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I saw this and its a very interesting way of doing animation. Thought you might like to see in, let us know what you think.
Le suicide d’Albert from Alaric Mahu on Vimeo.
Stop motion short done by Antoine Lhoir, Denis Berhault, Alaric Mahu and Matthieu Clopez.
For Disney fans, Don Hahn’s name is instantly one of animation legend, responsible for the studio’s creative rebirth near the end of the 20th century. Hahn, who began working with Disney in 1976, quickly became one of animation’s foremost film producers, delivering classics like Beauty and the Beast and The Lion King.
Hahn’s Disney contemporaries ranged from John Lasseter to Tim Burton and the era of creativity they brought forth is the subject of Waking Sleeping Beauty, a feature-length documentary directed by Hahn chronicling the studio story beginning in the mid-1980′s. Careful not to shy away from controversy, the film, for the first time, offers a frank, insider’s look, backed by vast amounts of behind-the-scenes material and newly-recorded interviews with the men and women who brought forth Disney’s animation renaissance.
Hitting DVD this Tuesday, Waking Sleeping Beauty arrives the same day as Fantasia and Fantasia 2000 (on Blu-ray for the first time). Hahn, who also produced and directed scenes in Fantasia 2000, spoke with ComingSoon.net about his lifelong career and where he sees himself and the studio heading in the future.
Read more: Exclusive: Disney Producing Legend Don Hahn – ComingSoon.net http://www.comingsoon.net/news/movienews.php?id=71928#ixzz16eSGiiaF
CS: Do you ever see yourself tackling a narrative film as a director?
Hahn: Possibly. I mean, I’ve thought about it. There’s nothing in the works right now, but I think it might be really interesting in the future. But the thing is, I have animation in my blood, too. I’m actually working with Tim Burton right now on an animated film and I just love it. So I think that’s probably my calling and what I was meant to do on this Earth.
CS: This is “Frankenweenie”? That’s being done in stop-motion?
Hahn: Yeah, it’s all stop-motion. Very much in the style of “Nightmare Before Christmas.”
CS: Do you have a preference for animation style? It seems impressive that Disney is able to simultaneously have stop-motion films, hand-drawn animation films and computer animation films.
Hahn: That’s all John Lasseter. In the coming couple of years, you’ll see hand-drawn films and puppets and pixels and every kind of style. That’s because John loves storytelling and he’s not afraid of technique. He trusts directors to choose technique so when Tim or Henry Selick comes in with a project in stop motion, who cares? They’re great directors. He’s fearless of the technique and I think that’s admirable of him. I totally believe in that. It’s about the story and not the technique.
CS: Is there a nostalgic element involved in coming back around to “Frankenweenie,” given that it’s based on a short film from the days featured in “Waking Sleeping Beauty”?
Hahn: It is, yeah. When I first met with Tim on it several years ago, I think that yeah, there is. It was one of the first films he made and I think it was a very easy fit to say we should expand it into a feature. That’s why “Waking Sleeping Beauty” could have easily become a five-hour miniseries. Because there’s so many things that happened in that ten year period. “Frankenweenie” was certainly one of them and the opportunities that Tim got that led to “Pee Wee’s Big Adventure” and other films. The other things that happened in that period. John Lasseter getting kicked out of the studio. Brad Bird and all these people were there at the same time. That’s what made it such an amazing petri dish for the animation industry.
CS: So looking to the future, what else is on your plate for the long term?
Hahn: “Frankenweenie” and “African Cats” is really enough to keep me busy. We’ve got some other animated and live-action films in development right now, but they’re all really too early to talk about. But it’s cool. It’s thrilling to be able to work with Tim again. It’s great to get “Waking Sleeping Beauty” out on DVD. It hopefully celebrates the artists and celebrates the people of that time. I’m really exciting about letting people be able to see it because we had a really great festival run and a great run in art houses. I think this is going to be where general audiences can see it and really get to appreciate the art form.
Read more: Exclusive: Disney Producing Legend Don Hahn – ComingSoon.net http://www.comingsoon.net/news/movienews.php?id=71928#ixzz16eSSbmag
Our super talented friend Lyle Piso send us his new amazing new video called The Empress. Please check this out and hope you enjoy it. Lyle congratulations on another amazing work and please keep us in the loop!
Please check out this Lyle Pisio film at:
http://vimeo.com/10402774
or you can access it from the films website:
http://www.empress.lilyposie.ca/EmpressMovie.html
Stop-motion animation 8min, 25sec
Trevor and Martha fall in love across a seady bar. The couples shyness is only overcome in a mutual dream where their shadows dance together.
The piece was inspired by and uses the song ‘The Empress’ by the Montreal based band Briga. We all cried when Brigitte Dajczer decided to forsake Calgary for Montreal, but when she sent me the song ‘The Empress’, most of the voices in my head said “wow, you really got to use this”. Without the song, the film would not exist, so I can’t stress the importance of the music enough. Check out Briga’s website brigamusic.com.
It took about a year and a half to finish this piece, what with making puppets, sets and testing different ideas out, in the end I had about 30 – 40 minutes of footage that I edited down to this.
