By [http://ezinearticles.com/?expert=Graham_J_Freer]Graham J Freer
Having the best training in any field of study is very important if you want to be a force to reckoned with in that particular field. Learning during the years has taken different forms which keeps on changing day in and out; also, learning never ends so long as we live which is why acquiring the best of knowledge in what you love to do is very important. Today, one of the world's largest and fast growing industries is the entertainment industry and computer animations is a key factor when it comes to entertainment industries all over the world therefore leading to the increase of individual interest in studying computer animation course.
Have you ever sat behind your television and wished you could be able to use animation software's to create breath-taking cartoons or movies? Well that is how it all starts; the love and interest. Having the love and interest to pursue a particular course is how most people start and are making it today, so do not consider what you are feeling to be trivial, who knows? Computer animation courses are increasingly gaining a lot of attention worldwide due to the availability of jobs on the market for animators as soon as they are done schooling.
Getting a job as an animator in a media organization is relatively easy when you complete your course because; there is high demand for computer animators. Searching for the right school to help in realizing your dream or passion to become a creator of animations can be very difficult because there are so many schools at the moment that run courses, but how can you be sure of their credibility? Before you decide on which school to enroll in, you must go through the schools in your town and shortlist them to a number that have the right training available; yes I said in your town because; you will be able to find out if the school is credible or not if you live some meters or even kilometers around the school which also makes investigation very easy.
Also, going through online search engines to find the best online school to pursue your diploma, advanced diploma, degree or even masters in computer animation is possible but great care is supposed to be taken when doing this due to the level of high fraudulent activities these days. Some computer animation courses include sound design, game production, modeling and many more. Also, considering the cost involved in computer animation training is very important. Getting a school who will charge very affordable fees is something you shouldn't look out for because you might regret it. Tuition fees for computer animation course can be very expensive due to the availability of jobs on the market for computer animators but you can also find good schools that charge fairly reasonable tuition.
Computer animation can be very exciting but difficult at the same time but the outcome of your animation makes a great difference.
Depending on how much interest and drive you have will determine whether or not you make a good animator or a brilliant one. Having the correct guidance in the beginning will help with your determination and skill level once you can see you are making progress this will give you the confidence to carry on and further your chosen career. Remember you will only advance to the next level if you are prepared to accept the lows as well as the highs and learn from the lows. Start as you mean to go on and visit http://3d-computer-animation-software.com and start your course with IllusionMage.
Article Source: [http://EzineArticles.com/?Computer-Animation-Courses&id=6658343] Computer Animation Courses
Friday, December 30, 2011
Wednesday, December 28, 2011
The Top 5 Disney Villains
By [http://ezinearticles.com/?expert=Richard_T_Skidmore]Richard T Skidmore
Throughout the history of fairy-tale storytelling, every hero and heroine has had an antagonist, nemesis or arch-rival. A strong willed and good natured character that saves the day has to have an opponent which embodies all the negative traits that divide them.
Whether this divide is in the form of pure evil versus good or simply two characters with different goals, Disney know how to bring the epic struggle between good and bad to life. After all, it is the villains which make the heroes and without them the stories just wouldn't be as entertaining.
We'll be taking a look at the Disney villains which stuck in our mind the most, right through our childhood to present day.
5. Mother Gothel
The latest Disney villain to enter the fray, Mother Gothel was a selfish and vain woman who was obsessed with her youthful looks. After finding and hording the power of a magical flower which restored health and living for hundreds of years.
When Mother Gothel discovers that the nearby kingdom had taken the magical plant to save their dying Queen who was about to give birth, she vows to get it back for her own selfish gains.
The flower is used to save the Queen, who subsequently gives birth to a baby with long golden hair, Rapunzel. Little did the King and Queen know that their baby's hair held magical powers, even on the night that Rapunzel was kidnapped by Mother Gothel.
Now, it's bad enough to steal the baby of the King and Queen in order to live forever, but Mother Gothel was so selfish that she raised Rapunzel as her own daughter in a hidden tower so that she could horde the magical power of her hair.
For 18 years Mother Gothel held Rapunzel captive denying her the knowledge that she was the rightful princess to the Kingdom.
4. Cinderella's Stepmother
Cinderella's stepmother, Lady Tremaine, and her stepsisters held Cinderella as their personal servant after her father died when she was still young. Having to wake up early in the morning to toil away all day at the whim of this evil trio all through Cinderella's teens is a strong nomination for the top spot.
Even when Cinderella finishes all her tasks and creates her own ball gown, Lady Tremaine denies her the freedom and destroys the dress.
Even when the glass slipper is being fitted to identify the mysterious girl from the ball, aka Cinderella, Lady Tremaine traps her in the attic and hides away the key. Her pursuit of social advancement and the prospect of having daughters as potential princesses blind her to the fact that she will never achieve her goal. However, she is so determined to follow her delusions that she is even willing to destroy the glass slipper.
3. Cruella De Ville
Cruella de Ville's name says it all; cruel devil. Everyone loves puppies, but Cruella loves them for a very different reason. She is hell bent on kidnapping the cute Dalmatians to use their fur for a new coat, all in the name of fashion. As a spoilt London heiress, Cruella is used to getting her own way and if someone doesn't comply to her wishes, she will calculate and plan their demise.
Of course she won't get her hands dirty, so instead, she has her loyal yet somewhat dim-witted henchmen to carry out her evil wishes.
The imagery of Cruella De Ville is notorious and is the subject of many Halloween fancy dress parties. Her stick thin figure sports a black dress and a huge fur coat displaying all the characteristics of a slave to fashion. Never seen without her cigarette holder and her signature monochrome hair-cut, the Dalmatian puppies were her last obsession before being bested.
2. Maleficent
Another villains name which sounds as evil as the person it embodies, Maleficent was portrayed as pure evil with no room for remorse or mercy.
When the King and Queen hold a party in the castle to celebrate Aurora, the baby princesses christening, Maleficent materialises and curses the family for not being invited. This curse would see to it that Princess Aurora would prick her finger on a spindle before her sixteenth birthday and requires the three fairy god mothers to help thwart Maleficent's evil plan.
With powerful magic at her disposal, Maleficent is a force not to be reckoned with, shapeshifting at a whim and even turning into a huge dragon when things really start to get serious. Maleficent is so evil that she was ranked number 1 in the official top 30 Disney Villains countdown.
1. Scar
Anyone who has seen the Lion King will never forget that tragic scene in the canyon after the wildebeest stampede. This scenario was masterminded by one of the most ruthless and evil Disney characters of all time.
Scar was so determined to become king that he was even willing to kill his own brother and heir to the throne and side with the resented hyenas to get his own way. When he finally gets his wish, pride rock, the home of the lions, turns into a desolate wasteland, forcing the lions to fight back in order to restore 'the circle of life'.
Scar kept his secret quiet up until his last moments when challenged by the returning Simba, but so convincing was his lie, he even had Simba believe that it was his fault for his father's death.
Jeremy Irons provides the voice talent and really puts venom behind the words, bringing the character to life. Scar was so well realised that so many people love to hate him or just plain love him!
Richard Skidmore
FloridaTix - Online Marketing Manager
Since 1996 FloridaTix has been the UK's leading supplier for [http://www.floridatix.co.uk]Disney tickets, Universal tickets and many more [http://www.floridatix.co.uk]Orlando attractions. We are an authorised broker of all attractions, theme parks, shows and sightseeing tours offered on this site so we can guarantee you the best possible holiday experience at the best possible price.
Article Source: [http://EzineArticles.com/?The-Top-5-Disney-Villains&id=6660446] The Top 5 Disney Villains
Throughout the history of fairy-tale storytelling, every hero and heroine has had an antagonist, nemesis or arch-rival. A strong willed and good natured character that saves the day has to have an opponent which embodies all the negative traits that divide them.
Whether this divide is in the form of pure evil versus good or simply two characters with different goals, Disney know how to bring the epic struggle between good and bad to life. After all, it is the villains which make the heroes and without them the stories just wouldn't be as entertaining.
We'll be taking a look at the Disney villains which stuck in our mind the most, right through our childhood to present day.
5. Mother Gothel
The latest Disney villain to enter the fray, Mother Gothel was a selfish and vain woman who was obsessed with her youthful looks. After finding and hording the power of a magical flower which restored health and living for hundreds of years.
When Mother Gothel discovers that the nearby kingdom had taken the magical plant to save their dying Queen who was about to give birth, she vows to get it back for her own selfish gains.
The flower is used to save the Queen, who subsequently gives birth to a baby with long golden hair, Rapunzel. Little did the King and Queen know that their baby's hair held magical powers, even on the night that Rapunzel was kidnapped by Mother Gothel.
Now, it's bad enough to steal the baby of the King and Queen in order to live forever, but Mother Gothel was so selfish that she raised Rapunzel as her own daughter in a hidden tower so that she could horde the magical power of her hair.
For 18 years Mother Gothel held Rapunzel captive denying her the knowledge that she was the rightful princess to the Kingdom.
4. Cinderella's Stepmother
Cinderella's stepmother, Lady Tremaine, and her stepsisters held Cinderella as their personal servant after her father died when she was still young. Having to wake up early in the morning to toil away all day at the whim of this evil trio all through Cinderella's teens is a strong nomination for the top spot.
Even when Cinderella finishes all her tasks and creates her own ball gown, Lady Tremaine denies her the freedom and destroys the dress.
Even when the glass slipper is being fitted to identify the mysterious girl from the ball, aka Cinderella, Lady Tremaine traps her in the attic and hides away the key. Her pursuit of social advancement and the prospect of having daughters as potential princesses blind her to the fact that she will never achieve her goal. However, she is so determined to follow her delusions that she is even willing to destroy the glass slipper.
3. Cruella De Ville
Cruella de Ville's name says it all; cruel devil. Everyone loves puppies, but Cruella loves them for a very different reason. She is hell bent on kidnapping the cute Dalmatians to use their fur for a new coat, all in the name of fashion. As a spoilt London heiress, Cruella is used to getting her own way and if someone doesn't comply to her wishes, she will calculate and plan their demise.
Of course she won't get her hands dirty, so instead, she has her loyal yet somewhat dim-witted henchmen to carry out her evil wishes.
The imagery of Cruella De Ville is notorious and is the subject of many Halloween fancy dress parties. Her stick thin figure sports a black dress and a huge fur coat displaying all the characteristics of a slave to fashion. Never seen without her cigarette holder and her signature monochrome hair-cut, the Dalmatian puppies were her last obsession before being bested.
2. Maleficent
Another villains name which sounds as evil as the person it embodies, Maleficent was portrayed as pure evil with no room for remorse or mercy.
When the King and Queen hold a party in the castle to celebrate Aurora, the baby princesses christening, Maleficent materialises and curses the family for not being invited. This curse would see to it that Princess Aurora would prick her finger on a spindle before her sixteenth birthday and requires the three fairy god mothers to help thwart Maleficent's evil plan.
With powerful magic at her disposal, Maleficent is a force not to be reckoned with, shapeshifting at a whim and even turning into a huge dragon when things really start to get serious. Maleficent is so evil that she was ranked number 1 in the official top 30 Disney Villains countdown.
