably the Looney Tunes and Merrie Melodies series of theatrical short films. His popularity there led to his becoming a corporate mascot of the Warner Bros. company. Bugs has appeared in more films than any other cartoon character and is the ninth most portrayed film personality in the world.[2]
According to Bugs Bunny: 50 Years and Only One Grey Hare, Bugs was born on July 27, 1940 in Brooklyn, New York in a warren under Ebbets Field, home of the Brooklyn Dodgers. In reality, he was created by many animators and staff, including Tex Avery, who directed A Wild Hare, Bugs' debut role, and Robert McKimson, who created the definitive "Bugs Bunny" character design. According to Mel Blanc, the character's original voice actor, Bugs has a Flatbush accent. Bugs has had numerous catchphrases, the most prominent being a casual "Eh... What's up, doc?", usually said while chewing a carrot
Wile E. Coyote (also known simply as "The Coyote") and The Road Runner are a duo of cartoon characters from a series of Looney Tunes and Merrie Melodies cartoons. The characters (a coyote and Greater Roadrunner) were created by animation director Chuck Jones in 1948 for Warner Bros., while the template for their adventures was the work of writer Michael Maltese. The characters star in a long-running series of theatrical cartoon shorts (the first 16 of which were written by Maltese) and occasional made-for-television cartoons.
In each episode, instead of animal senses and cunning, Wile E. Coyote uses absurdly complex contraptions (sometimes in the manner of Rube Goldberg) and elaborate plans to pursue his quarry.
The Coyote appears separately as an occasional antagonist of Bugs Bunny in five shorts from 1952 to 1963: Operation: Rabbit, To Hare Is Human, Rabbit's Feat, Compressed Hare, and Hare-Breadth Hurry. While he is generally silent in the Coyote-Road Runner shorts, he speaks with a refined accent in these solo outings (except for Hare-Breadth Hurry), introducing himself as "Wile E. Coyote — super genius", voiced with an upper-class, cultured English accent by Mel Blanc.[1] The Road Runner vocalizes only with a signature sound, "Beep, Beep", recorded by Paul Julian, and an occasional tongue noise. [2]
To date, 48 cartoons have been made featuring these characters (including the three CGI shorts), the majority by Chuck Jones.
Jones based the Coyote on Mark Twain's book Roughing It,[3] in which Twain described the coyote as "a long, slim, sick and sorry-looking skeleton" that is "a living, breathing allegory of Want. He is always hungry." Jones said he created the Coyote-Road Runner cartoons as a parody of traditional "cat and mouse" cartoons such as Tom and Jerry, which series Jones would work on as a director later in his career.[4]
The Coyote's name of Wile E. is obviously a play on the word "wily." The "E" was said to stand for Ethelbert in one issue of a Looney Tunes comic book, but its writer hadn't intended it to be canon.[5] The Coyote's surname is routinely pronounced with a long "e" (/kaɪˈoʊtiː/ ky-oh-tee), but in one cartoon short, To Hare Is Human, Wile is heard pronouncing it with a diphthong (/kaɪˈoʊteɪ/ ky-oh-tay). Early model sheets for the character prior to his initial appearance (in Fast and Furry-ous) identified him as "Don Coyote", a play on Don Quixote.[6]