Nouvel An Chinois

 

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Original Force – China

Established in 1999, as one of the pioneer in CG industry of Greater China, We pride ourselves on cinematic quality stereography services. Over the past years, we played important roles in many well-known projects which covered animated TV series, animated feature films, commercials, game trailers. We’re a team of artists, developers, directors and producers as big or as small as you need us to be. With this team that over 900 members and growing daily

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Flux from Filmlight : Designed from the ground up to stream and manage images

 

FLUX comprises a post-production server and a management tool, which, when combined, provide a revolutionary new way to store image assets and build an image factory.

http://www.filmlight.ltd.uk/products/flux/overview_fx.php

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Old Official Art China

 

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Contemporary art China – Cai Guo-Qiang

 

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Contemporary art China – Chen Venlinga

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Satis Exhibition in Paris


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Contemporary art in China – Liu Bolin

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I love Egon Schiele

 

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Filmlight : On-set preview of live camera output with real-time application of LUTs and looks

 

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Jean Béraud

Jean Béraud (1849–1935) is the most famous painter of the Parisian scene at the turn of the 20th-century. He was a friend of Marcel Proust and a contemporary of Manet and Gustave Caillebotte. His most popular canvases depict parisienneswearing their Sunday finery, the literary salons of the artist’s time, and street vendors and humble artisans. There are works by Béraud in the collections of the Musée Carnavalet and the Musée des Arts Décoratifs in Paris and the Metropolitan Museum in New York.

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New Version Bakery Relight software

 

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Do you know Henri-Edmond-Cross ?


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Fête de la Lune – China

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Georges Seurat

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Charles De Meyer – France

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Trimaran – France

 

Making Of the Visual FX for « Mystère au Moulin Rouge » by Stéphane Kappes and Director Stéphane Moatti (Thalie Images et Marathon Productions)

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IlluminaFX – China

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Technicolor and Portrait Displays Move to Standardize Color on Smaller Screens — by Ken Werner


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China Film Market Set To Take Over Hollywood

 

The country already boasts what is claimed to be the largest film studio in the world.

Hengdian is a three-hour flight south of Beijing. Twenty years ago it was a tiny farm village. Now it is bigger than Universal and Paramount Studios combined.

« Forget about Hollywood, here we can have 40 separate productions at the same time, » Zeng YuLin, the spokesman for the studio tells me.

With a guide and a golf buggy, we took a tour of the site. There appears to be no limit to what they are able to create: we drove passed a spectrum of Chinese history from colonial Hong Kong to pre-war Guangzhou all recreated to minute detail.

At the heart of it all is a staggering full-size recreation of Beijing’s Forbidden City. None of the sets are temporary and there seems to be one for every conceivable scene.

In one corner we stumbled across the filming of what appeared to be a key fight scene in a forthcoming war film. Surrounded by extras in outsized costumes was lead actor, Qi Dao.

Immaculately dressed in the uniform of a 1930s policeman, Dao was on his fifteenth take of the morning. In a brief break, he told us about Hengdian.

« It’s getting better every day, » he said. « There’s still a way to go before it is at an international standard like Hollywood. But it is getting better and better. »

He then touched on the one issue that many believe is holding China back: censorship.

« Of course I’d like censorship to loosen up a bit. That would give a bigger space for us artists to create, and to deliver fresh productions to the audience. »

Every TV programme and film that is produced in China is subjected to the censors for approval. The Communist Party’s State Administration of Radio, Film and Television is responsible for checking everything that is filmed.

Anything remotely political is off limits, which explains the somewhat cliched subject matter of everything we saw at Hengdian.

The Japan-bashing war films and Ming period dramas may conform with Communist Party regulations but they only have a limited popularity. That may go some way to explaining why less than 5% of Chinese movies broke even in the first half of 2012.

Zhang Jingkun, a director who works regularly at Hengdian, acknowledges the restrictions but doesn’t belive they have a big impact on domestic production.