1. Scar
Anyone who has seen the Lion King will never forget that tragic scene in the canyon after the wildebeest stampede. This scenario was masterminded by one of the most ruthless and evil Disney characters of all time.
Scar was so determined to become king that he was even willing to kill his own brother and heir to the throne and side with the resented hyenas to get his own way. When he finally gets his wish, pride rock, the home of the lions, turns into a desolate wasteland, forcing the lions to fight back in order to restore 'the circle of life'.
Scar kept his secret quiet up until his last moments when challenged by the returning Simba, but so convincing was his lie, he even had Simba believe that it was his fault for his father's death.
Jeremy Irons provides the voice talent and really puts venom behind the words, bringing the character to life. Scar was so well realised that so many people love to hate him or just plain love him!
Richard Skidmore
FloridaTix - Online Marketing Manager
Since 1996 FloridaTix has been the UK's leading supplier for [http://www.floridatix.co.uk]Disney tickets, Universal tickets and many more [http://www.floridatix.co.uk]Orlando attractions. We are an authorised broker of all attractions, theme parks, shows and sightseeing tours offered on this site so we can guarantee you the best possible holiday experience at the best possible price.
Article Source: [http://EzineArticles.com/?The-Top-5-Disney-Villains&id=6660446] The Top 5 Disney Villains
Monday, December 26, 2011
The Disney Revival
By [http://ezinearticles.com/?expert=Richard_T_Skidmore]Richard T Skidmore
There's a few whispers among Disney fans that a second renaissance is on its way. What was seen in the 1980's with the rise in popularity for their animated films, after a troubled period for the studio, can be seen happening again today. Many Disney fans have dubbed this period the Disney Revival.
What does this mean and how did it happen before? After Walt Disney's death in the late 1960's, the studio suffered a loss of leadership and subsequently the quality of movies began to fall. There was tension with the employees and many of them left the company, including Don Bluth, a well-respected animator and director who moved on to create his own film production studio with other ex-Disney animators.
This was rubbing salt into the wounds of Disney's continued line of lacklustre productions which paled in comparison to their classics such as Snow White and Bambi. Moreover, their movies could not compete with Don Bluth's productions. There needed to be a change in management and leadership which came in the form of Michael Eisner, becoming Disney's CEO in 1984.
The formula for Disney movies was about to change with the release of The Little Mermaid in 1988. Howard Ashman and Alan Menken worked on the music for the movie which incorporated a Broadway style, while the style of the animation changed. This marked the start of the Disney Renaissance.
The Little Mermaid was a critical and commercial success and Disney had found a winning formula for popular animated films, going on to produce memorable films such as Beauty and the Beast, Aladdin and The Lion King.
This renaissance era came to an end with the release of Tarzan in 1999. Disney would now face new competition from young studios such as Pixar and Dreamworks, which produced CG animated films such as Toy Story and Shrek. These films were like nothing anyone had seen before and it was clear that as we entered a new century, animation style was changing.
The public's taste was beginning to change and Disney studios began to recognise this. With the exception of the Princess and the Frog, which was a traditional hand drawn animation, Disney released a series of CG animated films including Chicken Little, Bolt and the more recent Tangled.
This wasn't the main reason for the Disney Revival however. What set Disney out from other studios was its ability to tell a classic fairy-tale combined with a Broadway musical style score. This was something that had been forgotten in the late 90's and earlier 2000's, but has now been realised once again.
The critically acclaimed releases of The Princess and the Frog and Tangled have begun rumours amongst many Disney fanatics that a second renaissance is here as we see the return of princesses, princes, villains and catchy tunes. It's early to conclude yet, but if Disney continue to release critically acclaimed films which revert back to their signature formula, we could well indeed see a second renaissance.
Richard Skidmore
FloridaTix - Online Marketing Manager
Since 1996 FloridaTix has been the UK's leading supplier for Disney tickets, [http://www.floridatix.co.uk/universal-orlando.aspx]Universal tickets and many more [http://www.floridatix.co.uk]Orlando attractions. We are an authorised broker of all attractions, theme parks, shows and sightseeing tours offered on this site so we can guarantee you the best possible holiday experience at the best possible price.
Article Source: [http://EzineArticles.com/?The-Disney-Revival&id=6667999] The Disney Revival
There's a few whispers among Disney fans that a second renaissance is on its way. What was seen in the 1980's with the rise in popularity for their animated films, after a troubled period for the studio, can be seen happening again today. Many Disney fans have dubbed this period the Disney Revival.
What does this mean and how did it happen before? After Walt Disney's death in the late 1960's, the studio suffered a loss of leadership and subsequently the quality of movies began to fall. There was tension with the employees and many of them left the company, including Don Bluth, a well-respected animator and director who moved on to create his own film production studio with other ex-Disney animators.
This was rubbing salt into the wounds of Disney's continued line of lacklustre productions which paled in comparison to their classics such as Snow White and Bambi. Moreover, their movies could not compete with Don Bluth's productions. There needed to be a change in management and leadership which came in the form of Michael Eisner, becoming Disney's CEO in 1984.
The formula for Disney movies was about to change with the release of The Little Mermaid in 1988. Howard Ashman and Alan Menken worked on the music for the movie which incorporated a Broadway style, while the style of the animation changed. This marked the start of the Disney Renaissance.
The Little Mermaid was a critical and commercial success and Disney had found a winning formula for popular animated films, going on to produce memorable films such as Beauty and the Beast, Aladdin and The Lion King.
This renaissance era came to an end with the release of Tarzan in 1999. Disney would now face new competition from young studios such as Pixar and Dreamworks, which produced CG animated films such as Toy Story and Shrek. These films were like nothing anyone had seen before and it was clear that as we entered a new century, animation style was changing.
The public's taste was beginning to change and Disney studios began to recognise this. With the exception of the Princess and the Frog, which was a traditional hand drawn animation, Disney released a series of CG animated films including Chicken Little, Bolt and the more recent Tangled.
This wasn't the main reason for the Disney Revival however. What set Disney out from other studios was its ability to tell a classic fairy-tale combined with a Broadway musical style score. This was something that had been forgotten in the late 90's and earlier 2000's, but has now been realised once again.
The critically acclaimed releases of The Princess and the Frog and Tangled have begun rumours amongst many Disney fanatics that a second renaissance is here as we see the return of princesses, princes, villains and catchy tunes. It's early to conclude yet, but if Disney continue to release critically acclaimed films which revert back to their signature formula, we could well indeed see a second renaissance.
Richard Skidmore
FloridaTix - Online Marketing Manager
Since 1996 FloridaTix has been the UK's leading supplier for Disney tickets, [http://www.floridatix.co.uk/universal-orlando.aspx]Universal tickets and many more [http://www.floridatix.co.uk]Orlando attractions. We are an authorised broker of all attractions, theme parks, shows and sightseeing tours offered on this site so we can guarantee you the best possible holiday experience at the best possible price.
Article Source: [http://EzineArticles.com/?The-Disney-Revival&id=6667999] The Disney Revival
Saturday, December 24, 2011
Otaku Culture: What Is an Otaku and What Do They Do?
By [http://ezinearticles.com/?expert=Chiaki_Shiraishi]Chiaki Shiraishi
If you've made it to this article, you're probably wondering what an "otaku" is or you already know and want to know some more about the origin of "otaku." In either case, you've definitely made it to a good starting place to get your information.
The word "otaku" was (and still is) used as a way to say "another's house" in Japanese, but has recently taken on a different twist that changes its meaning to "geek" or "nerd" when used to describe a person. Although it can apply to nearly anyone that has an intense interest in a particular hobby (let's say a person that really loves to collect rocks and practically has a dedicated shrine to their collection in their house), the word "otaku" is generally applied to those that are deeply entrenched in anime and manga culture. This is especially true outside of Japan's borders where "otaku" is usually only known as a person that loves anime and manga.
The difference between how the Japanese use the term "otaku" and how others use the word only captures a portion of the picture though. When comparing the two usages, the Japanese usage of "otaku" has more negative connotations than, say, an American's usage of the word. This is because of the specific histories that are associated with otaku in Japan where negative events and/or tragedies were blamed on the person's interest in anime or manga. This has resulted in the Japanese society frowning about anything associated with anime or manga at various points within the last few decades.
On the other hand, being an otaku outside of Japan is looked upon somewhat differently. If you're an otaku in a different country, then the term "otaku" does not have as much of a stigma attached to it because the people around you wouldn't know the specific histories attached to the word "otaku" like it does in its native country of Japan. Because of that, it's generally a term that's used within the fandom to refer to themselves or those similar to them (where "otaku" is still usually used when the person in question watches anime as each season comes out, reads manga as each chapter is released, collects figurines, buys DVDs of their favorite anime series, and has posters of various anime or manga characters). And even then, there's a divide as to whether or not a fan in a different country will label themselves as "otaku." This is because anime and manga fans that are aware of the negative connotations of "otaku" in Japan are wary of labeling themselves as such. Even with oceans separating them from Japan, there are many fans that don't want others to think that they are associated with the people who committed crimes and just happened to have an interest in anime and manga.
Regardless of the slight negative connotations of the word, there are still numerous anime and manga fans that will proudly call themselves "otaku" (at least outside of Japan). They're not afraid to talk in public about the latest episode of Bleach or Naruto that came out, or ask if someone has downloaded any anime from the current season so that they can watch it. They'll sketch doodles of anime and manga style and post them on sites such as deviantART. Some will even attempt to make their own anime or manga through the use of programs such as Anime Studio or Manga Studio. It's a fandom that's close-knit and allows anyone to make friends simply by asking if they enjoy a certain show.
Chiaki Shiraishi is a lover of travel and exploring new cultures. After visiting Japan, she couldn't resist the pop culture that was so prominent in the capital of Tokyo. She found the differences in how otaku are viewed in Japan versus her home country (America) striking and asked her traveling companions from other countries what it was like in their home countries. This inspired her to delve more into the subject to find out more, resulting in this article about anime and manga fans.
Chiaki Shiraishi also writes a couple different blogs. One that explores various sites and items/services found on the web ( http://explorenzie.blogspot.com/ ) and another that will portray the life of two friends through 4-panel comics and commentary ( http://butoku2011.blogspot.com/ ).
Article Source: [http://EzineArticles.com/?Otaku-Culture:-What-Is-an-Otaku-and-What-Do-They-Do?&id=6647716] Otaku Culture: What Is an Otaku and What Do They Do?
If you've made it to this article, you're probably wondering what an "otaku" is or you already know and want to know some more about the origin of "otaku." In either case, you've definitely made it to a good starting place to get your information.
The word "otaku" was (and still is) used as a way to say "another's house" in Japanese, but has recently taken on a different twist that changes its meaning to "geek" or "nerd" when used to describe a person. Although it can apply to nearly anyone that has an intense interest in a particular hobby (let's say a person that really loves to collect rocks and practically has a dedicated shrine to their collection in their house), the word "otaku" is generally applied to those that are deeply entrenched in anime and manga culture. This is especially true outside of Japan's borders where "otaku" is usually only known as a person that loves anime and manga.
