Prince of Persia, VFX Betting On-Line, & Fon Davis' Robot Series!...
Disney Gears Up New VFX Tentpoles
(moviehole.net) Disney Pictures -- in conjunction with Jerry Bruckheimer Films -- is now gearing up to put a "Prince of Persia" movie into production. Because it's thought that a film based on this hugely popular series of Ubisoft Entertainment games (Which -- in theory -- will be Disney's big action-adventure release for the Summer of 2008) could then lead to a new hit series of movies for the studio.
This is also the thinking behind Disney's recent re-acquisition of the movie rights to Edgar Rice Burrough's "John Carter of Mars" series. With the hope that -- if this project is properly developed for the screen -- the 11 books in this series could then lend themselves to a hugely popular set of motion pictures..
This is in addition to:
- Three new "Narnia" films with Walden Media.
-The follow-up to "Enchanted". Disney
Feature Animation is allegedly already knocking around story ideas.
-Even though "National Treasure: Book of Secrets" won't begin shooting 'til early next month, people in Burbank are already looking ahead toward "National Treasure 3" and "National Treasure 4."
Toy Story 3 To Hit In 2010
(animated-news.com) Entertainment Weekly offers more
information regarding Toy Story 3. As it turns out, the picture will
enter theaters in 2010. "If we could just convince Tom Hanks and Tim
Allen to don costumes and shoot this in live action,we could probably
get it out a little earlier", jokes director Lee Unkrich.
The script's still in process, and vocal stars Tom Hanks and Tim Allen haven't recorded any dialogue yet. But after Disney and Pixar announced last week that Pixar is positively, absolutely making Toy Story 3, with a storyline shepherded by Little Miss Sunshine screenwriter Michael Arndt, the news ripped through media channels like Buzz Lightyear soaring on plastic wings.
Computer-Generated Holy Grail Reached?
(gizmodo.com) Now that's one remarkable piece of
artwork—showing that the holy grail
has been reached: computer-generated imagery of the human face that's
indistinguishable from reality.
It's hard to believe, but you're looking at computer-generated image of Korean actress Song Hye Kyo, created by Indonesian CG artist Max Edwin Wahyudi. To create this stunning shot, he used a combination of digital sculpting and design application Pixelogic Zbrush and animation modeling software Autodesk 3DS Max.
Take a look:
http://gizmodo.com/gadgets/software/computergenerated-image-looks-exactly-like-a-beautiful-woman-238760.php
Betting On Oscar: Best Animated Film
Place a bet today:
http://www.easyodds.com/compareodds/specials/awards/m/56017-129-3.html
Computer Graphics and Movies: Who Can You Trust?
(ddj.com) If you can't believe fiction, what can you
believe? Thanks to
computers, two movies -- "Poseidon" and "Pirates of the Caribbean: Dead
Man's Chest" -- nominated for a special effects Oscar at this year's
Academy Award benefited from heavy numerical simulation, at least
according to Ron Fedkiw, an assistant professor of computer science at
Stanford University and consultant to Industrial Light and Magic.
In a presentation at the annual meeting of the American Association for the Advancement of Science, Fedkiw took film lovers behind the scenes of today's movies in his discussions of physics-based simulations the lend realism to to fantasy.
"It is an exhaustive task to prescribe the motion of every degree of freedom in a piece of clothing or a crashing wave," says Fedkiw. "Since these motions are governed by physical processes, it can be difficult to make these phenomena appear natural. Thus, physically based simulation has become quite popular in the special effects industry. The same class of tools useful for computational fluid dynamics is also useful for sinking a ship on the big screen."
But until recently, computer graphics experts could run inferior algorithms on many processors, or run the best algorithm on only one processor. The problem is that many algorithms do not scale well to larger numbers of processors. But about a year and a half ago, Fedkiw figured out how to run a star algorithm on many processors, resulting in special effects and stunning realism.
