View allAll Photos Tagged animation"
Magic of Disney Animation
On January 7, 2008, Disney-MGM Studios became Disney’s Hollywood Studios.
Despite the “MGM” in the park’s name, Metro-Goldwyn-Mayer had no part in designing, owning, or operating Disney-MGM Studios. Metro-Goldwyn-Mayer simply collected a licensing fee from The Walt Disney Company. But the owner of MGM, billionaire financier Kirk Kerkorian, wasn’t happy about it.
When Kerkorian learned of the deal in 1985, he couldn’t believe that his executives had traded one of the most valuable assets of MGM/UA (as the company was called at the time)—its legendary name—to a competitor for a relatively small fee.
In his 1998 book Work in Progress, former Disney CEO Michael Eisner explains, “In June 1985, we signed an agreement that gave us most of everything we sought, including perpetual rights to use much of MGM’s library and its logo for a very modest fee. For reasons that remain a mystery Kerkorian was told about the deal only as it was being signed.”
Notice that Eisner used the term perpetual rights.
But why did Disney seek the MGM name for its new theme park and studio in Florida? It was because the new park would not just be about Disney movies, it would be about the movies, and no movie studio had a more glorious past than MGM. Not only that, but MGM had a library of many of the greatest movies of all time. The MGM of 1985 was only a shadow of the great MGM of earlier decades. Then again, the Disney of 1985 was also a company whose greatest movie achievements had been in the past.
Putting the two most recognized names in entertainment together would be just the marketing angle that the new park needed!
The relationship with MGM/UA was a rocky one. Around the time the park opened, MGM/UA sued Disney over the licensing agreement. In October 1992, a Los Angeles Superior Court judge ruled that Disney could continue to use the Disney-MGM name and logo on productions made at the Florida park. And MGM/UA could license the MGM name to other companies, such as Kerkorian’s hotel-casino company MGM Grand, even for theme parks. An October 26, 1992, article in Variety summed up the issues:
Problems occurred when Disney began to use the studios, located within the movie backlot theme park, to create film product, using the Disney-MGM name (several minutes of “Beauty and the Beast” as well as parts of “Honey, I Blew Up the Kid” were shot on the Florida lot).
In his ruling, [Judge] Rappe said the language in the 1985 contract was “reasonably susceptible” to the interpretation that Disney could create film product within its working studio theme park.
Disney subsequently filed a cross complaint against MGM/UA and MGM Grand over the latter’s plans to build a theme park adjacent to a new $1 billion hotel project in Las Vegas. Disney claimed it held exclusive worldwide rights to the MGM name in connection with theme parks.
MGM Grand went ahead with MGM Grand Adventures Theme Park in Las Vegas. The unsuccessful park opened in 1993 and closed in 2000. So, for a number of years there were two MGM-branded theme parks—Disney’s and MGM Grand’s—but they were unrelated.
If Disney had perpetual rights, as Eisner indicated, why did Disney finally change the name of the park?
For at least a decade, rumors on the Internet had claimed that the contract between Disney and MGM was about to end, and that Disney had no choice but to rename the park and remove all MGM content. As evidence, people pointed out that Disney’s promotional VHS tapes for Walt Disney World were calling the park Disney Studios instead of Disney-MGM Studios. The name in the tapes was due to a licensing limitation dealing with content distribution, not with an imminent name change at the park. It remained Disney-MGM Studios.
But the rights weren’t perpetual after all. The 1991 book The Disney Touch by Ron Grover identified the length of the agreement as 20 years in the following paragraph:
The negotiations took about a month. In the end, Disney all but walked away with Leo the Lion’s mane. Disney received almost free rein in use of the famous roaring lion and the treasure trove of old MGM movies. Most important, it got those rights for virtually nothing. Under the 20-year agreement, Disney was to pay only $100,000 a year for the first three years and $250,000 for the fourth year. The annual fee would increase by $50,000 in every year thereafter, with an eventual cap of $1 million for the yearly fee. Disney also got nearly unfettered ability to build other studio tours, for each of which it would pay half the fee agreed upon for the Orlando park.