The difference between how the Japanese use the term "otaku" and how others use the word only captures a portion of the picture though. When comparing the two usages, the Japanese usage of "otaku" has more negative connotations than, say, an American's usage of the word. This is because of the specific histories that are associated with otaku in Japan where negative events and/or tragedies were blamed on the person's interest in anime or manga. This has resulted in the Japanese society frowning about anything associated with anime or manga at various points within the last few decades.
On the other hand, being an otaku outside of Japan is looked upon somewhat differently. If you're an otaku in a different country, then the term "otaku" does not have as much of a stigma attached to it because the people around you wouldn't know the specific histories attached to the word "otaku" like it does in its native country of Japan. Because of that, it's generally a term that's used within the fandom to refer to themselves or those similar to them (where "otaku" is still usually used when the person in question watches anime as each season comes out, reads manga as each chapter is released, collects figurines, buys DVDs of their favorite anime series, and has posters of various anime or manga characters). And even then, there's a divide as to whether or not a fan in a different country will label themselves as "otaku." This is because anime and manga fans that are aware of the negative connotations of "otaku" in Japan are wary of labeling themselves as such. Even with oceans separating them from Japan, there are many fans that don't want others to think that they are associated with the people who committed crimes and just happened to have an interest in anime and manga.
Regardless of the slight negative connotations of the word, there are still numerous anime and manga fans that will proudly call themselves "otaku" (at least outside of Japan). They're not afraid to talk in public about the latest episode of Bleach or Naruto that came out, or ask if someone has downloaded any anime from the current season so that they can watch it. They'll sketch doodles of anime and manga style and post them on sites such as deviantART. Some will even attempt to make their own anime or manga through the use of programs such as Anime Studio or Manga Studio. It's a fandom that's close-knit and allows anyone to make friends simply by asking if they enjoy a certain show.
Chiaki Shiraishi is a lover of travel and exploring new cultures. After visiting Japan, she couldn't resist the pop culture that was so prominent in the capital of Tokyo. She found the differences in how otaku are viewed in Japan versus her home country (America) striking and asked her traveling companions from other countries what it was like in their home countries. This inspired her to delve more into the subject to find out more, resulting in this article about anime and manga fans.
Chiaki Shiraishi also writes a couple different blogs. One that explores various sites and items/services found on the web ( http://explorenzie.blogspot.com/ ) and another that will portray the life of two friends through 4-panel comics and commentary ( http://butoku2011.blogspot.com/ ).
Article Source: [http://EzineArticles.com/?Otaku-Culture:-What-Is-an-Otaku-and-What-Do-They-Do?&id=6647716] Otaku Culture: What Is an Otaku and What Do They Do?
Thursday, December 22, 2011
What Is Anime Based On?
By [http://ezinearticles.com/?expert=Cole_D_Vander_Pas]Cole D Vander Pas
Anime is most commonly based off of a manga, which is basically the Japanese word for comics. Usually when people call something manga they mean that it was made in Japan. Some people prefer manga over anime and vice-versa but the two are usually quite closely related to one another, if not directly following one another, although in almost all cases the manga comes first before the anime. Unfortunately I am not a fan of the genre so I don't have much expertise in reading it, of course with my love for anime I have given manga a chance here and there but it will never be as good as anime to me. Manga is becoming increasingly popular in many parts of the world including the United States. Manga often comes in magazines that will include a few chapters of several different series, some daily, some weekly, and some even more spread out or even produced randomly. While not all anime is based on manga, I would venture to say that at least 90% of them are. It is not uncommon for an anime to be produced at the same time as the manga it is following, however this often leads to the anime catching up to the manga too quickly which forces the anime creators to either go on a hiatus or create 'filler' episodes that have no real connection to the overall storyline. One problem that this creates for fans of anime but not manga is that the manga is always ahead, thus the people who read it will know what is going to happen before the anime viewers will, one of the many reasons I have almost always avoided anime discussion forums is because of the spoilers that manga readers inadvertently blurt out and may ruin months of anime viewing for me.
That's not all though, anime is also very commonly based on video games, and some even have entire franchises of video games based on the anime. One of the best examples I can think of for this is Star Ocean: EX, the anime almost follows the games storyline and cinematic perfectly, some people may not realize how powerful of storylines some video games have within them, and to have the entire thing presented to you visually can really be quite stunning. Some other great current examples of games turned anime are Final Fantasy VII: Advent Children, Valkyria Chronicles, Gungrave, Devil May Cry, Pok�mon, Sonic the Hedgehog, Street Fighter, and many more. It was actually a misconception of mine for the longest period of time that the Pokemon anime came before the games, it wasn't until about five years later that I realized how wrong I was. Those are just a select few that were in many cases beloved video games of my childhood that left me wanting more, having an anime to watch that continues or gives me more plot and story is always a beautiful thing. A full listing of anime based on video games is kept up-to-date on Wikipedia, the link is provided. rel=nofollow http://en.wikipedia.org/wiki/List_of_anime_based_on_video_games
Of course, some anime are even original creations, these however require far more work than simply taking comic strips and animating them together (not a proper explanation of the manga to anime transformation but the gist of it). Original creations require, at least in my opinion, a truly visionary person to create them. OVA's, or original video animations, while sometimes based solely off an anime of the same name but created by another animation organization, are the most commonly seen forms of original anime content. Most OVA's are short in length ranging from one to five episodes each, but then again in some specific cases there are others that are anywhere from 10-100+ episodes in length, obviously this is a factor of how much time and work goes into them. Currently I am following two anime OVA series that are around ten episodes each in length but rather than weekly episodes they only release about one episode every six months, that's right I said six months between episodes. Obviously this sounds like a pain, but many OVA are considered to be better than their parent story anime by a large amount of the anime viewing public.
Not surprisingly some anime even evolves one step further into having a live-action movie or series made based on it. Many of the more popular anime have spawned off live-action creations such as Gantz, Dragon Ball, Detective Conan, Cowboy Bebop, and Great Teacher Onizuka. While the success of these live-action movies hasn't been spectacular, it is quite a different watch and gives you a better look into the capabilities that anime has over what special effects can do for a movie. Having seen the live-action Dragon Ball, Detective Conan and Great Teacher Onizuka movies and other specials, I must say that I was quite disappointed with them, but mainly due to bad acting and low budgets. Earlier I mentioned the Cowboy Bebop live-action movie, which is still in development at this point, but looks promising with The Matrix star Keanu Reaves playing the main character Spike Spiegel, that alone puts it over the seemingly random set of actors I have seen in other live-action things. Hopefully Cowboy Bebop does well in American markets so we see more big name actors starring in live-action anime based movies, it's my belief that things are leaning that way since I've noticed an increase in actors like Tina Fey, Matt Damon, Andy Richter, and Will Arnett amongst many others doing the voice-overs for major anime movies (usually the ones made my Studio Ghibli) in an attempt to bring a wider American audience to anime. I actually watched one of Studio Ghibli's movies recently, Ponyo on the cliff by the sea, in English and was overjoyed when I was able to recognize popular television and movie actors voices, however that movie is packed with stars including Tina Fey, Matt Damon, Liam Neeson, Betty White and many others, which was very unlike the usual one or two actors you may recognize.
Article Source: [http://EzineArticles.com/?What-Is-Anime-Based-On?&id=6679379] What Is Anime Based On?
Anime is most commonly based off of a manga, which is basically the Japanese word for comics. Usually when people call something manga they mean that it was made in Japan. Some people prefer manga over anime and vice-versa but the two are usually quite closely related to one another, if not directly following one another, although in almost all cases the manga comes first before the anime. Unfortunately I am not a fan of the genre so I don't have much expertise in reading it, of course with my love for anime I have given manga a chance here and there but it will never be as good as anime to me. Manga is becoming increasingly popular in many parts of the world including the United States. Manga often comes in magazines that will include a few chapters of several different series, some daily, some weekly, and some even more spread out or even produced randomly. While not all anime is based on manga, I would venture to say that at least 90% of them are. It is not uncommon for an anime to be produced at the same time as the manga it is following, however this often leads to the anime catching up to the manga too quickly which forces the anime creators to either go on a hiatus or create 'filler' episodes that have no real connection to the overall storyline. One problem that this creates for fans of anime but not manga is that the manga is always ahead, thus the people who read it will know what is going to happen before the anime viewers will, one of the many reasons I have almost always avoided anime discussion forums is because of the spoilers that manga readers inadvertently blurt out and may ruin months of anime viewing for me.
That's not all though, anime is also very commonly based on video games, and some even have entire franchises of video games based on the anime. One of the best examples I can think of for this is Star Ocean: EX, the anime almost follows the games storyline and cinematic perfectly, some people may not realize how powerful of storylines some video games have within them, and to have the entire thing presented to you visually can really be quite stunning. Some other great current examples of games turned anime are Final Fantasy VII: Advent Children, Valkyria Chronicles, Gungrave, Devil May Cry, Pok�mon, Sonic the Hedgehog, Street Fighter, and many more. It was actually a misconception of mine for the longest period of time that the Pokemon anime came before the games, it wasn't until about five years later that I realized how wrong I was. Those are just a select few that were in many cases beloved video games of my childhood that left me wanting more, having an anime to watch that continues or gives me more plot and story is always a beautiful thing. A full listing of anime based on video games is kept up-to-date on Wikipedia, the link is provided. rel=nofollow http://en.wikipedia.org/wiki/List_of_anime_based_on_video_games
Of course, some anime are even original creations, these however require far more work than simply taking comic strips and animating them together (not a proper explanation of the manga to anime transformation but the gist of it). Original creations require, at least in my opinion, a truly visionary person to create them. OVA's, or original video animations, while sometimes based solely off an anime of the same name but created by another animation organization, are the most commonly seen forms of original anime content. Most OVA's are short in length ranging from one to five episodes each, but then again in some specific cases there are others that are anywhere from 10-100+ episodes in length, obviously this is a factor of how much time and work goes into them. Currently I am following two anime OVA series that are around ten episodes each in length but rather than weekly episodes they only release about one episode every six months, that's right I said six months between episodes. Obviously this sounds like a pain, but many OVA are considered to be better than their parent story anime by a large amount of the anime viewing public.
Not surprisingly some anime even evolves one step further into having a live-action movie or series made based on it. Many of the more popular anime have spawned off live-action creations such as Gantz, Dragon Ball, Detective Conan, Cowboy Bebop, and Great Teacher Onizuka. While the success of these live-action movies hasn't been spectacular, it is quite a different watch and gives you a better look into the capabilities that anime has over what special effects can do for a movie. Having seen the live-action Dragon Ball, Detective Conan and Great Teacher Onizuka movies and other specials, I must say that I was quite disappointed with them, but mainly due to bad acting and low budgets. Earlier I mentioned the Cowboy Bebop live-action movie, which is still in development at this point, but looks promising with The Matrix star Keanu Reaves playing the main character Spike Spiegel, that alone puts it over the seemingly random set of actors I have seen in other live-action things. Hopefully Cowboy Bebop does well in American markets so we see more big name actors starring in live-action anime based movies, it's my belief that things are leaning that way since I've noticed an increase in actors like Tina Fey, Matt Damon, Andy Richter, and Will Arnett amongst many others doing the voice-overs for major anime movies (usually the ones made my Studio Ghibli) in an attempt to bring a wider American audience to anime. I actually watched one of Studio Ghibli's movies recently, Ponyo on the cliff by the sea, in English and was overjoyed when I was able to recognize popular television and movie actors voices, however that movie is packed with stars including Tina Fey, Matt Damon, Liam Neeson, Betty White and many others, which was very unlike the usual one or two actors you may recognize.
