For our January 1999 issue, we've gathered up all our lone castaways for a compiled Desert Island luau. Read the top picks from over 120 animation artists and executives.
Tagged With: Motion
Amid Amidi spoke with Mark Gustafson of Will Vinton Studiosto glean the behind the scenes production process of The PJs, FOX'snew high quality stop motion television show.
Giannalberto Bendazzi reviews Maureen Furniss' book, Artin Motion - Animation Aesthetics, where he discovers a knowledgeable,bright, new voice in writing on animation. Available in English and Italian.
Critica di Giannalberto Bendazzi sull libro Arte inMovimento-Estetica di L'Animazione (Art in Motion - Animation Aesthetics)di Maureen Furniss dove lui scopre una voce pertinente, brillante e nuovaa livello mondiale di scrivere sulla animazione. E disponibile in Inglesee Italiano.
Brad DeGraf and Emre Yilmaz demystify performance animation and explain why the `Devil's rotoscope' might not be so bad after all....
Seth Rosenthal, the motion capture department supervisorat Industrial Light & Magic, took time out of his "menacing"schedule to discuss a gamut of topics relating to motion capture with HeatherKenyon.
Deborah Reber profiles three applications of motion capturetechnology that are currently in production. In "Nick Strives to DefineMotion Capture," she interviews Jeffrey Beers, Executive Producer ofthe Digital Animation Group at Nickelodeon.
BIOMECHANICS has released a software program called Nuance, which is specifically designed to edit captured motion. It allows animators to "tweak" motion-capture data to perfect the animation or "resize" motion by determining a number of frames over which an action will occur. Nuance can be used with 3D animation software such as Maya and 3D Studio MAX. The cost is U.S. $7, 495. for a single-seat license.
As part of Animation World Magazine's monthly Hidden Treasures column on archives, Patrick Loughney, Ph.D. defines what animation treasures lie behind the massive doors of the Library of Congress in Washington, D.C
Gregory Peter Panos, founding co-director of the Performance Animation Society, describes a new frontier of dilemmas, the politics of performance animation.