German media group, ProSieben Media AG has bought a 20 percent stake in Los Angeles, California-based Aréte Image Software (AIS). The strategic alliance marks the first time the Munich-based company has invested in the American market. AIS, established in 1996, specializes in creating software--such as RenderWorld and Digital NatureTools--that enables animators to integrate water and atmospheric effects. The deal gives ProSieben exclusive rights to use AIS' technology and market it in Europe. Dr.
Animation World Magazine takes a jaunt into the innovative and remarkable: this month we look at two productions that are using computers to simulate cut-out animation techniques: South Park and Blue's Clues
Compositing 3D elements into live-action footage is a very important facet of post-production. Bill Fleming instructs us on how to get it just right.
Macromedia's Dreamweaver impressed Dan Sarto. Read on for why this web authoring tool is hard to beat.
PACIFIC DATA IMAGES (PDI) has licensed Alias|Wavefront's compositing software, Composer, for use in its computer animation production. This represents a significant outside purchase for the studio, which mainly uses in-house proprietary software. PDI's director of research and development, Ken Pearce explained, "It's often difficult to incorporate off-the-shelf solutions into our proprietary graphics pipeline, but the openness of Composer makes it easy to integrate."
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.
Osmosis Jones blends hokey live-action and slick animation into a cop spoof that is both gross and clever. J. Paul Peszko reveals the process behind these two separate worlds.
Robert Gonzales shares his insight on the various tools currently available for creating animation on the Internet.
Webmaster Ged Bauer gives Macromedia's Fireworks a try to determine whether it is the "all-in-one-be-all-end-all" web graphics application that it claims to be.
Kellie-Bea Rainey tests out Animation Toolworks' Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike!
3-D animator Bill Fleming details the development of technologies for animating fur and hair in computer animation.
Visual effects artist Marian Rudnyk describes the rotoscoping process used for the creation of atmospheric effects in the Oscar-winning feature film, Titanic
Josephine Anstey and Dave Pape describe the CAVE Automatic Virtual Environment, a virtual reality display device which uses 3-D animation. In other words, it is an entertainment prototype that can best be described as a Star Trek HoloDeck precursor.
Silicon Graphics, Inc. is the leader in simulation animation. Thor J. Mednick discovers just how broad the applications are, from military to medical.
Anne-Marie Meissonnier describes The International Content Market for Interactive Media's (MILIA) main topics in "MILIA 1998: The Key Points," available in French and English.
Want to make professional-looking banners for the web that are complete with animations? Ged Bauer puts this new banner-creating software, MicroSites, to the test.
RealFlash technology can seem daunting. However, the following two articles, "RealFlash: The First Step" and "How I Learned to Stop Worrying and Love RealFlash," will hopefully, make it less intimidating.
Barry J.C. Purves shared his sentiments on the coming of the computer. Now Barry's back to share his thoughts on the last two years that have been both exhilarating and disappointing for him.
On February 1, Alias|Wavefront is beginning to ship their latest animation software, Maya and Maya Artisan. Max Sims is here to tell us how it compares and what we can expect from this new tool.
Jo Jugens answers everything you ever wanted to know about basic computer animation but where afraid to ask. Think you don't know enough to be hired? Think again.
Traditional animator Guionne Leroy describes her first digital experience. Currently working on a new clay short, she is shooting it with a digital camera and having a blast with the new opportunities.