Article Source: [http://EzineArticles.com/?What-Is-Anime-Based-On?&id=6679379] What Is Anime Based On?
Tuesday, December 20, 2011
3D Character Animation - Bringing Motion and Emotion to the Arts
By [http://ezinearticles.com/?expert=Daniel_W_Dani]Daniel W Dani
When an animator is asked what drives the passion in their work the most, the answer is always 'bringing the characters to life'. What other medium allows the artist to not only design and flesh out their own creations, but have them move and interact with a world of their own? Or give them the chance to add fantastic creatures to real footage, as if they were real themselves? With possibilities stretching out endlessly in front of the aspiring creator, the only restriction is his own ability to bring that creation to life.
The first obstacle of the process is how the motion will match the design and detail of the cast. If the leading male has limbs shaped like elbow macaroni, and eyes that take up half his face, then movement will look best when exaggerated and goofy. If he had been modeled realistically, right down to creased knuckles and dilating pupils, then the motions will naturally look better subdued and straight-laced. The average audience member has come to expect certain visual consistencies, so experimenting with these principles should only be done if confusion is the desired effect.
After the style of motion has been pinpointed, the actual 3D character animation work may begin. Now, care must be taken to not only keep to the style, but to keep in mind the limits of the medium as well. When drawing out an animation frame by frame, the pictures have a tendency to vary at least slightly, but this at least adds motion to even the stillest of shots. When a 3D animation project is first set up, the basic scene consists of static objects and environments, and thus has nothing but the motions put into it. If an animator forgets to add motion to the eyebrows when portraying a very expressive character, something is going to be noticeably off to the viewer. Even the most experienced artists go through their work after completion, to make sure that nothing was missed.
Of course, just emulating emotion and expressions is not enough to spark interest in the average viewer. Even if they are not aware of it, the little secondary motions will be what keep their eyes on the screen, and their mind on the shot. Add a lingering swish to a woman's skirt as she turns around, or that flow of motion from shoulder to fingertip as a walking man swings his arms, and the shot will seem that much more natural. Little pieces of realism like that will even help the audience accept more abstract plots, because they will have something concrete to attach the concept to.
This ability of 3D character creators to adapt more difficult concepts into a simpler format has earned the industry quite a bit of professional respect in recent years. After all, it is a lot easier to explain a complicated process through an instructional video than a lengthy, text heavy document. Whether it's converting an employee handbook, or explaining a complex medical procedure, the use of relatable 3D characters interacting with the information further cements the ideas, and drives the concept home on a much deeper level than words alone can deliver. Animation simply presents the vehicle to make this magic possible.
Zco Corporation is an [http://www.zco.com/]App Development Company offering services for [http://www.zco.com/3d-animation-creator-3d-character-animation-services.aspx]3d character animation and 3d character creation.
Article Source: [http://EzineArticles.com/?3D-Character-Animation---Bringing-Motion-and-Emotion-to-the-Arts&id=6680312] 3D Character Animation - Bringing Motion and Emotion to the Arts
When an animator is asked what drives the passion in their work the most, the answer is always 'bringing the characters to life'. What other medium allows the artist to not only design and flesh out their own creations, but have them move and interact with a world of their own? Or give them the chance to add fantastic creatures to real footage, as if they were real themselves? With possibilities stretching out endlessly in front of the aspiring creator, the only restriction is his own ability to bring that creation to life.
The first obstacle of the process is how the motion will match the design and detail of the cast. If the leading male has limbs shaped like elbow macaroni, and eyes that take up half his face, then movement will look best when exaggerated and goofy. If he had been modeled realistically, right down to creased knuckles and dilating pupils, then the motions will naturally look better subdued and straight-laced. The average audience member has come to expect certain visual consistencies, so experimenting with these principles should only be done if confusion is the desired effect.
After the style of motion has been pinpointed, the actual 3D character animation work may begin. Now, care must be taken to not only keep to the style, but to keep in mind the limits of the medium as well. When drawing out an animation frame by frame, the pictures have a tendency to vary at least slightly, but this at least adds motion to even the stillest of shots. When a 3D animation project is first set up, the basic scene consists of static objects and environments, and thus has nothing but the motions put into it. If an animator forgets to add motion to the eyebrows when portraying a very expressive character, something is going to be noticeably off to the viewer. Even the most experienced artists go through their work after completion, to make sure that nothing was missed.
Of course, just emulating emotion and expressions is not enough to spark interest in the average viewer. Even if they are not aware of it, the little secondary motions will be what keep their eyes on the screen, and their mind on the shot. Add a lingering swish to a woman's skirt as she turns around, or that flow of motion from shoulder to fingertip as a walking man swings his arms, and the shot will seem that much more natural. Little pieces of realism like that will even help the audience accept more abstract plots, because they will have something concrete to attach the concept to.
This ability of 3D character creators to adapt more difficult concepts into a simpler format has earned the industry quite a bit of professional respect in recent years. After all, it is a lot easier to explain a complicated process through an instructional video than a lengthy, text heavy document. Whether it's converting an employee handbook, or explaining a complex medical procedure, the use of relatable 3D characters interacting with the information further cements the ideas, and drives the concept home on a much deeper level than words alone can deliver. Animation simply presents the vehicle to make this magic possible.
Zco Corporation is an [http://www.zco.com/]App Development Company offering services for [http://www.zco.com/3d-animation-creator-3d-character-animation-services.aspx]3d character animation and 3d character creation.
Article Source: [http://EzineArticles.com/?3D-Character-Animation---Bringing-Motion-and-Emotion-to-the-Arts&id=6680312] 3D Character Animation - Bringing Motion and Emotion to the Arts
Sunday, December 18, 2011
3D Modeling - Start Your Epic Creation
By [http://ezinearticles.com/?expert=Michael_VK]Michael VK
It may seem scary and complex at first, but to let you in on a little secret you are already a 3D model master! Everyone has created a 3D model before, most likely as a youngster; remember Play-Dough, Model Magic? You were an expert 3D modeler at the age of five and didn't even know it!
So why develop a 3D model? These graphics are used everywhere and for many different purposes. The medical field uses 3D models as an alternative way to view organs. The movie industry uses it to create masterpieces such as Toy Story and Cars. They are also used in video games as well as the architect industry. That is just to name a few. Essentially 3D modeling is used everywhere and it adds a realistic view of an object without it necessarily being real.
What to know about Meshing? Meshing is another term for 3D modeling. These models can be created automatically or manually. The manual process would be more along the lines of sculpting by hand, while the automatic is with devices such as a 3D scanner. Meshing can be categorized into two subjects; solid or shell/boundary. Solid models are a realistic image that shows the figures volume. These models can be more difficult to build and mostly used for CAD systems for the medical and engineering fields. Shell/boundary models show the surface of the image and the boundary of the object. Nearly all visual games and movie models are categorized into shell/boundary.
What is the process of Meshing? There are three popular ways to construct a model; Polygonal, Curve, and Digital Sculpting. These stages consist of shaping the object and the start of bringing it to life. So what representation is best to use for your model? It really all depends on what you are trying to build. Here are a few modeling techniques as well; constructive solid geometry, implicit surfaces, and subdivision surfaces.
What are some programs to uses to get started? There are many different programs that can be purchased to help you build your masterpiece; some of which include, form�Z, Maya, 3DS Max, Blender, Lightwave, Modo. Or an application component can be used such as Shaper, and Lofter in 3DS Max.
Feeling like you need some help getting started? 3CT (3D Catalog Technology) offers 3D model libraries with no expense for people using various CAD programs. TurboSquid is an additional avenue for artists. It is an online market that allows creators to sell their creations.
Remember, you already have what it takes to make a 3D model because you've had the skills since you were a kid, now go create a masterpiece!
Zco Corporation is a [http://www.zco.com/3d-animations.aspx]3D Animation Company offering services for [http://www.zco.com/3d-designing-3d-modeling-and-3d-rigging-services.aspx]3D Modeling and Video Editing.
Article Source: [http://EzineArticles.com/?3D-Modeling---Start-Your-Epic-Creation&id=6680137] 3D Modeling - Start Your Epic Creation
It may seem scary and complex at first, but to let you in on a little secret you are already a 3D model master! Everyone has created a 3D model before, most likely as a youngster; remember Play-Dough, Model Magic? You were an expert 3D modeler at the age of five and didn't even know it!
So why develop a 3D model? These graphics are used everywhere and for many different purposes. The medical field uses 3D models as an alternative way to view organs. The movie industry uses it to create masterpieces such as Toy Story and Cars. They are also used in video games as well as the architect industry. That is just to name a few. Essentially 3D modeling is used everywhere and it adds a realistic view of an object without it necessarily being real.
What to know about Meshing? Meshing is another term for 3D modeling. These models can be created automatically or manually. The manual process would be more along the lines of sculpting by hand, while the automatic is with devices such as a 3D scanner. Meshing can be categorized into two subjects; solid or shell/boundary. Solid models are a realistic image that shows the figures volume. These models can be more difficult to build and mostly used for CAD systems for the medical and engineering fields. Shell/boundary models show the surface of the image and the boundary of the object. Nearly all visual games and movie models are categorized into shell/boundary.
What is the process of Meshing? There are three popular ways to construct a model; Polygonal, Curve, and Digital Sculpting. These stages consist of shaping the object and the start of bringing it to life. So what representation is best to use for your model? It really all depends on what you are trying to build. Here are a few modeling techniques as well; constructive solid geometry, implicit surfaces, and subdivision surfaces.
What are some programs to uses to get started? There are many different programs that can be purchased to help you build your masterpiece; some of which include, form�Z, Maya, 3DS Max, Blender, Lightwave, Modo. Or an application component can be used such as Shaper, and Lofter in 3DS Max.
Feeling like you need some help getting started? 3CT (3D Catalog Technology) offers 3D model libraries with no expense for people using various CAD programs. TurboSquid is an additional avenue for artists. It is an online market that allows creators to sell their creations.
Remember, you already have what it takes to make a 3D model because you've had the skills since you were a kid, now go create a masterpiece!
Zco Corporation is a [http://www.zco.com/3d-animations.aspx]3D Animation Company offering services for [http://www.zco.com/3d-designing-3d-modeling-and-3d-rigging-services.aspx]3D Modeling and Video Editing.
Article Source: [http://EzineArticles.com/?3D-Modeling---Start-Your-Epic-Creation&id=6680137] 3D Modeling - Start Your Epic Creation
Friday, December 16, 2011
The Real World Brought to Life in Character Animation-3D Rigging
By [http://ezinearticles.com/?expert=Michael_VK]Michael VK
The animators are so intricate in each step of 3D character design. Each animator is an expert in his or her own field of design. This expertise includes but is not limited to modeling, texturing, and rigging.
Each part of 3D animation is important because it makes the picture believable. Rigging is very important because it is the part of 3D animation that incorporates real life movements and actions. Another way to look at rigging is skeletal animation. It is the process of building the joints and skeleton of the character.