« There are restrictions. The policies from different countries are different, » he says.

« Compared to the capitalist system, our socialist system has restrictions on policies. But it doesn’t affect the productions domestically. It’s the different tradition between the east and the west, it takes time to change. It’s a progress. »

The censorship also has an impact on western production houses who want access to the Chinese market. All films shown in China are checked by the censorship department.

Skyfall, the latest Bond film, was released in China in January but only after one plot thread was altered and another scene was cut altogether.

Part of the film is made in Shanghai but one scene in which a Chinese security guard is shot dead in a skyscraper lobby has been removed.

In addition, the Chinese subtitles have been altered to remove any reference in the dialogue to Chinese torture and prostitution.

The threat of censorship has not put foreign production houses off the Chinese market. Foreign films make up 60% of the Chinese box office market.

Chinese producers like Yu Zheng, who is filming a Qin period drama at Hengdian, hopes to offer his work to the world.

« I hope China’s TVs will go to the world. » he says. « English dramas like Downton Abbey, together with a lot of American dramas, draw large audiences in. I hope many of our beautifully produced TV series will develop into the world markets. »

Mark Stone, China Correspondent

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Find out how GrundyUFA have used FLIP and Baselight to save money and time

 

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Chez Eddy – France

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Channel 5 Russia Modernizes News Production with Orad Solutions

Orad is pleased to announce that Russian broadcaster Channel 5 has completed a significant upgrade of its on-air broadcast graphics infrastructure, using Orad’s enterprise graphics solutions. The new Orad-driven graphics production workflow, which will be used for the broadcaster’s independent news channel, consists of the PowerWall video wall solution with interactive graphics and RealSet augmented reality with Xync infrared camera tracking and news graphics. The state-of-the-art installation garnered the attention of the broadcast community, collecting the prestigious TKT 2012 Production Facility of the Year award during the industry’s popular IBC event held in Amsterdam in September 2012.

The landmark installation features Russia’s largest PowerWall video wall installation with 72 high-quality Christie screen displays offering interactive graphics thanks to Orad’s integration with RadarTouch. Orad’s Maestro enterprise news graphic suite integrates with Dalet News Suite, facilitating all of Channel 5’s graphic needs including ingest, authoring, managing, distribution, playout and archiving.

Aleksey Sokolov, Television Technical Center’s director of Channel 5, says: “Upgrading our News Production infrastructure was a very important undertaking, and it was crucial to find a partner who we could rely on 100% for both quality on-air graphics and reliable systems.”

Channel 5 is producing hourly news programs and its popular “Seychas,” (“Now”) “Scene of the Accident,” and “The Chief” programs under the new Orad graphics-driven workflow.

http://www.orad.tv/

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Blue Sky Studios – Usa

To begin the story of Blue Sky – before the lonely bunnies, hungry squirrels, and quirky robots, we have to go back to a time when the idea of a feature film made only with computers wasn’t even an idea.

The year was 1982 and intent on making use of rising computer technology, Disney hired a small computer animation company based in Elmsford, NY named MAGI to create the majority of the CGI animation for the groundbreaking film Tron. MAGI is credited with some of the most memorable sequences in the film, including the classic light cycle sequence. It is here that a few employees met and went on to form the diverse and incredibly gifted group that would found Blue Sky Studios.

In February 1986, six of these innovators sat together in a cramped apartment and fueled only by their determined enthusiasm, decided to pool what little money they had to start their own computer animation company.  These pioneers were Alison Brown, David Brown, Michael Ferraro, Carl Ludwig, Dr. Eugene Troubetzkoy and Chris Wedge.

Each member brought his or her own unique set of skills to the table.  Dr. Eugene Troubetzkoy had a PhD in Theoretical Physics from Columbia and worked as a nuclear physicist to create computer simulations of nuclear particle behavior. He is credited with helping develop the amazing technique for capturing 3D scenes with remarkable realism

called Raytrace rendering.


