What goes into designing an animated character you’ll love watching for an hour and a half — and remember forever. We hear from three of this year’s contenders, Albert Lozano from Pixar, Nick Bruno and Scott Carroll from Blue Sky, and character sculptor Carol Koch of “Anomalisa,” along with David Vandervoort of Laika (“Paranorman,” “The Boxtrolls”) and Industrial Light & Magic’s Tim Alexander (“Rango”) to reveal the secrets of character design.
How much space in front of the lens will be in focus? That question defines Depth of Field – but this simple concept has lead to a staggering amount of confusion in today’s multi-format camera environment. Through some fundamental scientific demonstrations, we will clarify concepts like circle of confusion and lens equivalency.
For fundamentals make sure you check out:
The History and Science of Lenses
The Properties of Camera Lenses
Why do all trailers feel the same? How do great trailers stand out? Let’s look at the structure of trailers over time and see how they’ve grown, and why some are practically identical. by Now You See It
Statistics are persuasive. So much so that people, organizations, and whole countries base some of their most important decisions on organized data. But any set of statistics might have something lurking inside it that can turn the results completely upside down. Mark Liddell investigates Simpson’s paradox.
Phil Tippett is the Oscar-winning stop-motion animator and designer behind some of the greatest fantasy creatures and sci-fi set pieces in cinema history. From his humble beginnings as an alien patron in the iconic Cantina sequence from ‘Star Wars: A New Hope’, to pioneering stop-motion techniques used throughout ‘Empire Strikes Back’ and ‘Return of the Jedi’, to seamlessly merging practical animation and CGI in Jurassic Park and beyond. In ‘My Life in Monsters’, VICE chronicles Tippett’s legendary life work, illustrating the process behind his greatest creations, the emotional hardships of transitioning into Hollywood’s digital revolution, and completing his return-to-form, stop-motion opus with the brutal, dystopian ‘Mad God’.
A lot of things have to come into place before “Action!” can be called on set. A lot of the time, it will vary from set to set, and sometimes scene to scene, depending on the needs of production. Here we show you the most common sequence of events used by the crew on RocketJump: The Show’s last short, “The Tip Jar.”
Much of what you saw in Star Wars: The Force Awakens was done in camera… and a lot wasn’t. Meet Roger Guyett (VFX Supervisor) and Patrick Tubach (VFX Supervisor), who headed the digital team on this film at Industriual Light & Magic. They talk to David Poland about bringing this landmark series back to life.