Rigging is done though 3D computer programs. A computer program is used because of the intricacy of the step, because it is the skeletal system and every bone put into the 3D character used for a specific movement and animating the character.
The Morpher modifier and Skin modifier tools make the beginning steps a breeze. Morpher is used for facial animation and makes the tiny facial features easy to alter. The most difficult part of animating your character is creating morph targets. To create a morph target you must first make a copy of the character you want to morph. It is very important to do so because you don't want to tamper with the original, incase of mistakes. When the copy is made, you can freely move vertices to create different expressions. Give the morph target the appropriate name so there is no confusion when you create other looks and apply it to the character.
To animate the rest of the characters body, you need to add bones for animation of the whole body. The Morpher modifier is only for facial expressions. The next step is to create the skeleton. The basic and easiest way to begin is to look at the character in front view. Add four bones in the body of the character from top to bottom, to give you a starting point in the rigging process. Then you proceed to add the skeletal system for the spine, head, arms, legs, etc.
After the skeleton is complete you proceed to inverse kinematics. In order to complete inverse kinematics efficiently you want to hide the character in order to see all the bones. This step is used when you alter the legs of a character. Inverse kinematics leads into character skinning is where you see how the model responds to the movement of the bones. This is where the skin modifier is used to smooth out the skin while there is movement.
What you have here only scratches the surface of what 3D rigging is capable of. Each step in 3D animation is crucial to the overall design. If you follow theses steps, do additional research and practice your skills, one day you could work as an animator for a large production company.
Zco Corporation is a [http://www.zco.com/3d-animations.aspx]3D Animation Company offering services for [http://www.zco.com/3d-designing-3d-modeling-and-3d-rigging-services.aspx]3D Rigging and Video Editing.
Article Source: [http://EzineArticles.com/?The-Real-World-Brought-to-Life-in-Character-Animation-3D-Rigging&id=6680151] The Real World Brought to Life in Character Animation-3D Rigging
The animators are so intricate in each step of 3D character design. Each animator is an expert in his or her own field of design. This expertise includes but is not limited to modeling, texturing, and rigging.
Each part of 3D animation is important because it makes the picture believable. Rigging is very important because it is the part of 3D animation that incorporates real life movements and actions. Another way to look at rigging is skeletal animation. It is the process of building the joints and skeleton of the character.
Rigging is done though 3D computer programs. A computer program is used because of the intricacy of the step, because it is the skeletal system and every bone put into the 3D character used for a specific movement and animating the character.
The Morpher modifier and Skin modifier tools make the beginning steps a breeze. Morpher is used for facial animation and makes the tiny facial features easy to alter. The most difficult part of animating your character is creating morph targets. To create a morph target you must first make a copy of the character you want to morph. It is very important to do so because you don't want to tamper with the original, incase of mistakes. When the copy is made, you can freely move vertices to create different expressions. Give the morph target the appropriate name so there is no confusion when you create other looks and apply it to the character.
To animate the rest of the characters body, you need to add bones for animation of the whole body. The Morpher modifier is only for facial expressions. The next step is to create the skeleton. The basic and easiest way to begin is to look at the character in front view. Add four bones in the body of the character from top to bottom, to give you a starting point in the rigging process. Then you proceed to add the skeletal system for the spine, head, arms, legs, etc.
After the skeleton is complete you proceed to inverse kinematics. In order to complete inverse kinematics efficiently you want to hide the character in order to see all the bones. This step is used when you alter the legs of a character. Inverse kinematics leads into character skinning is where you see how the model responds to the movement of the bones. This is where the skin modifier is used to smooth out the skin while there is movement.
What you have here only scratches the surface of what 3D rigging is capable of. Each step in 3D animation is crucial to the overall design. If you follow theses steps, do additional research and practice your skills, one day you could work as an animator for a large production company.
Zco Corporation is a [http://www.zco.com/3d-animations.aspx]3D Animation Company offering services for [http://www.zco.com/3d-designing-3d-modeling-and-3d-rigging-services.aspx]3D Rigging and Video Editing.
Article Source: [http://EzineArticles.com/?The-Real-World-Brought-to-Life-in-Character-Animation-3D-Rigging&id=6680151] The Real World Brought to Life in Character Animation-3D Rigging
Wednesday, December 14, 2011
Review for Nodame Cantabile - A Romantic Love Story
By [http://ezinearticles.com/?expert=Ailyn_Koay]Ailyn Koay
Nodame Cantabile is originally a series of Japanese manga drawn by Tomoko Ninomiya. The manga was later turned into an anime and Japanese Drama. While the manga provides a quick story, the anime and Japanese Drama allows the audience to enjoy fully the classical music that is being played.
Noda Megumi prefers to be called Nodame: she was a talented pianist who was able to replay a piano piece even though it was played only once to her. Another talented being in the story was Shinichi Chiaki, who was from a family of talented musicians. Chiaki was listening to a mysterious player's piano playing, he concluded that the piece was played in a messy way but was astounded that the player had every note right, rushing to the piano room, he missed meeting the piano player.
It was by chance that he realized that his neighbor was the piano player he had listened to earlier on, and when he entered the bedroom he was shocked at the sight of mess and smell. Nodame came to worship Chiaki, who was a good violin and piano player. Thus began a story that is funny yet romantic.
There were a few difficulties along the way, mostly was the race between Chiaki and Nodame, they both seemed to be trying to best one another. Chiaki knew that Nodame was talented, so he forced her to become a better piano player; his arrogance caused her to rebel at times. The audience or reader would realize that Nodame worships her senior Chiaki and Chiaki would sometimes felt threatened by the pace of Nodame's improvement.
A few interesting characters were introduced to spice up the story more, but none were actually a real threat to their special relationship. The story focused more on their musical journey more than their feeling, but occasionally Chiaki would melt and showed that he cared deeply about Nodame's happiness.
Their relationship status was the main topic in Nodame Cantabile's movie, where Chiaki had advanced far in his career as a conductor while Nodame struggled to catch up. Unknown to Nodame Chiaki felt afraid that she would surpass him soon. It was when Nodame went missing that Chiaki realized his feelings for her, and why he had been forcing Nodame to become who he wants her to be: a great pianist.
Nodame Cantabile is not written entirely as a romance story, it is also a story about friendship and hard work. The people you meet along the way, the experience you gained are important in life, but we should be careful not to lose sight of what is truly significant to us.
Ailyn Koay is a pharmacist in Adelaide, Australia. She is looking to become a writer, if you are interested in her work please contact [mailto:ailynkoay@gmail.com]ailynkoay@gmail.com.
Article Source: [http://EzineArticles.com/?Review-for-Nodame-Cantabile---A-Romantic-Love-Story&id=6691287] Review for Nodame Cantabile - A Romantic Love Story
Nodame Cantabile is originally a series of Japanese manga drawn by Tomoko Ninomiya. The manga was later turned into an anime and Japanese Drama. While the manga provides a quick story, the anime and Japanese Drama allows the audience to enjoy fully the classical music that is being played.
Noda Megumi prefers to be called Nodame: she was a talented pianist who was able to replay a piano piece even though it was played only once to her. Another talented being in the story was Shinichi Chiaki, who was from a family of talented musicians. Chiaki was listening to a mysterious player's piano playing, he concluded that the piece was played in a messy way but was astounded that the player had every note right, rushing to the piano room, he missed meeting the piano player.
It was by chance that he realized that his neighbor was the piano player he had listened to earlier on, and when he entered the bedroom he was shocked at the sight of mess and smell. Nodame came to worship Chiaki, who was a good violin and piano player. Thus began a story that is funny yet romantic.
There were a few difficulties along the way, mostly was the race between Chiaki and Nodame, they both seemed to be trying to best one another. Chiaki knew that Nodame was talented, so he forced her to become a better piano player; his arrogance caused her to rebel at times. The audience or reader would realize that Nodame worships her senior Chiaki and Chiaki would sometimes felt threatened by the pace of Nodame's improvement.
A few interesting characters were introduced to spice up the story more, but none were actually a real threat to their special relationship. The story focused more on their musical journey more than their feeling, but occasionally Chiaki would melt and showed that he cared deeply about Nodame's happiness.
Their relationship status was the main topic in Nodame Cantabile's movie, where Chiaki had advanced far in his career as a conductor while Nodame struggled to catch up. Unknown to Nodame Chiaki felt afraid that she would surpass him soon. It was when Nodame went missing that Chiaki realized his feelings for her, and why he had been forcing Nodame to become who he wants her to be: a great pianist.
Nodame Cantabile is not written entirely as a romance story, it is also a story about friendship and hard work. The people you meet along the way, the experience you gained are important in life, but we should be careful not to lose sight of what is truly significant to us.
Ailyn Koay is a pharmacist in Adelaide, Australia. She is looking to become a writer, if you are interested in her work please contact [mailto:ailynkoay@gmail.com]ailynkoay@gmail.com.
Article Source: [http://EzineArticles.com/?Review-for-Nodame-Cantabile---A-Romantic-Love-Story&id=6691287] Review for Nodame Cantabile - A Romantic Love Story
Monday, December 12, 2011
3D Animation - Make Better Designs for Your Dime
By [http://ezinearticles.com/?expert=Daniel_W_Dani]Daniel W Dani
Transitioning into the world of 3D animation has been an exciting adventure for many studios across the world. The chance to gain inspiration from a whole new perspective is largely a great gift, but has proven to be slightly problematic for more classic companies. Disney itself came into a minor crisis, due to the fact that Mickey was always drawn with both circular ears visible at all angles, to keep his trademark silhouette. Translating that into a fully dimensional model posed a huge obstacle- whether his ears would now be normally attached to his head, or if a complex solution could be found to keep his ears facing the camera at all times. Of course, there was no way for them to realize this problem when he was first created, but designs created in current times should always be mindful of the process.
Planning in all three dimensions is likely the most challenging part of 3D animation design. Creating turnaround sheets of characters, so they have fleshed out designs from all possible viewing angles, has always been a crucial step in 3d animation production. This ensures the character will look consistent throughout, no matter what pose or position they are in. However, scenery and background objects are often designed from only one angle, so converting a project would involve conceptualizing each component over again.
Of course, there are clear advantages to the medium that can save vast amounts of time and effort. Lighting effects are generated entirely within the program, so no effort is required on the artist's part to figure out which sections of the scene would catch the light, or be cast in shadow. Likewise, the set and characters consist of fully realized models, so shape inconsistencies and coloring errors can be easily avoided.
Another reason to fully plan out the piece in advanced is the fact that not all angles must be accounted for, if the camera is never going to see it. For example, the back of a building can be left blank if only the front entrance will be seen. And while this may seem funny from a real-life perspective, the conservative approach can drastically cut down the time and costs involved in 3d animation production.
That being said, virtually any project possible can be converted into 3D animation. Planning the output from the start simply prevents most design issues from surfacing, and allows for more focused creative thinking. Converting a 2D cartoon concept after it's been fleshed out would be like making a sculpture based off of a painted portrait- The likeness is there, but only in one dimension. The process would have run much more smoothly if the plans were set from the beginning. On top of that, knowing the artistic direction of the piece can often help the creative ideas flow much more easily, and garner even better concepts. Planning for it from the outset could just allow the time to turn a good idea into an enduring masterpiece.
