View allAll Photos Tagged animation,
The Cheesy Animation Is Best Architectural 3D Animation And 3D Rendering, Architectural Visualization Company In India, Gujarat, Ahmedabad, Mumbai.
soundscape consists of original music, recordings of Hong Kong radio stations and samples dowloaded from freesound.org
This is a short project that I did in class. For that project, students had to choose a word and animate its characteristic. Other people chose verbs or adjective. However, I wanted to do something different, so I picked a weird choice of words. Since I knew that the word can be vulgar to some people, I chose to animate it in a cute way while maintaining the characteristics. Surprisingly, this small joke became liked by many people (it is one of my works that people remember the most), and I receive new suggestions from times to times about what I could have added to the characteristics of the work.
This is also one of the works that I like very much.
Animation of LOC stereograph: www.flickr.com/photos/library_of_congress/50982132568/in/...
Animation here: live.staticflickr.com/65535/51007596290_7727878c0b_o.gif
This video tells to people to mind the sex restrictions and I design animal characters to display sexual poses.
Client: YY Inc.
Direct, Stories, Animation: kbnotq
Narrative: Staff of YY Inc.
Whether its Disneyland or Walt Disney World, The Animation Academy is a must stop for me. I never miss it.
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
"Dora the Explorer: Halloween Parade"--Everyone’s dressing up for the big Halloween Parade! Dora and Boots are almost set to go, but their friend, Little Monster, doesn’t have a costume. It’s Dora and Boots to the rescue as they solve the Troll’s Halloween riddles then trick-or-treat through the Fruity Forest, and rush to find Little Monster a costume just in time. Photo: Best Possible screengrab . Nickelodeon. ©2011 Viacom, International, Inc. All Rights Reserved
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 ))
Really old animation work that I found from dusty box. I made this back in year 2000. Recollect the memory, I already have passion to do character animation, since my graphic design study in college.
This was a project in which we have to do a short animation, using Macromedia Director ( at that time Macromedia Flash is not even popular yet! ). The concept must be based on two words that we chose by picking up papers with random words. I got 2 words: WISH and BOAT. Perfect. So, I started to create a concept. I always have fascination with MOON idea and JAPAN is my sort of inspiration, so I end up using this Kokeshi doll idea that wishes something over the moon. The accompanied music is a new age music from one of KINTARO album.
Who would have known that I would switch to 3D animation and really get into Maya and Houdini stuff! Nevertheless, it was interesting to recall some past memories. A little intermezzo, soon hopefully I will post a new and polished animation works. Like many people who have been inspired by golden era of 2D animation and anime, I still regard high 2D animation and still find inspiration and learning the art of animation from 2D animation. I guess I need to refresh my passion for animation from time to time.
Stay tuned...... and let the curtain opens.
NOTE: sorry about the blurry quality, this is because of re-compression that I have to do on my own. FLICKR can't compress the original Quicktime MOV.
!!! CLICK ON "ALL SIZES" TO VIEW ANIMATION !!!
Simple animation of the user experience. It's just a .gif file, and its kinda big ( 400k ) so when you click on 'ALL SIZES' to watch, give it a second to load.
Work flow is as follows;
1 - User long presses Rabble's tweet.
2 - Default Android light box appears with the entire text of the tweet shown.
3 - User is given two options, Call or Close.
If the person is found in the phone's address book ( strong tie ), a 'Call' button is available in the light box.
It's possible that I am neglecting the means for other actions like responding to a tweet activity, but Android can run multiple apps concurrently, unlike the iPhone(!), so it's assumed the user has Twidroid already running.
Otherwise, if the person is not in the phone's address book, the button says 'Create contact' ( convert a weak tie to a strong one, or establish a weak tie where no tie exists at all ).
Note Android uses Gmail to automatically sync local contact creation events to cloud.
A kiss from the dragon :P
View animation here:
farm3.static.flickr.com/2786/4187217698_d77b57466a_o.gif
She didn't turn into a princess after the kiss. Needless to say..i had to tell her goodbye :P
A female Neurothemis fluctuans dragonfly?
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
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.
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.
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!
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.
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
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
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:
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.
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
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.
For my Blog I'm planning a CSS3-animated bookshelf. The video doesn’t run fluently. The animation does. It also works well in less-capable browsers.
So, it’s eventually online and you can find it at christophzillgens.com/en/books/.