One of the most important early test renders of Carl and Eugene’s code. The colors and light captured in the reflections on the surface below the objects show how accurate the light simulation really is.Carl Ludwig was an electrical engineer who worked for NASA on the tracking systems of the Apollo mission’s lunar module. Alison Brown came from a marketing and special effects background. David Brown (no relation) who would become Blue Sky’s first President and CEO had been a marketing executive with CBS/Fox Video.  Michael Ferraro was an accomplished programmer with a Masters degree in Fine Arts who worked for the US Navy on early virtual reality simulations. Chris Wedge was a classically trained animator with extensive experience in stop-motion puppet animation as well as a Masters degree in computer graphics from Ohio State University.

While they intended from the beginning to produce high-resolution computer generated character animation for feature films, Blue Sky’s early days lacked software, money and clients. The team worked for months without pay in their tiny one room office equipped with only three computers and a coffeemaker.


More amazing light simulation from the early tests.During this time, Dr. Troubetzkoy, Ferraro and Ludwig developed proprietary software called CGI Studio that would become (and still is) perhaps the most advanced rendering software used in production.  Finally, one year in and with all the initial money gone, Blue Sky booked their first client on the strength of a one-frame test image that took two and a half days to render on all three of their computers.

Over the next ten years. Blue Sky became a leader in high quality special effects and computer animation for brands such as Gillette, Bell Atlantic and Braun.

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Global Animation Industry: Strategies Trends & Opportunities 2012

The rapid advancement of technology has made computer animation available to the masses and the animation industry is one of the fastest growing industries. The demand for animated entertainment has expanded with the increase in broadcasting hours by cable and satellite TV along with the growing popularity of the Internet. In the past, animation series were aimed at children aged nine and below. In recent years however, TV stations have been producing animation series for teenagers, adults and the whole family. Animation series like The Simpsons and King of the Hill have been successfully aired on primetime TV.

The major markets include the United States, Canada, Japan, France, Britain and Germany. Licensing operations for T-shirts, caps and other items have also been a major source of revenue for animation companies. In Japan, several successful computer games have crossed over and have become animated series like Pokemon, Monster Farm, Power Stone and Detective Conan. More broadly speaking, animation is increasingly used in video games, and movies are also increasingly reliant on animation and computer graphic special effects.

Another key trend we are witnessing is the outsourcing of animation content to Asia. This market is increasingly being tapped by North American film and television program producers. The major factor behind this shift of computer animation production to the Asia/Pacific region continues to be the availability of low cost, powerful computer animation platforms and much lower labour rates in the Asian and Pacific Rim countries compared to North America and Europe. The bulk of the outsourcing happens for 2D animation content with some amount of 3D content.

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ChezEddy – France


Imaginez un club réunissant certains des plus grands noms de notre histoire… Un lieu où l’on côtoie des artistes légendaires, d’illustres politiciens, une armada de comédiens célèbres… et une rock-star internationale… Un club très fermé, et pourtant ouvert à tous… Cette adresse existe, et son entrée est gratuite : bienvenue au cimetière du Père-Lachaise !

Seul problème : tous les visiteurs, frustrés, en repartent en faisant ce pertinent constat : « Les morts étaient plus causants de leur vivant ! ». Tous les visiteurs, … sauf Lucie. Par miracle, elle a non seulement le don de communiquer avec les habitants du cimetière, mais surtout de se lier d’amitié avec le carré le plus VIP composé de Jim Morrison, Oscar Wilde, Honoré de Balzac et Frédéric Chopin.

C’est Antoine Colomb et Guillaume Rio (« Gorg et Lala », « Les PodCasts », « Le Donjon de Naheulbeuk »), auteurs et futurs réalisateurs du projet, qui le proposent à leurs productrices, Carine Ruszniewski et Carole Lambert chez De Films en Aiguille.