Zco Corporation is an [http://www.zco.com/]App Development Company offering services for [http://www.zco.com/3d-animations.aspx]3D animation.
Article Source: [http://EzineArticles.com/?3D-Animation---Make-Better-Designs-for-Your-Dime&id=6696102] 3D Animation - Make Better Designs for Your Dime
Transitioning into the world of 3D animation has been an exciting adventure for many studios across the world. The chance to gain inspiration from a whole new perspective is largely a great gift, but has proven to be slightly problematic for more classic companies. Disney itself came into a minor crisis, due to the fact that Mickey was always drawn with both circular ears visible at all angles, to keep his trademark silhouette. Translating that into a fully dimensional model posed a huge obstacle- whether his ears would now be normally attached to his head, or if a complex solution could be found to keep his ears facing the camera at all times. Of course, there was no way for them to realize this problem when he was first created, but designs created in current times should always be mindful of the process.
Planning in all three dimensions is likely the most challenging part of 3D animation design. Creating turnaround sheets of characters, so they have fleshed out designs from all possible viewing angles, has always been a crucial step in 3d animation production. This ensures the character will look consistent throughout, no matter what pose or position they are in. However, scenery and background objects are often designed from only one angle, so converting a project would involve conceptualizing each component over again.
Of course, there are clear advantages to the medium that can save vast amounts of time and effort. Lighting effects are generated entirely within the program, so no effort is required on the artist's part to figure out which sections of the scene would catch the light, or be cast in shadow. Likewise, the set and characters consist of fully realized models, so shape inconsistencies and coloring errors can be easily avoided.
Another reason to fully plan out the piece in advanced is the fact that not all angles must be accounted for, if the camera is never going to see it. For example, the back of a building can be left blank if only the front entrance will be seen. And while this may seem funny from a real-life perspective, the conservative approach can drastically cut down the time and costs involved in 3d animation production.
That being said, virtually any project possible can be converted into 3D animation. Planning the output from the start simply prevents most design issues from surfacing, and allows for more focused creative thinking. Converting a 2D cartoon concept after it's been fleshed out would be like making a sculpture based off of a painted portrait- The likeness is there, but only in one dimension. The process would have run much more smoothly if the plans were set from the beginning. On top of that, knowing the artistic direction of the piece can often help the creative ideas flow much more easily, and garner even better concepts. Planning for it from the outset could just allow the time to turn a good idea into an enduring masterpiece.
Zco Corporation is an [http://www.zco.com/]App Development Company offering services for [http://www.zco.com/3d-animations.aspx]3D animation.
Article Source: [http://EzineArticles.com/?3D-Animation---Make-Better-Designs-for-Your-Dime&id=6696102] 3D Animation - Make Better Designs for Your Dime
Saturday, December 10, 2011
How to Get Rich as a Cartoon Animator
By [http://ezinearticles.com/?expert=Neal_R_Warner]Neal R Warner
I was a professional animator and animation director for television series and major motion pictures for thirty years and I was the Instructor of Character Animation for the Freshman class of Cal Arts for a couple of years. As an independent producer of animated films I followed my muse and made award winning* animated music videos. So I have some experience in the Animation Industry.
My students at Cal Arts would occasionally ask how one gets rich as an animator. Back in the Second Golden Age of Animation newspapers reported that Disney animator Glen Keane made a million dollars and the students came to believe this was the going rate. I pointed out that Glen Keane's salary made the news because it was the exception, not the rule. Also, the papers didn't give details. The million could have been a potential if the films he worked on became exceptionally profitable, he might have been given royalties and his million may take the rest of his life to accrue. It made a big impression on the students never the less so I tried to answer their question of how to get rich in animation.
The quick, easy answer is; you don't. Again, Glen Keane was an extremely rare example and very, very few individuals will ever attain his status. He rose to the top of his field when the field was blossoming into what became known as "The Second Golden Age of Animation" and was during the economic boom time of the 1990s. Like the good old times of the Clinton years, the Animation Industry in America is long gone for pen and pencil artists but I did develop a plan to give the students back then that I would still recommend today.
To get rich in the field of Animation one must own a character that becomes a "star". Please notice, I said "own" and not "create" since there is a not too subtle difference. Most of the famous and successful animation legends we remember from our youth did not actually create their signature characters but hired a designer to do it for them. Does anyone remember who actually designed the character of Fred Flintstone for Hanna- Barbera?
First, you need to have a character with "star" potential which means a unique enough concept that is readily identifiable. An example might be my former Cal Arts student's creation for Nickelodeon Studios, Dexter of Dexter's Lab. Take one quick look at him and you can instantly tell he is a "child scientist". Or another student's show, The Power Puff Girls who are super heroes that are in Kindergarten. In both of these cases they took a simple character; a little boy and three little girls, and gave them "jobs" traditionally belonging only to adults; scientist and super heroes. Instantly understandable and funny. It is also extremely important that these characters are of very simple graphic design, easy to animate, easy to recognize at a distance and easy to print onto a Happy Meal cup.
In the world of animated music video, the studio that created Paula Abdul's cartoon costar, MC Scat Kat tried to catapult him into his own cartoon show. The attempt wasn't successful but they had the right idea. More often it's the live action musicians who get their own cartoon shows when turned into animated characters themselves.
Back to the plan. Secondly, don't even try to pitch your new character to animation producers, they pay good money to have employees working in nine to five jobs to come up with show ideas, they're not going to buy one from off the street. The best you'll get is a show that looks amazingly like yours coming out a year after you pitched it and were told, "Thanks, but no thanks."
So, what do you do? You do what a professional would do if you in fact did have a show. You would create merchandise based on your character and sell it as many ways as you could. You could start by publishing a small children's book starring your character, print up copies and give those copies away for free to every daycare center, pediatrician's waiting room, pediatric dentist's waiting room, grammar school library and anywhere young children are given books to share. This way you "test market" your character and when you then take T shirts, other articles of clothing, toys, lunch boxes and whatever other merchandise and products on which you can print your character's likeness to the local children's clothing boutiques you can claim that every kid in the city already knows, and hopefully loves, your character. Of course, you've also included a website address in all the books from which the parents can buy more products directly. With sites like Cafe Press it isn't even necessary to produce these products yourself. It can be done on demand with no up front costs at all.
Sure, beside the talent needed to create your star and write and illustrate his adventures you'll have to bust your hump distributing your freebies, soliciting vendors and collecting whatever moneys are owed to you which is about a half dozen separate full time jobs, but once your character proves his power as a product spokesman, or spokeswoman, or spokesturtle or spokesrabbit or whatever it is, television producers will come to you. Think of a cartoon show as just another revenue stream for your character, and one of the last.
* The Gold Plaque in Music Video from the Chicago International Film Festival
Neal Warner is an artist, writer, filmmaker, member of the multimedia band, The Tooners and founder of Director's Clip, The Internet and Music Video Sponsorship Site ( http://www.directorsclip.com) and Rock & Roll Rehab, For The Control of Rock & Roll ( http://www.rocknrollrehab.com).
Article Source: [http://EzineArticles.com/?How-to-Get-Rich-as-a-Cartoon-Animator&id=6698869] How to Get Rich as a Cartoon Animator
I was a professional animator and animation director for television series and major motion pictures for thirty years and I was the Instructor of Character Animation for the Freshman class of Cal Arts for a couple of years. As an independent producer of animated films I followed my muse and made award winning* animated music videos. So I have some experience in the Animation Industry.
My students at Cal Arts would occasionally ask how one gets rich as an animator. Back in the Second Golden Age of Animation newspapers reported that Disney animator Glen Keane made a million dollars and the students came to believe this was the going rate. I pointed out that Glen Keane's salary made the news because it was the exception, not the rule. Also, the papers didn't give details. The million could have been a potential if the films he worked on became exceptionally profitable, he might have been given royalties and his million may take the rest of his life to accrue. It made a big impression on the students never the less so I tried to answer their question of how to get rich in animation.
The quick, easy answer is; you don't. Again, Glen Keane was an extremely rare example and very, very few individuals will ever attain his status. He rose to the top of his field when the field was blossoming into what became known as "The Second Golden Age of Animation" and was during the economic boom time of the 1990s. Like the good old times of the Clinton years, the Animation Industry in America is long gone for pen and pencil artists but I did develop a plan to give the students back then that I would still recommend today.
To get rich in the field of Animation one must own a character that becomes a "star". Please notice, I said "own" and not "create" since there is a not too subtle difference. Most of the famous and successful animation legends we remember from our youth did not actually create their signature characters but hired a designer to do it for them. Does anyone remember who actually designed the character of Fred Flintstone for Hanna- Barbera?
First, you need to have a character with "star" potential which means a unique enough concept that is readily identifiable. An example might be my former Cal Arts student's creation for Nickelodeon Studios, Dexter of Dexter's Lab. Take one quick look at him and you can instantly tell he is a "child scientist". Or another student's show, The Power Puff Girls who are super heroes that are in Kindergarten. In both of these cases they took a simple character; a little boy and three little girls, and gave them "jobs" traditionally belonging only to adults; scientist and super heroes. Instantly understandable and funny. It is also extremely important that these characters are of very simple graphic design, easy to animate, easy to recognize at a distance and easy to print onto a Happy Meal cup.
In the world of animated music video, the studio that created Paula Abdul's cartoon costar, MC Scat Kat tried to catapult him into his own cartoon show. The attempt wasn't successful but they had the right idea. More often it's the live action musicians who get their own cartoon shows when turned into animated characters themselves.
Back to the plan. Secondly, don't even try to pitch your new character to animation producers, they pay good money to have employees working in nine to five jobs to come up with show ideas, they're not going to buy one from off the street. The best you'll get is a show that looks amazingly like yours coming out a year after you pitched it and were told, "Thanks, but no thanks."
So, what do you do? You do what a professional would do if you in fact did have a show. You would create merchandise based on your character and sell it as many ways as you could. You could start by publishing a small children's book starring your character, print up copies and give those copies away for free to every daycare center, pediatrician's waiting room, pediatric dentist's waiting room, grammar school library and anywhere young children are given books to share. This way you "test market" your character and when you then take T shirts, other articles of clothing, toys, lunch boxes and whatever other merchandise and products on which you can print your character's likeness to the local children's clothing boutiques you can claim that every kid in the city already knows, and hopefully loves, your character. Of course, you've also included a website address in all the books from which the parents can buy more products directly. With sites like Cafe Press it isn't even necessary to produce these products yourself. It can be done on demand with no up front costs at all.
Sure, beside the talent needed to create your star and write and illustrate his adventures you'll have to bust your hump distributing your freebies, soliciting vendors and collecting whatever moneys are owed to you which is about a half dozen separate full time jobs, but once your character proves his power as a product spokesman, or spokeswoman, or spokesturtle or spokesrabbit or whatever it is, television producers will come to you. Think of a cartoon show as just another revenue stream for your character, and one of the last.
