View allAll Photos Tagged Animation
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.
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.
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.
Animation with playblast
I found animation hard at the beginning because there were problems with the nCloth. The movement of the dress was fine until I added the fast movements near the end and the nCloth was completely messed up and it became I problem that I couldn't fix. But I was able to animate the model without the nCloth system smoothly and is quite happy about the outcome.
I will need to learn more about nCloth to animate clothing in the future.
soundscape consists of original music, recordings of Hong Kong radio stations and samples dowloaded from freesound.org
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.
From the box
Credits:
Special thanks to all those people who made The Hanna-Barbera Trading Cards possible!
CREATORS
Wiliam Hanna, Joseph Barbera
DESIGN
Roy Guzman, Bobbi Jankovich
WRITERS
David Burd, Marty Pekar
THE HANNA-BARBERA CREW
Models
Linda Moore
Dana Granger
Barbara Kruger
Donna Zeller
Marcus Nickerson
Bob Onorato
Pete Alvarado
Xerox
Star Wirth
Martin Corssley
Richard Wilson
Danny Conté
Ink & Paint
Alison Leopold
Suzette Darling
Joanne Plein
Christine Kingsland
Nelda Ridley
Lori Hanson
Lydia Swayne
Creative Services
Curt Covert
Lynn Domenico
Mary DeMarle
Shannon Dashiell
Jill Jones
Sue Doc
Betty Tropp
Research
Iwao Takamoto
JeffEckert
Hillary Dunchak
Glenn Leopold
Jerry Eisenberg
Marketing
Fred Seibert
Sally Prendergast
"How to Train Your Dragon: The Hidden World" (2019). The first DreamWorks Animation film to be distributed by Universal Pictures and also the first film to use the new logo.
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.
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.
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.
"Home" (2015).
NOTE: Rights now owned by DreamWorks Animation with Universal Pictures currently handling distribution.
A fantasy mecha project, inspired by Patlabor & Gundam. The plan was to build a ‘realistic’ hexapod tank, even though with an SF touch.
The vehicle is not 100% supposed to match anime style – but the concept is pretty popular in Japanese animation, SF or special interest genres like Ma.K., so I think calling the “Ackwisch” (Hebrew for “Spider”) mecha is fine.
While the mobility of walking vehicles is arguably higher than that of wheeled or tracked vehicles, their inherent complexity has limited their use mainly to experimental vehicles. Examples of real manned walking vehicles include General Electric's Walking truck, the University of Duisburg-Essen's ALDURO and Timberjack, a subsidiary of John Deere, built a practical hexapod Walking Forest Machine (a harvester for rough/delicate terrain).
One can argue about the sense of a legged tank, though. It's slow, it has a high CG an silhouette, it's mechanically complex, it needs a lot of space in order to manoeuver, and you cannot deny the laws of physics: ground pressure is a SERIOUS issue, for any armored vehicle. A simple wet lawn can stop a tracked medium battle tank with a relatively large footprint – how’s a walking tank with only a fraction of area to distribute weight supposed to fare? A modern battle tank like the Merkava easily weights 60 tons and more. You might add for a legged specimen at least 10 more for the legs and their mechanics… so, is a walking tank “realistic”? Certainly not, but it’s cool…. And, since this is SF, it should at least look cool and somewhat menacing... ;)
This project had been waiting on the bench for a while and even saw a major creative interruption, and even then the whole building process took several weeks. Main ingredients are an 1:72 ESCI Merkava II tank kit, PVC doll joints from Kotobukiya for the legs (so they remain moveable, within limits),six resin legs from two ‘Junk Rock Tank’ recast kits in 1:35 scale (from a total of eight – you never know!), and two aftermarket gun barrels made from metal, since the tank received a double gun as a special feature. The commander’s cupola was donated from a 1:87 scale Roco Minitanks M60, otherwise a lot of details had been scratched or improvised – please check the WiP album for reference and single steps.
Construction was pretty straightforward, though, as well as painting, since I kept the tank in a uniform drab color (very similar if not identical to real life IDF tanks, RAL 7008 “Khakigrau”). Weathering was done with a thorough black ink wash and dry painting with various shades of brown, beige and grey, plus some of the artist pigments that were used on the base, too (see below).
The base was created with Styrofoam and plaster on an MDF board, the rock is actually aquarium decoration from a pet store, made from resin. The crater was sculpted into the basic surface.
The surface was decorated with fine sand, water-based paint and artist pigments, the vegetation consists of fine model railroad turf and grass fiber, brush fibers for large weed bushels, some dried real vegetation and a bit of dry moss.
As some space was left on the left side of the base, I eventually added a small vehicle there – my choice fell on a die-cast HMMWV from Dragon. Very fine car model, even though its place and position could have looked a bit more natural if I had integrated earlier into the planning process. But with both vehicles in place, the whole arrangement gains a bit of a meaning, as an observation scene. I still would not call it a diorama, though – it’s just a presentation base that might also be used in future model photographs.
Shooting the tank on its base was tricky, because of the relatively small dimensions of the base – on some of the pics I had to add virtual foreground in order to fill blank space, but otherwise only little “photoshopping” had to be done.
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 ))
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.
10 of my favorite photos in a slideshow (animated gif). Can only be seen at the original size. It may take a while to load the animation, do some push-ups while you wait.
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The moon rises as the sun sets. See animation. Notice how the sky gets noticeably darker as time progresses.
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