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Palma Vecchio, autour de 1480-1528,
actif à Venise et Bergame
Les Nymphes se baignants, environ 1525-1528
Le thème de la femme nue gisant dans la nature sauvage est depuis Giorgione et le début du Titien à Venise familière. Jamais, cependant, l'accent a été mis tellement sur ​​l'élaboration plastique, sur le contour linéaire des figures féminines, associés les une les autres d'une façon compliquée. Palma ici reprit animation organique des sculptures antiques et il s'appuya sur répertoire de ses contemporains maniéristes tels que Giulio Romano. La sensuelle texture de surface, à Venise habituelle, avait fait place à une fraîcheur porcelaine.
Palma Vecchio, um 1480-1528,
tätig in Venedig und Bergamo
Badende Nymphen, um 1525/28
Das Thema der in freier Natur gelagerten nackten Frau ist seit Giorgione und dem frühen Tizian in Venedig heimisch. Nie lag jedoch der Akzent so deutlich auf dem plastischen Herausarbeiten, auf der linearen Kontur der kompliziert einander zugeordneten weiblichen Figuren. Palma übernahm hier Bewegungsmotive antiker Skulpturen und schöpfte aus dem Repertoire seiner manieristischen Zeitgenossen wie Giulio Romano. Die in Venedig übliche sinnliche Oberflächentextur ist porzellanhafter Kühle gewichen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Boots, Dora, Queen of Hearts (Sara Ramirez), Rabbit (Alan Cumming), Mad Hatter (Mel Brooks), Cheshire Cat (Jewel) Photo: Best Possible Screen Grab/Nickelodeon. ©2014 Viacom, International, Inc. All Rights Reserved
A brief description about my animation and some criticizing for it
In this animation, the 3D character named Jackie is walking slowly and calm in an environment. He's at the edge of the area and tries to cross the river to the other side of the forest. There are 3 rocks on the river which Jackie uses as a way of crossing the river. He smiles at the beginning, showing overconfidence, that this is going to be an easy thing for him. Jackie starts by lowering a little down to gain power to jump from rock to rock but on the last one, he stepped on the edge of the rock and got shocked. He tried to spin his arms backwards to be able to get some distance away from the edge of the rock but fails and falls in the river. This animation, i consider it one of favorites so far and it helped me to improve my animation skills. I struggled a lot on the walk cycle on the ground and on the air which i could have done better. There are some small issues with the legs moving slow on some points and remain overextended. The perfect anticipation was at the beginning when Jackie prepared for the first jump. The other anticipations on other rocks were not really perfectly timed and were a bit slow, The wave of the hands were important for the jump as it made the jump more better looking and realistic, showing anticipation. Some things like the landing on the rocks and the jumps could have been better, one of the few things which we're really challenging because they were things i haven't tried last year to animate. I also searched for walking cycle references for a easy guide in making the character walk, even testing myself, by walking and jumping to understand how realistic it should be.
Overall I believe this animation is a big improving step on my animation/modelling skills.
THE ANIMATION IS IN THE FIRST COMMENT!
This is the space frigate HMS Rheinland PF-71034, a ship of the Sachsen-class. The ship takes place in the Universe of GAIA, created by Parrington Levens.
The build is based on my real existing german navy frigate Hessen F-221 and was inspired by the suggestions of Marc "Edge" R.unde and Stephan N.
This type of ship isnt a huge dreadnought, its more a smaller frigate class to join and escort fleets and patrolling the borders of the own territory aswell.
The hull number 71034 indicates that this type of vessel is build in huge numbers.
The Sachsen-class space-frigates are armed with 2 3x Turbolasers and a VLS and one (additionally on each side) for different types of anti ship warheads.
Besides these main weapons, the Sachsen-class got 4 small anti fighter gun armament on each side.
The hangar bay in the back carries one multi-purpose shuttle but if needed can alternatively be equiped with 5 small fighters.