These days, Fedkiw designs new algorithms for diverse applications including computational fluid dynamics and solid mechanics, computer graphics, computer vision, and computational biomechanics. The algorithms may rotate objects, simulate textures, generate reflections or mimic collisions. Or they may mathematically stitch together slices of a falling water drop, rising smoke wisp or flickering flame to weave realism into computer graphic images.
"The simulation of gases, liquids and combustion for scientific reasons quickly translates into the ability to make animations of smoke, water and fire," Fedkiw says. "Similar statements hold for soft biological tissues, muscles, fractures and other solid material problems. Once the scientific numerical simulations are worked out, interesting animations can be made shortly thereafter."
As an aside, I have to report that in a true-life brush-with-glory moment, I've actually seen -- not one -- but two real Oscars. The story goes like this: Years ago I was working for a computer-book publisher who had offices in the Fantasy Record Building in Berkeley, California. Shlepping into the lobby on my way to lunch across the street at Juan's one day, the lobby was packed with people, ballons, and champagne. As luck would have it, Saul Zaentz and Milos Foreman also had offices and studios in the same building (Zaentz, in fact, owned the building which was referred to as "the house that Creedence built" because the band Creedence Clearwater Revival recorded their first hit record there.) The night before, Zaentz had just received that year's Best Picture Award for "Amadeus" and Foreman Best Director for the same movie. Having just returned from the Academy Awards, they were walking into the lobby as I was walking out. So I ended up holding the door for Zaentz and Foreman as they held the Oscars above their head -- and the packed lobby cheered. Come on, you really didn't think those ballons were for me?Source: http://www.ddj.com/blog/portal/archives/2007/02/computer_graphi.html
Lucasfilm Prepping 'Indy' Making-of Books?
(spielbergfilms.com)
This year marks the 30th anniversary of Steven Spielberg's friend and
collaborator George Lucas' original "Star Wars," and to mark the
monumental occasion, Del Rey Books will be releasing a definitive
"Making of Star Wars" book in April.
That's great news, but as this is a Steven Spielberg fansite, there's
better news still for Spielberg fans. In an article published on the
"Making of Star Wars" book yesterday at StarWars.com, Lucasfilm teases
that Executive Editor Jonathan Rinzler (author of both the upcoming
"Star Wars" book and 2005's "Making of Revenge of the Sith") is "busy
researching a second set of books chronicling the making of another
famous trilogy -- or rather quartet -- of films."
"That's the number one priority for the moment," Rinzler told StarWars.com.
Given the fact that Lucasfilm is shy a few films of a quartet each in
the adventures of "Howard the Duck" or "Willow," it logically goes
without saying that Rinzler is currently hard-at-work researching a
set of books that "Indiana Jones" fans have been awaiting since 1981.
When it comes to documentation or merchandising, the Indy series has
always felt a bit left out in the cold for fans compared to its big
brother at Lucasfilm. Here's to that changing with the anticipation of
Rinzler's books, the upcoming next-gen "Indiana Jones" video game, and
hopefully many other untold treasures for Indy fans to unearth come
2008's release of the fourth film!
Source: http://www.spielbergfilms.com/indy4/1318
Brad Bird Interview On Good Morning America
Transformers and GM Form Power Partnership
(Paramount Pictures) Four new movie stars – "Bumblebee," "Autobot Jazz," "Autobot Ratchet" and "Ironhide"– from DreamWorks Pictures and Paramount Pictures', in association with Hasbro's, forthcoming July 4th action-adventure release, Transformers, were introduced this evening by General Motors Corp. as it hosted its sixth annual "ten" pre-Oscar fashion event at Paramount Pictures in Hollywood.
"Bumblebee" changes from the classic Chevrolet Camaro, and is a central character in the saga of aliens who take mechanical forms when on Earth. "Autobot Jazz" converts from a Pontiac Solstice in a hardtop format. A Hummer H2, modified as a rescue vehicle, changes into "Autobot Ratchet" and "Ironhide" changes from a GMC TopKick medium-duty truck.
Buzz about the roles that these vehicles play in the Movie has been spreading since a quick glimpse of the new Camaro was spotted in Paramount's newest Transformers trailer, which began appearing in theaters on Dec. 20, 2006. This clip, which is currently the most-viewed movie trailer on Yahoo!, also contains images of the Solstice, H2 and TopKick for fans who were quick enough to have freeze-framed it.