* The Gold Plaque in Music Video from the Chicago International Film Festival
Neal Warner is an artist, writer, filmmaker, member of the multimedia band, The Tooners and founder of Director's Clip, The Internet and Music Video Sponsorship Site ( http://www.directorsclip.com) and Rock & Roll Rehab, For The Control of Rock & Roll ( http://www.rocknrollrehab.com).
Article Source: [http://EzineArticles.com/?How-to-Get-Rich-as-a-Cartoon-Animator&id=6698869] How to Get Rich as a Cartoon Animator
Thursday, December 8, 2011
Drawing Cartoon Children Using Correct Proportions
By [http://ezinearticles.com/?expert=Tony_Lord]Tony Lord
When drawing cartoon children, rather than adults, the big differentiator is the proportion of the body to head size ratios. Ok, when drawing real life you need to get these ratios close on, but when drawing cartoons you can exaggerate the differences so the viewer really 'gets it'.
This may sound a bit difficult if you are not familiar with the standard proportions of the human body - and that's true of most budding cartoonists. So, to start with, it helps to understand what the ratios are, and then learn them, so that you can apply an appropriate amount of exaggeration to suit your drawing objective. In this article I'll describe how to measure the proportions and what the different values are for the range of people from babies of one year old thru to full adult.
The ratio measurement starts from the size of the head. That is the distance from the top of the skull to the bottom of the chin with the head held level. This is your basic measurement of a 'head'.
Remember that these are all approximations. We all have seen people with what are called 'long faces' whose heads seem too long for their body. Sometimes you see the opposite, someone with a small head for their size and age, though that is rarer. So what follows describes the average situation.
Also, because you are cartooning, you have a greater freedom to exaggerate; I'll come back to this later.
So, starting from our 'head' size a fully grown adult will be eight heads tall. That dimension, as for all the ones that follow, includes the character's real head!
For a baby the figure is quite different. The figure is around four heads tall overall. Babies are born with heads that are larger in relation to their body. That's because brains grow much less compared to the body as a child grows from a baby to an adult. So, the ratio is an indicator to an observer of the child's age. The closer to the ration of 8:1 then the closer to an adult will be assumed by your viewer.
The following list gives you the realistic proportions for a child as it grows into an adult.
Baby of 1 year of age - Four heads
Confident toddler of three years - Five heads
School starter of five years - Six heads
Senior school starter of eleven years - Seven heads
Adult, say 18 plus, eight heads.
For ages in between just make an estimate based on these landmark figures.
When you are drawing cartoons it helps to exaggerate these differences. So it is quite common and acceptable for a cartoon baby to have an overall height of 2½ 'heads' rather than the official ration of 4. This is quite acceptable as it is the head and face that are normally the more important elements of your cartoon.
Making the cartoon children's heads larger in proportion to the body allows facial expressions to be drawn more clearly and the larger size draws the viewer's attention to those key expressions that can make or break your cartoon.
Claim your free tips about learning to [http://www.draw-a-cartoon.com/how-to-draw-cartoon-children.php]draw cartoon children. The resources Tony provides there have been helping budding cartoonists get up and running for over five years. [http://www.draw-a-cartoon.com/]http://www.draw-a-cartoon.com
Article Source: [http://EzineArticles.com/?Drawing-Cartoon-Children-Using-Correct-Proportions&id=6726916] Drawing Cartoon Children Using Correct Proportions
When drawing cartoon children, rather than adults, the big differentiator is the proportion of the body to head size ratios. Ok, when drawing real life you need to get these ratios close on, but when drawing cartoons you can exaggerate the differences so the viewer really 'gets it'.
This may sound a bit difficult if you are not familiar with the standard proportions of the human body - and that's true of most budding cartoonists. So, to start with, it helps to understand what the ratios are, and then learn them, so that you can apply an appropriate amount of exaggeration to suit your drawing objective. In this article I'll describe how to measure the proportions and what the different values are for the range of people from babies of one year old thru to full adult.
The ratio measurement starts from the size of the head. That is the distance from the top of the skull to the bottom of the chin with the head held level. This is your basic measurement of a 'head'.
Remember that these are all approximations. We all have seen people with what are called 'long faces' whose heads seem too long for their body. Sometimes you see the opposite, someone with a small head for their size and age, though that is rarer. So what follows describes the average situation.
Also, because you are cartooning, you have a greater freedom to exaggerate; I'll come back to this later.
So, starting from our 'head' size a fully grown adult will be eight heads tall. That dimension, as for all the ones that follow, includes the character's real head!
For a baby the figure is quite different. The figure is around four heads tall overall. Babies are born with heads that are larger in relation to their body. That's because brains grow much less compared to the body as a child grows from a baby to an adult. So, the ratio is an indicator to an observer of the child's age. The closer to the ration of 8:1 then the closer to an adult will be assumed by your viewer.
The following list gives you the realistic proportions for a child as it grows into an adult.
Baby of 1 year of age - Four heads
Confident toddler of three years - Five heads
School starter of five years - Six heads
Senior school starter of eleven years - Seven heads
Adult, say 18 plus, eight heads.
For ages in between just make an estimate based on these landmark figures.
When you are drawing cartoons it helps to exaggerate these differences. So it is quite common and acceptable for a cartoon baby to have an overall height of 2½ 'heads' rather than the official ration of 4. This is quite acceptable as it is the head and face that are normally the more important elements of your cartoon.
Making the cartoon children's heads larger in proportion to the body allows facial expressions to be drawn more clearly and the larger size draws the viewer's attention to those key expressions that can make or break your cartoon.
Claim your free tips about learning to [http://www.draw-a-cartoon.com/how-to-draw-cartoon-children.php]draw cartoon children. The resources Tony provides there have been helping budding cartoonists get up and running for over five years. [http://www.draw-a-cartoon.com/]http://www.draw-a-cartoon.com
Article Source: [http://EzineArticles.com/?Drawing-Cartoon-Children-Using-Correct-Proportions&id=6726916] Drawing Cartoon Children Using Correct Proportions
Tuesday, December 6, 2011
Disney's 2013 Animation - The King of the Elves
By [http://ezinearticles.com/?expert=Richard_T_Skidmore]Richard T Skidmore
Disney has had a run of recent successes from its latest films. As the old formula is returned with Disney princesses, Broadway style songs and fairy tales, there are rumours of a Disney Revival, the likes of which we haven't seen since the Disney Renaissance in the later 80s and 90s. It's not surprising therefore, that a lot is riding on their upcoming animation; The King of Elves.
This is another adaptation from a short story by Philip K. Dick, very much like how The Little Mermaid and The Hunchback of Notre-Dame adaptations, but with the signature pinch of Disney. We also see the return of Chris Williams as the director who had worked on the previous Disney film, Bolt.
The film still isn't set for release until the fall of 2013 so there is a lot of speculation on how it will be produced. Will it be 2D or 3D animation? Will it have any celebrity voice talent? The only thing we know at the moment is how the story will unfold, without any spoilers of course.
The original story follows Shadrach Jones, a gas station owner in the fictional town of Derryville, Colorado. Business is quiet as the highway on which he is located has become old and neglected due to it being replaced by a modern interstate highway.
One evening Shadrach happens to stumble across a group of injured elves who have been battling their rivals, the trolls. As a kind-hearted character Shadrach feels compelled to take them in and bring them back to health. Due to this kindness, the Elf King declares Shadrach as the new monarch before his untimely death at the hands of the trolls.
Disney have of course adapted the story and changed it slightly, with the setting on the Mississippi river delta and the main character feeling reluctant about helping the band of elves. However, there is sure to be an exciting adventure which will unfold as the unlikely friends try to escape the evil troll.
We can see already that this has a rel=nofollow [http://www.floridatix.co.uk]Disney vibe written all over it. The question is whether it will have the catchy tunes and sing along melodies woven within it? This is something that was bought back for the blockbusters Princess and the Frog and Tangled, which sparked the rumours of the Disney Revival. However, it doesn't look as if there will be a Disney princess this time round, unless it's an elf.
We also see the return of John Lasseter as the producer, who was the mastermind behind the Pixar studios successes such as Toy Story and Finding Nemo. Lasseter has taken more of a leading roll with Disney studios movies as well as Pixar studios productions and it's clear to see the effect. Let's hope 2013 is a good year for Disney.
Richard Skidmore FloridaTix - Online Marketing Manager
Since 1996 FloridaTix has been the UK's leading supplier for Disney tickets, [http://www.floridatix.co.uk]Universal Studios tickets and many more Florida park tickets. We are an authorised broker of all attractions, theme parks, shows and sightseeing tours offered on this site so we can guarantee you the best possible holiday experience at the best possible price.
Article Source: [http://EzineArticles.com/?Disneys-2013-Animation---The-King-of-the-Elves&id=6728157] Disney's 2013 Animation - The King of the Elves
Disney has had a run of recent successes from its latest films. As the old formula is returned with Disney princesses, Broadway style songs and fairy tales, there are rumours of a Disney Revival, the likes of which we haven't seen since the Disney Renaissance in the later 80s and 90s. It's not surprising therefore, that a lot is riding on their upcoming animation; The King of Elves.
This is another adaptation from a short story by Philip K. Dick, very much like how The Little Mermaid and The Hunchback of Notre-Dame adaptations, but with the signature pinch of Disney. We also see the return of Chris Williams as the director who had worked on the previous Disney film, Bolt.
The film still isn't set for release until the fall of 2013 so there is a lot of speculation on how it will be produced. Will it be 2D or 3D animation? Will it have any celebrity voice talent? The only thing we know at the moment is how the story will unfold, without any spoilers of course.
The original story follows Shadrach Jones, a gas station owner in the fictional town of Derryville, Colorado. Business is quiet as the highway on which he is located has become old and neglected due to it being replaced by a modern interstate highway.
One evening Shadrach happens to stumble across a group of injured elves who have been battling their rivals, the trolls. As a kind-hearted character Shadrach feels compelled to take them in and bring them back to health. Due to this kindness, the Elf King declares Shadrach as the new monarch before his untimely death at the hands of the trolls.
Disney have of course adapted the story and changed it slightly, with the setting on the Mississippi river delta and the main character feeling reluctant about helping the band of elves. However, there is sure to be an exciting adventure which will unfold as the unlikely friends try to escape the evil troll.
We can see already that this has a rel=nofollow [http://www.floridatix.co.uk]Disney vibe written all over it. The question is whether it will have the catchy tunes and sing along melodies woven within it? This is something that was bought back for the blockbusters Princess and the Frog and Tangled, which sparked the rumours of the Disney Revival. However, it doesn't look as if there will be a Disney princess this time round, unless it's an elf.
We also see the return of John Lasseter as the producer, who was the mastermind behind the Pixar studios successes such as Toy Story and Finding Nemo. Lasseter has taken more of a leading roll with Disney studios movies as well as Pixar studios productions and it's clear to see the effect. Let's hope 2013 is a good year for Disney.
Richard Skidmore FloridaTix - Online Marketing Manager
Since 1996 FloridaTix has been the UK's leading supplier for Disney tickets, [http://www.floridatix.co.uk]Universal Studios tickets and many more Florida park tickets. We are an authorised broker of all attractions, theme parks, shows and sightseeing tours offered on this site so we can guarantee you the best possible holiday experience at the best possible price.