Chez Eddy entre très tôt en co-développement avec DFEA. L’écriture et la préparation graphique sont ainsi immédiatement synchronisées avec le studio. Un système fluide de validations est mis en place entre nos deux structures de façon à donner un cadre solide à la future co-production, et surtout permettre d’éviter toute déperdition budgétaire ou d’information.

Après le générique de Splice (Kook Ewo) en 2009, et celui, plus récent, de Plan de Table (Parallel), ChezEddy réaffirme sa volonté d’aller vers le cinéma, poursuivant une logique établie de longue date. A ce stade de développement du studio, sur le plan technique/pipeline comme sur l’expérience accumulée, le projet de long-métrage d’animation Les Fantômes du Père Lachaise s’avère être un très bon marqueur des tout proches 10 ans d’existence de ChezEddy (2002/2012).

Le casting et la notoriété du Père Lachaise ancrent le film dans une dimension internationale. Chopin est une légende vivante en Pologne, et Oscar Wilde est le dernier dandy britannique… Il s’agit de toucher également un public hors hexagone.

Saluons ici le remarquable talent de deux designers proches de ChezEddy à qui l’on doit la préparation graphique du film : Rémi Salmon pour les décors et Julien Faure pour les personnages – ainsi que la direction artistique et la supervision générale assurée par Jérôme Calvet et Jean-Charles Kerninon.

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NCAM – Real-time Camera tracking

The core product of Ncam is real-time camera tracking and aquiring 6 DOF data from any kind of camera, whether it’s on a crane, on a dolly steadicam or handheld.

Ncam tracks at 100 frames per second, creating a true three dimensional solve in real-time, and facilitates the option to drive virtual cameras in real-time.

Augmented Reality

Ncam was specifically designed to provide augmented reality solutions for film and television productions. Primarily for visual effects shots, that are filmed on green screen stages. The CG perspective viewport in Ncam, supports digital video signals from any real world camera. Alignment of the virtual world to the real world is achieved through an automatic calibration process. Real-time camera tracking data drives the position and orientation of Ncam’s virtual camera.

CG virtual environments and CG animation can be streamed in real-time from software such as Autodesk Motion Builder in to Ncam’s viewport allowing the composite of CGI and live action material. The hybrid imagery is relayed back to the camera operator and DOP and director, allowing compostional choices to be made all in real-time.

 

Post-vis

One of the great things about Ncam’s augmented reality, is that the combined  material of CG and live-action can be recorded live at the time of filming. Ncam technology includes timecode syncronisation, and time code stamping , and the recorded material can be used immediately in editorial. Post-vis helps validate footage selection, provide place-holder and temp visual effects shots for editorial. Edits incorporating postvis sequences are often shown to test audiences for feedback, and to producers and visual effects vendors for planning and budgeting.

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Nvizible Visual FX – UK

Skyfall

The team at Nvizible is extremely proud of our involvement with what some reviewers are calling ‘the best Bond film ever’.
Our remit on this film included subtle creature animation, digital set extensions and enhancements, and some high-tech monitor graphics – around 100 shots in total.

As ever, our aim is to produce world-class effects work that seamlessly integrates into the film, and with the sky-high production quality of Roger Deakins’ photography, Dennis Gassner’s production design and Chris Corbould’s special effects, the pressure was well and truly on. Under the VFX auspices of VFX and Miniatures Supervisor Steve Begg, and VFX Producer Leslie Lerman, we feel that we rose to the challenge, and provided the production with the best possible quality work.

Nvizible’s VFX Supervisors on Skyfall were Hugh Macdonald and Paddy Eason and the CG Supervisor was Martin Chamney.  The project was guided through to a happy conclusion by VFX Producer Kris Wright  and VFX Coordinator Lisa Kelly.

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TuoYu 3D Rendering Company Limited – Chine

TuoYu 3D rendering Co.,Ltd. is a leading company in architecture rendering field which is started from 2010 in Shanghai China.We are specialized in interior and exterior design renderings , garden landscape renderings, 2D and 3D floorplans, multimedia and related animation(walkthrough), etc.

