Warning: animation wonk post ahead…
In animation, camera placement/movement and much of cinematography is traditionally handled by a department called Layout. The title comes from the old Disney days when they would lay out the 2D backgrounds and the characters/props in the transition from storyboards to final shots. But in the world of CG animation, the term is confusing. The job is analogous to a live-action camera department: you’re picking lenses, designing shots in a virtual space. Many talented young tech-savvy filmmakers or cinematographers might like the opportunity to work on the camera team of an animated film and get experience telling story with camera, but don’t even know the job exists - and the term “Layout” isn’t helping: it sounds like you’re doing spreadsheets or something, not essential creative work.
Because of this, on Spider-Verse, we have changed the name to the Camera Department. I encourage other films and studios to do the same. It’s more respectful of the talented people who do this work and lets them say to their friends that they’re part of the camera team on a movie rather than the layout team, which means nothing to an outsider.
“Warrior Cats” is getting the television treatment.
An animated TV adaptation of the beloved, long-running children’s fantasy book series is coming to Disney+ and Disney Channel, following a deal between Coolabi Group and Disney Kids & Family.
https://t.co/ufxWbXRhx6
The long-awaited animated adaptation of 'Warrior Cats' has officially entered production with some serious animation talent behind it. 'What If…?' head writer A.C. Bradley will showrun, with Pixar vet and Emmy-winning filmmaker Rodrigo Blaas directing.
https://t.co/giskUqHWgu
A huge congratulations to the teams behind FRANKENSTEIN for winning 3 Academy Awards ⚡️ #Oscars
• Best Costume Design
• Best Makeup and Hairstyling
• Best Production Design
Some clarification here: "no green screen" doesn’t mean "no VFX”.
There were, in fact, thousands of VFX shots in the film (2018!)
Green screen is sometimes used in lieu of building sets or figuring out locations/lighting in advance, which can be noticeable if not done carefully, and is something we didn’t want to do. We built the entire interior of the Hail Mary ship - but within the ship, there were still wire and puppeteer removals and ceiling replacements, etc. When Ryan is outside on the hull of the ship, we shot him in front of a black background for space and a shifting hue background when he was up against the aurora of a planet which allowed for truer interactive light on him than a green screen would. The wide space exteriors and spaceship shots were entirely digital and beautifully done by ILM. Rocky was a seamless blend of puppetry and animation from Framestore. And other great work from many more. It really does take a village and we had the best of the best on our side.
Donor support for the open source Blender 3D modeling tool is increasing! See https://t.co/gYuqIHEI5s for all sponsors which include the industry's top hardware companies, top media companies, top Blender customers, and a guy called Aras from Lithuania.
For everyone asking, here are the latest "viewed" numbers for the El Guapo vs The Narco Vapires pilot after 4 days:
Instagram (intro + full pilot): 2.34 million
TikTok (intro + full pilot): 593k
YouTube (intro + full pilot): 773k
So we're off to a great start because everyone has been sharing it. THANK YOU, GUYS!!!
https://t.co/gn0RY3xOdl