Some of our old classics will be making an appearance soon on our old television, so I thought we should homage to our favorite Christmas classics and stop motion to boot!
Rudolf The Red Nosed Reindeer!
Love it! Can’t wait to curl up to a fire, some hot cocoa and stop motion on my tv!
Hello fellow Stop Motion Lovers!
I found a treat for you! Design graduate and stop motion enthusiast Neils Hoebers has come up with this cracking concept for a mobile, all-in-one stop motion mini studio to make the process that little bit more bearable. Of course, Neils sells his concept with a little stop-frame of it owns.
My only question is…WHERE DO I GET MY HANDS ON ONE OF THESE BRILLIANCES!
The users of Carterton Daytime Support won best animation at Oxford Film and Video Maker’s (OFVM) Flash Forward Film Festival, held at the Vue Cinema, Blackbird Leys.
The four-minute film, Amazing Animation, used clay figures, known as ‘claymation’, to tell stories from the imagination of group users.
Project Leader Selina Crozier said it was “amazing” to win.
She added: “We couldn’t have wished for a better outcome. It was very emotional. The guys haven’t stopped talking about it.”
One of the filmmakers, John Parratt, 45, said he was “really happy”, but “amazed”, to have won the award.
He added: “I didn’t think we would do it until I saw it on the big screen.’”
Mr Parratt’s segment of the film was about the dangers of smoking.
Say what you will about NBC‘s struggling Sophomore comedy, but you’ve got to hand it to Dan Harmon and crew for coming up with new ideas. As previously reported, Community will be doing a Christmas episode. What we didn’t know is it’ll feature stop motion clay animation!
From EW, “When Community ingénue Alison Brie (Annie) says, “It’s going to be a very special Christmas episode,” she means it. The sophomore comedy is officially going through with plans to produce a holiday eppy in stop-motion animation like the old Rankin/Bass classics.”
“It is so hard for me not to tell everybody I know about it,” exclaims Danny Pudi (Aped). “The minute we read that script, I was over-the-moon excited. It’s like that Rudolph the Red-Nosed Reindeer special that you see every Christmas. But in true Community fashion, it’s also a little subversive and a little dark.”
The buzz about this episode is growing louder by the minute. The cast and crew even go as far as saying this might top Modern Warfare or the recent Halloween episode. Just looking at the first preview for the episode, we can’t say we object!
Dragon Stop Motion 2.3 ($275) – Dragon Stop Motion is an update to the company’s stop motion animation software for both Mac OS X and Windows. The program controls still and video cameras
, while also organizing footage by frame, take and scene. Version 2.3 includes improved audio editing and hot key configurations, as well as several new language options. Numerous improvements have also been made to the DMX interface, in addition to various bug fixes.
Found this great article with amazing pictures from Behind-the-Scenes Photos of ILM’s Greats: Jurassic Park, Raiders of the Lost Ark, E.T., and Beyond.
Check out the pictures and hope you agree with me on how awesome they are, lets just hope you enjoy it!
Eight-time Oscar winner Dennis Muren is the first visual-effects artist to earn a star on the Hollywood Walk of Fame. Ahead of Encore’s November 12 documentary about Industrial Light & Magic—the visual-effects arm of Lucasfilm where he is creative director—Muren shares behind-the-scenes photos from five of his famous projects: Terminator 2, Raiders of the Lost Ark, The Empire Strikes Back, Jurassic Park, and E.T.
“Here, stop-motion master animator Phil Tippett [center], Mike Pangrazio [right], and I stand between two incredible matte paintings used to depict the windswept snowscape of Hoth. Pangrazio, a legendary I.L.M. artist, painted many such paintings during the production of The Empire Strike Back to allow for scenic vistas, practical sets to be extended, or, in this case, a stop-motion puppet of a Tauntaun and rider to be inserted for a story point.”
“While a number of complex approaches were considered and tested to realize the ghosts that appear at the climax of Raiders of the Lost Ark, in the end, it was model-maker Steve Gawley’s idea to shoot the silken ghost puppets in a tank of water that yielded the haunting realism that Steven [Spielberg] was after.”
“Photographing E.T.’s ship posed a considerable challenge. Due to budgetary constraints, we were limited in the scale at which we could build the ship so it ended up being quite small. Adding to that, Steven wanted the ship to be highly reflective so we had to use huge cards to reflect the warm sky into the ship. We also filmed the miniature at 120 frames per second to give the ship a sense of mass.”
“In this shot, E.T. is on a hilltop overlooking the city. We realized the shot using a combination of a miniature set in the foreground and a matte painting in the background for the city. E.T. was a small puppet mounted to a rod that slid down a track, which gave the appearance that he was walking down the hillside toward the city. A lot of what makes this shot successful is the lighting and composition. The foreground looks a bit foreboding, whereas the cityscape has an almost magical quality about it. Hundreds of twinkling lights beckon him. In a way, it reflects what E.T. is feeling at this point in the story.”
Check out the full article its awesome