TY 3D is your best choice for outsourced rendering, animation and modeling services. We provide outsourced animation and modeling services architects, developers, interior \designers and others in the construction/ design industry.. We deliver high quality rendering, animation and modeling services at a reasonable price. We have successfully completed many projects for a wide range of clients and in many locations nationwide.

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Aria Animation Studio – Iran


Aria is a private and independent company founded in 2001.Aria is an animation production company divided into specilized departments. These include: mocap concepts, modeling,sound, animating, layout andcutting. Housed in a 6600 sqft facility. Aria plans to increase production output. All new production will meet or exceed international quality standards.  Dalvand Bros. started animation production

Informally in 1996. After producing of several hort animation and low quality animated TVseries , and taking part in some internal and external festival celebration they  registered their company (Aria Industry of Imagination)in 2001 and simultaneously absorbed some trainee and increased production output with quality standard. The main basis of Aria’s activity is making 3D animated Feature movie spublicity game trailers & cinematic,TV series and special effects.

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Darkside Animation Studios – UK

Breaking News: Darkside is proud to have completed over 140 shots for the BBC’s new 3 part flagship show Origins of Us. This involved us taking hand-drawn illustrations of our ancestors and converting them to a 3D model enabling the pictures to be partially rotated and viewed with depth. We also created fully tracked and integrated 2D graphics that highlight the points being made by presenter Dr Alice Roberts. We would like to thank the “Origins” team for allowing us to be a part of this amazing show.

The Summer of 2011 has proven to be the busiest we have ever had at Darkside working with the BBC on Origins of Usand Horizon – The Core, where the unique styles and designs of the shows were created entirely in-house, alongside titles for WAG TV’s Life on the Line, graphics for The Americas Cup and several new animations for Network Rail and JP Morgan. We have recently begun working with new clients such as Ogilvy & Mather and Al Jazeera creating titles forEarthrise, along with sponsorship adverts for Channel 5′s Big Brother and some future technology development work forChannel 4. Darkside were also lucky enough to work with Visa on part of their 2012 Olympics campaign.

2011 saw the launch of both of our “Augmented Reality” and “Gaming” divisions, which are now up and running withDarkside Interactive and Darkside Digital both fully funded for their first productions. Indeed our first game MOOPS is going so well that we have just started development of our second.

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The Mill connect with NHB Germany for remote grading

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London’s LipSync Grows Grading Resources with FilmLight’s Baselight

LONDON—1 November 2012— LipSync Post, the award winning London-based full-service post-production facility, has significantly added to its colour grading resources through the purchase of two Baselight systems from FilmLight. When fully operational by year’s end the Baselight systems will serve as the facility’s primary grading tools, enabling LipSync to offer a total of five grading suites that can work flexibly to suit client requirements.

Along with its industry-leading grading toolkit, Baselight offers LipSync Post the ability to work natively with all digital cinema camera formats and an improved ability to integrate with other post-production departments, notably editorial and visual effects. “We’ve been fans of Baselight for a long time and are particularly impressed with its flexibility and grading tools,” says James Clarke, Head of DI for LipSync Post. “Many of our clients have been asking to work on Baselight. The system has a great reputation.”

Baselight offers many advantages to LipSync’s independent film clients. One such is the system’s ability to work with multiple camera formats in a single time-line without proxies. The system’s unrivalled processing speed also means that work can proceed in real-time, regardless of the complexity of the grade. That results in more efficient and creatively productive grading sessions.

LipSync’s recent film credits include Now is Good, Total Recall and Shadow Dancer. It also provides post services for television series including Birdsong, Leonardo and The Churchills, as well as the forthcoming Stephen Poliakoff drama series Dancing on the Edge.

Clarke notes that LipSync Post is a long-time FilmLight client. The facility has relied on FilmLight’s Truelight colour management system in its visual effects, editorial and grading operations for several years. It was also among the first facilities to employ FilmLight’s Northlight film scanner. “We’ve learned a lot from FilmLight because its systems are all very open,” Clarke observes, “and its developers are always open to new ideas. That was one of the selling points for us.”