Ipomoea horsfalliae
Climber with dark green leaves and beautiful crimson flowers
Native of South America
Common names: Cardinal Creeper, Prince Kuhio-vine, Kuhio-vine, Prince's-vine, Lady Doorly's morning-glory
The animation looks simple but it was a challenge animating the hand when it was interacting the the arm and leg, as they both had to move with the same spacing and timing. The most difficult part of the animation was the arms, as they were the main action.
I created my rig to work with the mime video reference but I didn't realise, until trying to animate, that the rotating of the forearm would mean I would have to constantly turn the iK blend on and off for the arm to achieve my desired look. This caused a lot of problems as the arm would go back to its original place after turning the iK blend back on and it would result in a jittering motion, which I had to fix by keyframing the in betweens manually.
Anticipation is used for when the character leans backwards and slowly lifts its hand up before pushing their leg down. It also shows the force from the character's arm when pushing their leg.
To improve the animation I would add more follow through and overlapping even though the movement in the video reference is robot like it would add appeal and realism the animation.
The animation process has definitely taught me the importance of a good working rig and the frustration of a bad working one.
SPWK JRC Poster Comic Book Illustration Image Mix Color Action Toy Animation Art Supa Pewee Kids Cartoon Super Pewee Kids Comic Book Novel Cartoon Character Lime Leaf Stew Brew Cave Convention Manhua Magic Education History Cool Children Kat Cat Forest Act Race Rat Mouse Forest Team Chinese Girl Fashion Japanese Girl Dress Style Doll China Book Chinese Cartoon Story Japan Tokyo Picture Action Movie Martial Arts Television Toy Store Japanese Animation Comic Book Graphic Novel Animation Movie Film Promo Images Emblems Logos Pee Wee Kids Mason Valentine Kat Chu Stories and Songs Super Pop Superhero Good Bad Girl Boy Write Hip Hop Rack Rock Music Mason Valentine Comic Song Books Halloween Costume Cosplay SD Japan Anime Chibi Super Deformed American Cartoon Comic Book Characters Cosplayer Fantasy Dress Up Club Night Before Stage Superhero Outfit Clothes Sui Monkey Tree Big House Christmas Tree Holiday Cookie Santa Stocking Halloween Costume Decorate December October Safety Flash Light Lite Hip Hop Pop Rock Poetry Red Pot Climb Super Nasty Writers Club Images Picture Tunes Download CD Album Music Tooth Pod Mega Ultra Transform Monster Movie Board Pig Frozen Ice Blue Pink Night Star Spin Toy Ball Bubble TV Radio Scooter Bike Big Wheel Role Play Hello Soul Bat Digi Samauri Sword Weapon Digit Fantasy Kaiju Poo USB Cards Port Candy Gum Pinwheel Kite Paper Balloon Super Hero Villain SD Mini Action Figure Plush Vinyl Play Set Doll Stuffed Animal Blocks Music DVD Crafts Toy Tree Car Vehicle Remote Control Crayon Hot Fire Sky Nami Marker Pastel Pet Shop Store Fish Tank Mouse Bear Turbo Video Truck Boat Wars Tank Gun Toy Man Kitty Puppy Mask Cracker
Two images of Sinus Iridum, photographed at intervals of 13 years, at different angles, morphed to this animation.
This animation shows Flickr photo location clustering at Highpark in Toronto for different distances (1 to 90m). the animation helps understanding how different aggregation distances produce maps that are suited for different scales of analysis/investigation. The aggregation follows areas of interest, whereas outliers remain isolated even at larger cluster distances. Info on the Clustering Algorythm here.
A related video shows the tag location clustering at High Park here. Both techniques are used to generate these Tag Maps.
Signage from the postshow area of the Animation Tour at Disney-MGM Studios, featuring my Walt Disney Script font.
Please see animation below, in comments, or see large size here:
www.flickr.com/photos/merripat/6810318095/sizes/o/in/phot...