"'Transformers' is a compelling project and offers us a global platform for marketing GM products and building our brands," said Mike Jackson, GM North America vice president, marketing and advertising. "It represents the perfect intersection of entertainment, marketing and design."
"The first time I saw the new Camaro, while touring the GM Design Center, I knew immediately that it would be the perfect 'Bumblebee,'" said Michael Bay, the film's director. He continued, "It's got beautiful lines and a classic, timeless look. There were no other cars that came even close. I have had a great working relationship with GM for many years and am psyched to be working with them on 'Transformers.'"
Gerry Rich, President of Worldwide Marketing at Paramount Pictures, added, "We are thrilled to be working with GM on this incredible and action-packed film. Having integrated the cars as characters in the film is truly an innovative concept that will help eventize this exciting 4th of July tentpole film."
GM will roll out a fully integrated marketing and promotional effort around the film in the near future, including a major Chevrolet promotion, according to Jackson.
Submit Your Film To SIGGRAPH!
The SIGGRAPH 2007 Computer Animation Festival (CAF) is now open for submissions. Animations chosen for the festival will be shown at prestigious Electronic Theater at the San Diego Civic Theater or in the Animation Theater screening rooms at the San Diego Convention Center August 5-9, 2007. The submission deadline is March 14, 2007. This year's categories include:
-Animated Short (story- or character-based, any medium)
-Art (abstract and experimental)
-Broadcast (commercial, music video, design)
-Cinematic (pre-rendered video game animation)
-Real Time (video game play, interactive art, and scientific visualizations)
-Research (explaining and/or demonstrating new computer graphics or interactive techniques)
-Visual Effects (not story- or character-based)
-Visualization (scientific, medical, architectural)
-Other (any work that does not fit the categories above)
More: http://musicvideowire.com/dynamic/article_view.asp?AID=11976
And For My Acting Oscar, I Thank The Special Effects
(entertainment.timesonline.co.uk)
From a welling tear to a wounded stare, the ability to project
convincing emotions in close-up is the test of a cinema actor. But now
it appears that there is more to some star turns than meets the
audience's eye.
Directors have started to manipulate actors' performances in postproduction.
Modern visual effects technology allows them to go beyond traditional
cosmetic changes, such as removing wrinkles and unsightly hairs, and
adjust actors facial expressions and subtly alter the mood of a scene.
At the Visual Effects Society's recent conference, Jeff Okun, the
organisation's chairman, showed before and after versions of one of
the climactic shots in the Oscar-nominated film Blood Diamond.
In the "before" shot Jennifer Connolly, the leading lady, was shown
talking on her mobile phone. The digitally manipulated "after" shot
showed her talking on her mobile phone with a tear rolling down her
cheek. Such alterations are becoming increasingly common, but
practitioners are discouraged from discussing this work.
"Acting is all about honesty, but something like this makes what you
see on screen a dishonest moment," said a leading technician.
"Everyone feels a bit dirty about it."
Visual effects experts privately admit to changing actors'
expressions: opening or closing eyes; making a limp more convincing;
removing breathing signs; eradicating blinking eyelids from a
lingering gaze; or splicing together different takes of an
unsuccessful love scene to produce one in which both parties look like
they are enjoying themselves.
Mr Okun told The Times: "What used to cost £40,000 is now only going
to cost you £6,000. It's cheaper than reshooting a scene. We are put
in a difficult moral position when directors ask us to change an
actor's performance. The performance is sacrosanct and to alter it is
creepy. But we don't get hired by actors. We get hired by directors."
One veteran effects man said: "Most of the time, the changes are asked
for by directors who don't know what they are doing. The sort who in
post production go, 'Oh, now I see what I should have done.' " Actors
are understandably concerned. According to Variety, the leading
industry publication, a proposal to give actors approval of digital
alterations was first put forward in negotiations with the Alliance of
Motion Picture and Television Producers in 1998. Tom Le Grua, of the
Screen Actors Guild, told the magazine: "The proposal said no part of
a performance may be altered digitally or otherwise without the
performer's consent." It was rejected and has languished since in
committee discussions.