ABOUT LIPSYNC POST

LipSync Post is a complete post-production facility, providing every aspect of the post production process for film and television. Located in two sites on London’s Wardour Street, the company combines talented people with the highest quality equipment to offer the best for every project. Recent feature film credits include The King of Clubs, Byzantium, Great Expectations, Total Recall, Now Is Good, Shadow Dancer, We Need to Talk about Kevin and Shame, while television credits include the forthcoming ‘Dancing on the Edge’ as well as ‘Birdsong’, ‘Leonardo’ and ‘Hidden’.

For more information, visit www.lipsyncpost.co.uk.

About FilmLight

FilmLight develops colour grading and colour management systems as well as film scanning and data management solutions, that are transforming film and video post-production and setting new standards for quality, reliability and performance. The company’s products are in use every day by leading studios, labs and post-production facilities around the globe as essential components in their digital intermediate, commercials and video production pipelines. Fuelled by some of the industry’s brightest minds, FilmLight is committed to delivering innovative tools that allow creative professionals to work at the forefront of the digital media revolution. Founded in 2002, FilmLight is headquartered in London, where its research, design and manufacturing operations are centred. Sales and support are conducted through regional service centres located in London, Los Angeles, New York, Hamburg, Bangkok, Mumbai, Sydney, Auckland and Singapore, and through qualified partners worldwide.  For more information, visit http://www.filmlight.ltd.uk.


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FilmLight’s On-Set and Dailies products win an Emmy

LONDON—18 October 2012— FilmLight has been awarded a 2012 Primetime Emmy Award for its innovative colour preview and dailies products Truelight On-Set and Baselight TRANSFER.

The Primetime Emmy Awards in Engineering are presented by the Academy of Television Arts & Sciences for significant innovations in TV technology.

Truelight On-Set and Baselight Transfer form part of the end-to-end colour pipeline developed by FilmLight, providing a consistent look and creative control from scene to screen for film and television. Truelight On-Set takes care of the wide range of colour spaces and display technologies in use today, and provides an accurate colour rendition from the live feed of digital cameras. This allows Cinematographers to communicate their creative intent by applying ASC CDL colour correction, while exploiting and retaining the full dynamic range of the camera. Truelight On-Set also applies colour transforms to enable the Academy Colour Encoding System (ACES) workflow.

Baselight TRANSFER is a robust, fully integrated system designed to meet the most demanding 4K/5K dailies workflows using the latest digital film cameras. It manages dailies processing from ingest and review through the generation of material for editorial, VFX and other deliverables. The system transcodes raw files from all common digital cameras, syncs sound, applies colour and burn-ins, and manages metadata. Baselight Transfer includes full support for ACES, ASC CDL and Truelight colour management.

Both systems have been in regular use on high-end episodic television and feature films for more than three years including Body of Proof (ABC), Game of Thrones (HBO), House of Lies (Showtime), Justified (Sony), NCIS (CBS), Once Upon A Time (ABC), Psych (Universal), Revenge (ABS) and 90210 (CBS).

FilmLight and its engineering team are the recipients of numerous awards for business and technical innovation, including four Sci-Tech awards from the Academy of Motion Picture Arts and Sciences (2010); three Queen’s Awards for Enterprise (2005, 2006 & 2012) and  London Export Award (2010).

The awards will be presented October 24th in Los Angeles.

About FilmLight

FilmLight develops colour grading and colour management systems as well as film scanning and data management solutions, that are transforming film and video post-production and setting new standards for quality, reliability and performance. The company’s products are in use every day by leading studios, labs and post-production facilities around the globe as essential components in their digital intermediate, commercials and video production pipelines. Fuelled by some of the industry’s brightest minds, FilmLight is committed to delivering innovative tools that allow creative professionals to work at the forefront of the digital media revolution. Founded in 2002, FilmLight is headquartered in London, where its research, design and manufacturing operations are centred. Sales and support are conducted through regional service centres located in London, Los Angeles, New York, Hamburg, Bangkok, Mumbai, Sydney, Auckland and Singapore, and through qualified partners worldwide.  For more information, visit http://www.filmlight.ltd.uk.