Article Source: [http://EzineArticles.com/?Disneys-2013-Animation---The-King-of-the-Elves&id=6728157] Disney's 2013 Animation - The King of the Elves
Sunday, December 4, 2011
How To Time Action For An Animated Film Or Music Video Part 2
By [http://ezinearticles.com/?expert=Neal_R_Warner]Neal R Warner
In timing character movements in animation at 24 frames per second, the industry standard, time is broken down into one second increments. Each second consists of three eight frame sections and each drawing is shot twice and shown for two frames therefore each one second of screen time requires twelve individual drawings for full motion.
Each of the eight frame third of a second is called a "beat" and all three can be estimated by counting "one, one hundred". The fastest, smoothest move that can be done is an eight frame beat. This is because it consists of an main or "extreme" drawing at either end of an action which represents the starting and ending position, a middle or "breakdown" drawing that links the two extremes and a "slow in" and a "slow out" drawing which shows the action smoothly getting up to speed and smoothly slowing into it's final stop position. This requires a total of five individual drawings. To omit one is to have a jerky start or jerky finished to the action. If these beats are designed as smaller units of a larger action, and breaking up a large action into beats makes for better animation, then the slow out drawings may be held until the appropriate place at the end of the total action and there are cases when a jerkiness of an action is desirable. Animation is an art, not a science.
Legendary animation director Chuck Jones once gave a talk to the students of Cal Arts and complained that some studios "over animate". He claimed if you want to pan across a forest to get to a meadow you only need a couple of drawings to do so and to have a spider crawling on its web in the foreground, a flock of geese flying through the sky in the background and a chipmunk scurrying through the underbrush in the mid-ground is completely unnecessary. Most people won't even catch these details and are a waste of time and money he argued. But it all depends on your style of animation and your style of storytelling.
In a Bugs Bunny episode which is a highly stylized comedic cartoon, such details would certainly be out of place and even a distraction but for a more realistic environment, God is in the details. Yes, you may not notice the dew drop rolling down the leaf as the camera pans but subconsciously you will be aware that there is something there that you're missing. Just as a real forest seems alive with animals, birds, insects and even other people when you really can't see beyond the first row of trees, if you animated at least some details into your scene the viewer will get the feeling that there are more dimensions to it than he or she can take in with this amount of limited time with which to see it all.
A Bugs Bunny cartoon is essentially a joke and all that needs is a setup and a punch line. Erroneous detail is detrimental to a joke. But a Disney fairy tale wants to take you to world that's lush and real so having "life" animated into every shot gives that sense of reality and that's why Disney is Disney.
Neal Warner is an artist, writer, filmmaker, member of the multimedia band, The Tooners and founder of Director's Clip, The Internet and Music Video Sponsorship Site ( http://www.directorsclip.com ) and Rock & Roll Rehab, For The Control of Rock & Roll ( http://www.rocknrollrehab.com ).
Article Source: [http://EzineArticles.com/?How-To-Time-Action-For-An-Animated-Film-Or-Music-Video-Part-2&id=6724622] How To Time Action For An Animated Film Or Music Video Part 2
In timing character movements in animation at 24 frames per second, the industry standard, time is broken down into one second increments. Each second consists of three eight frame sections and each drawing is shot twice and shown for two frames therefore each one second of screen time requires twelve individual drawings for full motion.
Each of the eight frame third of a second is called a "beat" and all three can be estimated by counting "one, one hundred". The fastest, smoothest move that can be done is an eight frame beat. This is because it consists of an main or "extreme" drawing at either end of an action which represents the starting and ending position, a middle or "breakdown" drawing that links the two extremes and a "slow in" and a "slow out" drawing which shows the action smoothly getting up to speed and smoothly slowing into it's final stop position. This requires a total of five individual drawings. To omit one is to have a jerky start or jerky finished to the action. If these beats are designed as smaller units of a larger action, and breaking up a large action into beats makes for better animation, then the slow out drawings may be held until the appropriate place at the end of the total action and there are cases when a jerkiness of an action is desirable. Animation is an art, not a science.
Legendary animation director Chuck Jones once gave a talk to the students of Cal Arts and complained that some studios "over animate". He claimed if you want to pan across a forest to get to a meadow you only need a couple of drawings to do so and to have a spider crawling on its web in the foreground, a flock of geese flying through the sky in the background and a chipmunk scurrying through the underbrush in the mid-ground is completely unnecessary. Most people won't even catch these details and are a waste of time and money he argued. But it all depends on your style of animation and your style of storytelling.
In a Bugs Bunny episode which is a highly stylized comedic cartoon, such details would certainly be out of place and even a distraction but for a more realistic environment, God is in the details. Yes, you may not notice the dew drop rolling down the leaf as the camera pans but subconsciously you will be aware that there is something there that you're missing. Just as a real forest seems alive with animals, birds, insects and even other people when you really can't see beyond the first row of trees, if you animated at least some details into your scene the viewer will get the feeling that there are more dimensions to it than he or she can take in with this amount of limited time with which to see it all.
A Bugs Bunny cartoon is essentially a joke and all that needs is a setup and a punch line. Erroneous detail is detrimental to a joke. But a Disney fairy tale wants to take you to world that's lush and real so having "life" animated into every shot gives that sense of reality and that's why Disney is Disney.
Neal Warner is an artist, writer, filmmaker, member of the multimedia band, The Tooners and founder of Director's Clip, The Internet and Music Video Sponsorship Site ( http://www.directorsclip.com ) and Rock & Roll Rehab, For The Control of Rock & Roll ( http://www.rocknrollrehab.com ).
Article Source: [http://EzineArticles.com/?How-To-Time-Action-For-An-Animated-Film-Or-Music-Video-Part-2&id=6724622] How To Time Action For An Animated Film Or Music Video Part 2
Friday, December 2, 2011
How To Time Action For An Animated Film Or Music Video Part 1
By [http://ezinearticles.com/?expert=Neal_R_Warner]Neal R Warner
Whether you're making a classically animated 2D film, an animated music video or a 3D CGI computer animated movie the basics of animation timing remain the same. Up until the animation part of the Animation Industry went overseas to be produced in the 1980s the directors of animated TV shows did the timing themselves. These directors were former animators who came up through the ranks and learned by trial and error how animation timing worked.
Everyone has their own individual style of timing such as they have their own individual drawing style and the work of directors such as Chuck Jones and Tex Avery can be spotted based on their animation timing alone. Some directors have a manic style, some employ the fast over slow technique of having a character move very little until all hell breaks loose, some work in limited animation which means limited motion and some have a very fluid and lifelike style. All of these styles developed from animators trying out different things to discover what worked for them and what didn't.
As the drawing of animation was sent, for financial reasons, to overseas artists the animating directors were retired so that less experienced and expensive new employees could be brought up. Once the designation "Director" got assigned to the storyboard artists who had no experience in making the characters move a new way to estimate a character's action had to be devised. Thus was born the "Animatic".
Animatics had been around forever and were used to give an idea of the overall pacing of a film. They are essentially the storyboard filmed frame by frame in loose sync with the soundtrack. Unfortunately they do not give an accurate representation of the timing needed. An example is a scene of a man walking up a flight of stairs into the scene, continuing up the stairs and exiting the scene at the top. If the man needs twelve frames of 35 mm film to take one step then with two steps needed to step up into the scene, six more steps to step through the scene and two more steps to exit the scene the character needs to take a total of ten steps or 120 frames. 35 mm film runs at a rate of 24 frames per second which is standard even for computer generated animation so our guy needs at least five seconds of screen time to do the action called for on the storyboard. However, the storyboard only has two panels to indicate this action; one showing the man starting up into scene and one showing him exit. Arrows drawn on the panels indicate he is coming in from off screen and that he is to exit completely before the scene cuts.
Now the director times out the animatic and because two panels are boring to look at, surely two seconds of screen time will suffice. After all, looking at these two frames for even two seconds seems a long time. But in the animatic the character isn't moving and as we've already decided, we need at least five seconds to get in all the action we require. Therefore, animatics are highly ineffectual tools for doing animation timing unless the director already has a well developed sense of animation time.
Neal Warner is an artist, writer, filmmaker, member of the multimedia band, The Tooners and founder of Director's Clip, The Internet and Music Video Sponsorship Site ( http://www.directorsclip.com ) and Rock & Roll Rehab, For The Control of Rock & Roll ( http://www.rocknrollrehab.com ).
Article Source: [http://EzineArticles.com/?How-To-Time-Action-For-An-Animated-Film-Or-Music-Video-Part-1&id=6724616] How To Time Action For An Animated Film Or Music Video Part 1
Whether you're making a classically animated 2D film, an animated music video or a 3D CGI computer animated movie the basics of animation timing remain the same. Up until the animation part of the Animation Industry went overseas to be produced in the 1980s the directors of animated TV shows did the timing themselves. These directors were former animators who came up through the ranks and learned by trial and error how animation timing worked.
Everyone has their own individual style of timing such as they have their own individual drawing style and the work of directors such as Chuck Jones and Tex Avery can be spotted based on their animation timing alone. Some directors have a manic style, some employ the fast over slow technique of having a character move very little until all hell breaks loose, some work in limited animation which means limited motion and some have a very fluid and lifelike style. All of these styles developed from animators trying out different things to discover what worked for them and what didn't.
As the drawing of animation was sent, for financial reasons, to overseas artists the animating directors were retired so that less experienced and expensive new employees could be brought up. Once the designation "Director" got assigned to the storyboard artists who had no experience in making the characters move a new way to estimate a character's action had to be devised. Thus was born the "Animatic".
Animatics had been around forever and were used to give an idea of the overall pacing of a film. They are essentially the storyboard filmed frame by frame in loose sync with the soundtrack. Unfortunately they do not give an accurate representation of the timing needed. An example is a scene of a man walking up a flight of stairs into the scene, continuing up the stairs and exiting the scene at the top. If the man needs twelve frames of 35 mm film to take one step then with two steps needed to step up into the scene, six more steps to step through the scene and two more steps to exit the scene the character needs to take a total of ten steps or 120 frames. 35 mm film runs at a rate of 24 frames per second which is standard even for computer generated animation so our guy needs at least five seconds of screen time to do the action called for on the storyboard. However, the storyboard only has two panels to indicate this action; one showing the man starting up into scene and one showing him exit. Arrows drawn on the panels indicate he is coming in from off screen and that he is to exit completely before the scene cuts.
Now the director times out the animatic and because two panels are boring to look at, surely two seconds of screen time will suffice. After all, looking at these two frames for even two seconds seems a long time. But in the animatic the character isn't moving and as we've already decided, we need at least five seconds to get in all the action we require. Therefore, animatics are highly ineffectual tools for doing animation timing unless the director already has a well developed sense of animation time.
Neal Warner is an artist, writer, filmmaker, member of the multimedia band, The Tooners and founder of Director's Clip, The Internet and Music Video Sponsorship Site ( http://www.directorsclip.com ) and Rock & Roll Rehab, For The Control of Rock & Roll ( http://www.rocknrollrehab.com ).
Article Source: [http://EzineArticles.com/?How-To-Time-Action-For-An-Animated-Film-Or-Music-Video-Part-1&id=6724616] How To Time Action For An Animated Film Or Music Video Part 1
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