Zoom! Swoosh! Poof! Kapow! We’re no Imaginary Forces, but we have some serious tricks up our sleeve here. We view it a different way. Wait, we said all this already when we were talking about Animationand3D
Animation and 3D
Animation. We live in interesting times when it comes to ...
. Let’s just use that:
Next, there’s what we like to call the confluence of industries. Actually, I don’t know that anyone’s ever actually used that term, but that’s what it is. Here in digital internetland, animation is coming at us from all sides. You have the motion picture and television animation stuff – the Methods and Digital Domains of the world. Then there’s game animation, which is a whole different suite of tools, owing to the fact that their animation does more than just play a series of pictures in sequence. So we wrestle with game animation and the tools there, and how they relate to the games we make, and where the game industry is going. Then you have scientific animation packages, mathematical modelling stuff, things like that. And, finally, you have the real world architectural modelling, product design stuff.
All of these schools of animation and suites of tools have something to learn. All of them are applicable to what we do in some way. None of them especially talk to each other. We have to talk to all of them.
Here are some recent posts from our employees about Motion Graphics:
on September 02, 2008 at 01:45 PM
filed under: Motion Graphics
People Magazine is reporting that Don LaFontaine, the undisputed King of Voiceovers, has died.
We will likely not feel the depth and breath of this loss for some time, but it pains me to know that such a voice will no longer delight and intrigue me when I sit in a darkened theater, watching the trailers.
This colorful video features sound artist Charles Cohen improvising on a 1970’s Buchla Music Easel. This extremely rare instrument is one of Don Buchla’s 200 series. Buchla (a pioneer of audio synthesis) only manufactured 14 of these units. The entire film was edited from an hour-long set of free improvisation, with audio was taken directly from Charles’ mixing board. All of the photography and editing was produced by Alex Tyson, a sound and video artist from Pennsylvania. The film was shot in 16:9 720p High Definition format, using the Letus35 Extreme and a 35mm LensBaby 3GPL.