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Akama studio – France

Akama Studio is a post production service company. Its domain of expertise extends from 3D to Special Effects and digital animation. Akama Studio is happy to work with all directors that require its expertise.

Akama Studio is also a place of creation, in-house artists can take on the creative aspect of your projects, whether it\’s video packaging, digital animation, concept design or more generally, art direction.

  • Alexandre ADAAlexandre ADA director manager
  • Alexandre ADACédric JEANNE associated director
  • Alexandre ADAÉmilie NICODEX post-production manager

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Dwarf – France

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Digic Pictures – Hungry

Assassin’s Creed Revelations Trailer

Assassin’s Creed Brotherhood 1080p HD Trailer

Digic Pictures is a computer animation film studio which produces full 3D animated shorts and visual effects, in association with video gamesfeature films or commercial advertisements. Digic’s productions have earned the studio global recognition with game trailers and intro movies which were screened atSiggraph CAF Electronic Theater, or awarded with Siggraph’s prizes.[1] In June 2011 Digic’s Assassin’s Creed: Revelations trailer became the most viewed video on top gamer community portals.[2][3][4]. Digic also provides motion capture services at its own mocap studio, Digic Motion.

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Mind, Soul and Spirit from John H. King

 

This video introduces the new Mind Soul and Spirit ident, a French creative community gathered around pictures (mind), music (soul) and video (spirit).

The video is entirely created with Adobe After Effects and the amazing Trapcode Particular 2. I tried to produce something very different from what I usually saw coming out with this plug-in.

 The main idea was to express Life through different levels.

The Mind animation represents Nature as the Source of Life, mother of everything, the intelligence in nature as the beginning of anything around us, the mysterious unknown where all begins and ends.

The Soul animation sounds like two brain hemispheres, and creates a kind of parallel with the cellular division. The left side and the right side are like stereo in music. This floating brain is surrounded by a twin snake (DNA) coming out from the center of the human brain, from the symbolic third eye.This cosmic snake shapes a circle around the brain’s hemispheres, mastering time and human creation. 

The Spirit animation is more abstract, uncatchable, with a kind of unstable shape, like thoughts always moving and changing in our heads. It’s hard to describe how it works how to define it. Is it true or just electric impulses in our brain, the total sum of our knowledge or something else that links us all on another level, or is it our true identity beyond our present life?

Finally the Spirit merges with Mind and Soul, but this impact sounds more like a positive explosion, like a regenerative event, giving birth to the mind soul and spirit packshot with three logos: the scarab (mind), the phoenix (soul) and the dragon (spirit).

Three strong symbols of eternity or constant rebirth stating in many cultures around the Globe.

Music : Somepling
Sound : GuiZ

 

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MOVIES

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Kanye West – POWER


Kanye West – POWER par emipubfrance

 Music videos have long been a favourite playground for directors, editors, colourists and other artists seeking to spread their creative wings. The form provides an opportunity to experiment with visual and narrative styles not possible in commercials, television or feature films. A recent case in point is Power, a new music video from Kanye West and director Marco Brambilla. Featuring amazing visual effects work and colour grading via Baselight from New York’s Nice Shoes, the video recently debuted in the U.S. after an episode of the television series Jersey Shore.

To say that Power differs from the average hip hop video is a gross understatement. In fact, West insists it’s not a video at all, preferring to call it a “painting.” Inspired by Michelangelo’s Sistine Ceiling, the piece presents a neoclassical tableau with West surrounded phalanxes of ornate columns and women with wings and flowing robes. There are no cuts, rather the camera executes a continuous pullback from a close up of West into a panorama.

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