hehehe yeah Pixar's going live-action as well... I'm not kidding. If ILM's venturing in CG feature films with Rango as its first project then Pixar's doing the same thing with John Carter.
John Carter (2012) - IMDb
hehehe yeah Pixar's going live-action as well... I'm not kidding. If ILM's venturing in CG feature films with Rango as its first project then Pixar's doing the same thing with John Carter.
John Carter (2012) - IMDb
People have to understand that there's purist animation and commercial animation.
If you have the spare time to do it then do it as you like it to be. Handkey everything, animate on twos, etc.
But if you're being paid by the client to finish the job with a deadline for a product, this falls under commercial animation. You will need all the techniques and technology you have to do the work whether 2D or 3D.
Regarding the article, I agree, mocap is still performance art and no mocap comes out right from the start. They're tweaked and tweaked until it looks right. I think people forget that a lot of classical animations were done by rotoscoping. This is an early form of motion capture but the tech was primitive back then.
@jnom
True... rotos such a pain. they also have this term called matchimation where they match and track 3d elements to the actors... frame by frame. Its good enough to know that most action shots last 3-5 seconds at the most. But if you have to match over 500 frames and multiple subjects... you're in for a long night.
Sa una i always have biased against people in the animation industry that doesn't know how to draw but still is working in animation..hehe!! pretty naive thinking on my part kai muingon jd ko.."pwede man mo manago tanan sa veil of technology..letting the machine do the work for you..pero when everything is stripped to its barest essentials..mugawas ghapon ang bare truth na dli ghapon mo kabaw mo drawing!" pero as years passed i thought..technology is there so why don't we use it..hehehe!!! well no matter how bad or good they are at drawing bsta if they do their job well okay nana..
proof to that is how Jeffrey Katzenberg helped the dying animated feature department at Walt Disney during the 80's-90's..the guy was basically a pencil pusher and his body of work never had a shadow of animation but still he was still one the people behind the resurgence or the 2nd Golden Age of Disney so to they say..though Katzenberg fairly had his share of detractors but i guess no matter how he did it he is still one the people responsible for bring Lion King and the others to the big screen.
kani na part..dli pako ka comment ani kai mutan-aw pako ani later.
well im not well versed with Pixar's inner workings pero sa akoang tan-aw murag kana ilang pag venture into live-action is predominantly money matters..or bacn just to flex some creative muscle...im much more interested in women directors now..i'm a huge fan of Beauty and the Beast and seeing Brenda Chapman being closely involved in Pixar's up and coming "Brave" i think she will be a good addition to Pixar's ever changing rotation of creative directors and artists..
it's nice to see ILM coming in the animated feature bandwagon..at least naai diversity..and of course para maka flex pd ug creative muscle ang ILM kai puro nlang jd special effects ilaha..not complaining though..pero it's nice to see another side of ILM.
You guys should watch "Waking Sleeping Beauty" it's an awesome documentary documenting the state of Disney animation during the late 70's up to the 90's
a very awesome and enlightening interview..by the ever amazing Michael Barrier..
like Grim Natwick, Fred Kopietz' career also spanned the entire animation history starting from Lantz then to Disney dli lang kaayo ni sya known na animator but he did some good stuff way back..in this interview he recalls his career and the people he met along the way..especially Chuck Jones.
read on!
Fred Kopietz Interview
graphic artist i like..unsay software gamiton?
click for video
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