We're having a blizzard here!
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
Still frame from 1982 french animated film Les Maîtres du temps (The Masters of Time, a.k.a. Time Masters), directed by René Laloux and designed by Moebius.
Images are small but unfortunately its all I could get from my DVD software.
Still frame from 1982 french animated film Les Maîtres du temps (The Masters of Time, a.k.a. Time Masters), directed by René Laloux and designed by Moebius.
Images are small but unfortunately its all I could get from my DVD software.
Still frame from 1982 french animated film Les Maîtres du temps (The Masters of Time, a.k.a. Time Masters), directed by René Laloux and designed by Moebius.
Images are small but unfortunately its all I could get from my DVD software.
Still frame from 1982 french animated film Les Maîtres du temps (The Masters of Time, a.k.a. Time Masters), directed by René Laloux and designed by Moebius.
Images are small but unfortunately its all I could get from my DVD software.
Still frame from 1982 french animated film Les Maîtres du temps (The Masters of Time, a.k.a. Time Masters), directed by René Laloux and designed by Moebius.
Images are small but unfortunately its all I could get from my DVD software.
Before the days of CGI, Photoshop, and digital cameras, "state-of-the-art" animation and visual effects work was done with huge bulky camera rigs, outfitted with motion control systems that allowed the rigs to precisely move about whatever needed to be filmed...be it a model spaceship, flat artwork, or an actor on a set.
The rig shown here is the camera section of a Master Series Animation Stand made by Oxberry, LLC.
By swapping out a couple of the internal movements, this particular camera could shoot 16mm, 35mm-4 perf, and 35mm 8-perf motion picture film. It also had the ability to "bi-pack" 2 pieces of film through the camera gate at the same time for simple optical printing purposes.
This is the actual camera system I started my visual effects career with at a small studio in Portland, Oregon called An-Fx Productions. We specialized in motion graphics and character / cel animation. I worked there until 1987, and shortly after took over the space myself...and since then have operated my own studio. Now a days though I do everything digitally using various computer graphics software packages.
There are a few camera systems like this still in operation, but very few. It's a product of a bygone age.
Copyright © 2012 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
here's a still from an animation i've done for uni, about an old skateboard reminiscing about better days. see the full working thing below in the comments!
Still frame from 1982 french animated film Les Maîtres du temps (The Masters of Time, a.k.a. Time Masters), directed by René Laloux and designed by Moebius.
Images are small but unfortunately its all I could get from my DVD software.
Still frame from 1982 french animated film Les Maîtres du temps (The Masters of Time, a.k.a. Time Masters), directed by René Laloux and designed by Moebius.
Images are small but unfortunately its all I could get from my DVD software.
Animation 2 (45° -> -45°) joined at the edges -- makes neat light patterns when lit from the side.
Stereo animation. View in 'Original' size to open animation or see comment below.
Glass stereo slides taken by my g-grandfather during trips to England and Europe from 1907-1913, using the Richard Verascope stereo camera.
A sample of animation hand-drawn, then scanned, 'inked' and edited on a Commodore Amiga computer. Most of this stuff was done in the early-mid 90's.
I tried to gather all my new animations, which I made for my movie "Bleed me dry" in a new animation box. Here is 10 new animations. Enjoy!
Download:
www.mediafire.com/?ik4n1gzmyq1
I had fixed an error with depressive pose now ))
Intro animation for Minigore.
Music by Tapani Siirtola. Website: www.soundreel.com
Sound fx by Tapio Liukkonen. Website: www.kaamossound.com
Animation by Timo Vihola. Website: www.timovihola.com
We create 3D amazing Animated Explainer video Bangalore. We provide 3D Animation videos, 3D Animation Services, Education design company,
How to create activity transition animations on Android Lollipop
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
The moon rises as the sun sets. See animation. Notice how the sky gets noticeably darker as time progresses.