A 20-year contract signed in June 1985 would have ended in June 2005. (It seems odd that Disney would base a permanent theme park’s name, image, and long-term marketing on a relatively short-term licensing agreement.) Of course, the agreement could have gone on perpetually if Disney and MGM had found it mutually beneficial to keep renewing their agreement whenever the end of the term neared. Disney was able to use the MGM name through the end of 2007 and into a transition period in early 2008.
In August 2007, a Disney press release announced that Disney-MGM Studios would have a new name in January 2008. There was even an official reason:
“The new name reflects how the park has grown from representing the golden age of movies to a celebration of the new entertainment that today’s Hollywood has to offer—in music, television, movies and theater,” said Meg Crofton, president of Walt Disney World Resort.
Actually, the park had never been just about the golden age of movies. Even in its first year, the park’s idealized Hollywood, which was summed up as “the Hollywood that never was and always will be,” included television, the latest animation, relatively recent George Lucas movies, and actual film production.
It doesn’t matter if MGM refused to renew or if Disney simply decided that using the MGM name was no longer good marketing. The Walt Disney Company in 2008 is a very different company than it was in 1985. Back then, the MGM name might have given a studio theme park more credibility than Disney alone possessed. But today, Disney is an entertainment giant in film, broadcasting, cable, and home video. Why publicize Metro-Goldwyn-Mayer, which is now even more of a shadow of its legendary past than it was in 1985?
The new name of the park surprised Disney fans on the Internet. The online community had expected Disney-PIXAR Studios or Disney-ABC Studios or maybe even Disney-PIXAR-ABC-ESPN-Muppets-go.com Studios—but not Disney’s Hollywood Studios. But it makes a lot of sense. If the name MGM was synonymous with the movies, there’s one other name that has an even a greater connection to the movies—and that’s Hollywood.
Walt Disney World-Hollywood Studios-Orlando Fl
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.
Animation of LOC stereograph: www.flickr.com/photos/library_of_congress/50982132568/in/...
Animation here: live.staticflickr.com/65535/51007596290_7727878c0b_o.gif
Animated GIF composed of aligned images of the nearly constant lightning storm from 2014-06-30. The images span about 12 minutes of real time.
For the animation:
Signage from the postshow area of the Animation Tour at Disney-MGM Studios, featuring my Walt Disney Script font.
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.
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.
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 1907-1922, using the Richard Verascope stereo camera.
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.
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.
.
To see the animation, you must click on "View all sizes" found in the 'Actions' drop down menu above the picture. The mode is l=5,m=2. You are viewing at an inclination of 45 degrees which also defines the rotation axes (so this is an oblique rotator!)
We create 3D amazing Animated Explainer video Bangalore. We provide 3D Animation videos, 3D Animation Services, Education design company,
The moon rises as the sun sets. See animation. Notice how the sky gets noticeably darker as time progresses.
Wizards (1977) - Ralph Bakshi
Elinore twinkles with bright colors while Avatar rants.
Recently discovered in the vault. Never used in the actual film.
Uploaded by www.RalphBakshi.com
All Rights Reserved
ººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººº
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/Curvette-Challenge-Animation...
ººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººº
Follow me on:
▫️ Instagram:
www.instagram.com/girls_in_the_simcity/?igshid=oefuw9syp0zk
▫️ Tiktok
▫️YouTube:
www.youtube.com/channel/UCpTeNk8gyksrioTDysXZ6Hg
ººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººººº
Here be links: the video, the announcement, the tubefilter article by Jenni Powell.
Also, check out Paul and Storm (website, twitter) who created the theme song and Greg Aronowitz (blog, twitter)
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 1907-1912, using the Richard Verascope stereo camera.
Animation Play: Mr. Sexo Beat: Alexandra Stan. Practicing with animation. For instructional purposes only; Demonstration.
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