Some actors such as Tom Cruise have begun to write clauses into their
contracts granting them full control of their own digital assets, Mr
Okun said. "They are saying: if you make me look better, then it's
fine. But if you are dealing with the subtleties of a dramatic
performance it's not fine."
However, Matt Johnson, a visual effects supervisor at Cinesite in
Soho, London, who worked on King Arthur and V for Vendetta, said:
"Actors have always known that directors would manipulate their
performances [by clever editing in postproduction]. Now they are
realising that visual effects can give directors even more choice. But
I think it would be quite challenging to take a performance that
wasn't working at all and completely revolutionise it digitally.
Audiences would be able to spot that."
Source: http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/article1403516.ece
ILM Alumnus Fon Davis Creates Sci-fi Giant Robot Series
(ilmfan.com) Former ILM member Fon Davis is the Executive Producer of M.O.R.A.V., a new science fiction series featuring giant robots. The series, which will first start as a series of webisodes, will feature extensive use of miniatures, models, and real functional robots operated by state of the art telemetry suits. Helping Fon realize this vision are several veteran members of the ILM including Pat Sweeney, Grant Imahara, Carl Miller, John Goodson, Mark Wallas,Todd Fellows, Bryan Dewe and David Yee, among others. Be sure tio check their brand new site:
The comic book series is being written by M. Zachary Sherman who also wrote for Dark Horse Comics Star Wars Visionaries series and Image Comics Seal Team Seven. We are still searching for just the right illustrator to make the series come to life in the way you want to see it. If you'd like to be involved please contact me at: fon@morav.net
Downloads and info: http://www.morav.net/index.html
Betting On Oscar: Best Visual Effects
Take a look: http://sports.betfair.com/?mi=20252823&rfr=114
Jason of Star Command Rich With VFX Extras
Navarre Corp.'s BCI Eclipse and Entertainment Rights Plc. are
releasing the cult-favorite '70s Saturday morning sci-fi series Jason
of Star Command on DVD for the first time on May 8. The three-disc set
will contain all 28 episodes from the show's two seasons, along with a
brand-new documentary, a special effects commentary track and other
bonus materials.
A spin-off of the 1977 series Space Academy, Jason of Star Command is
set in a secretive section of Space Academy, where a daring soldier of
fortune named Jason combats a self-proclaimed "Master of the Cosmos"
named Dragos. Airing form 1978 to 1979, the series is one of several
space adventure shows to capitalize on the popularity of Star Wars,
which came out the previous year. The cast of characters even includes
two robots, Peepo and W1K1, who join Jason on his missions. Veteran TV
actor Craig Littler plays Jason, leading a cast that includes James
Doohan (Star Trek), Sid Haig (The Devil's Rejects) and Tamara Dobson
(Cleopatra Jones).
Employing visual effects artists from the Star Wars and Star Trek
camps, Jason of Star Command was the most expensive children's show on
television when it debuted on CBS. The show is notable for its use of
stop-motion animation to bring a variety of monsters and other
fantastic elements to the screen. Visual effects supervisor Chuck
Comisky, stop-motion technician Jim Aupperle and live-action creature
effects artist John Carl Beuchler provide a special effects commentary
track for the season two episode "Beyond the Stars!"
Produced and hosted by Andy Mangels, author of Animation on DVD—The
Ultimate Guide, the slate of bonus materials includes a new half-hour
documentary titled The Adventures of Jason of Star Command, featuring
interviews with the producer, stars, and visual effects artists. Exec
producer Lou Scheimer and actors Craig Littler and John Berwick have
recorded commentary tracks for the season-one episodes "Attack of the
Dragonship" and "The Disappearing Man." There will also be a special
effects demo reel, three different photo galleries, a booklet with an
episode guide and trivia, episode scripts on DVD-ROM, Easter eggs and
an art gallery style guide for a proposed Jason of Star Command
animated series.
The disc set will carry a suggested retail price of $29.98.
Mathematical Film Mesh Is A Prizewinner
(webwire.com) "Computer animation has already changed the way we make movies. It can generate visual effects that were previously unthought-of, and has even changed the kind of scripts that can be produced," says Janzen, "Now, we want to bring the same revolution to education.”
The mathematical film Mesh, recently released by Springer, has already won numerous international prizes. Mesh is a groundbreaking 40-minute computer animation that explores the advancement of discrete geometry from the ancient Greeks to contemporary research topics.
At the Digital Media Festival in Melbourne, Australia in June 2005, an excerpt of Mesh was awarded best in the category of Corporate/Government/Training. Three months later, the clip Mesh: Bubble Excerpt was chosen for the “Best Scientific Video” award at Eurographics in Dublin, Ireland. At its North American debut in September 2005 at the New York International Independent Film and Video Festival, Mesh won the prize of “Best Animation.” With continuing success, Mesh was awarded “Best Scientific Visualization” at the Red Stick International Animation Festival in April 2006 in Baton Rouge, Louisiana. Once again in Australia, Mesh won the “Best Experimental Film” at Scinema - International Festival of Science Film in August 2006 in Sydney.
With its synthesis of cutting-edge visualization, breathtaking artistry, storytelling and humor, Mesh presents complex ideas in a way that is palpable and relevant to even a novice audience. The result is an ideal teaching tool that entertains and captivates. Along the way, the viewer encounters applications ranging from crystals and computer graphics to wine barrels and soap bubbles.
More: http://www.webwire.com/ViewPressRel.asp?aId=26836George Lucas Declares Trademark War On Digg
(webpronews.com) There's no balance in the Force with the Digg.com around, says LucasFilms, who has filed a trademark infringement lawsuit against the social news site.
The trademark attorneys for LucasFilms, the George Lucas's production company responsible for such classics as Star Wars and Indiana Jones, claims Digg is far too similar to The Dig, a relatively obscure video game released first released in 1994.
In the complaint (PDF) filed with the United States Patent and Trademark Office, there is first a focus on Digg's own description of its services, specifically the part addressing "news and information in the field of technology, namely computer games and computer enhancement for games."
While making a case that product descriptions are somewhat similar might be a stretch, LucasFilms really doesn't like it that the marks are different by only a letter \u2013 only one letter because, according to the complaint "the" doesn't count as part of the mark, though some may beg to differ.
LucasFilms claims that Digg is identical or nearly identical to The Dig and is "confusingly similar in sound, meaning, and appearance," which likely will "create confusion, mistake or deception in the minds of prospective purchasers as to the origin of source of goods." What's more, they "travel in the same channels."
And while any self-respecting Digg.com is, by creed, a major George Lucas fan, the users seem more confused about someone suggesting they don't know the difference between the news website and the video game nobody plays. One commentator calls the lawsuit "frivolous."
More: http://www.webpronews.com/topnews/2007/02/22/george-lucas-declares-trademark-war-on-digg
Pixar's WALL-E A "Love Story"?
(jvpixarnews.blogspot.com) I am listening to the Walt Disney Investor Conference with Ed and John currently discussing the future of Walt Disney Feature Animation and PIXAR.
Along with confirming that both WDFA and PIXAR will be doing CG aimation, WDFA will be bring traditional animation back.
They described Wall-E as a love story!
From what I remember, Wall-E is the last of a group of trash collecting robots??? sent down to clean planet earth.
During his time on earth, Eve (robot) visits to check on the progress and Wall-E falls madly in love.
Wall-E- He began to describe the story of Wall-E and then began to describe how not only has PIXAR created memorable stories but also great characters. He said that the robots in this movie will be the most charming of the characters ever created.
The audio will be posted online for all to hear once again, so I will keep us all posted with a link so that we can ALL enjoy John and Ed's excitement for the future of animation, Disney, and PIXAR.
P.S. John described that some scenes of Wall-E were to create a WHOLE NEW Space Experience!
