You are the content you publish.
Sign up with Facebook
Sign up with Twitter
I don't have a Facebook or a Twitter account
Start a free trial of Scoop.it Business
WSJ: "As part of Google’s ATAP project, “Duet” is the third in a series of short films called “Spotlight Stories,” which are created specifically for mobile devices."
Are you sure you want to delete this scoop?
Jeff Gomez: "The film’s astonishing success has come as a surprise to most, but on closer examination, we can discern at least five standout ingredients to Frozen’s alchemy."
did not see it but hear about it so much about it on a daily basis with my daughter that I pretty much know it all :)
Nik loves this movie and all the songs in it!
Dan Sarto: "The LEGO Movie has arrived, in all its absurdist and charming glory. $69.1 million opening weekend U.S. box office absurdist and charming glory to be more precise. And one of the key people we have to thank for all that absurdist and charming glory is Animation Supervisor and Editor Chris McKay."
"Creating movies from within computer games may sound like something best left to teenage boys, but the art of machinima, making animated films from within the real-time 3-D 'engine' of a video game, is proving anything but says Aaron Martin, Collective London's head of strategy" ...
Check out Machinima.com for the ultimate in specialized machinima-style filmmaking. With 7.7 million subscribers it's definitely a success story!
Seeing the opportunity, EA commissioned Stoneman to create a piece of machinima that showcased the new downloadable content while paying homage to those "Only in Battlefield" moments.
The resulting short movie quickly became one of the most effective pieces of content EA has produced, generating more than 765,000 views and 25,000 likes without even as much as a sponsored post in media support. EA’s campaign for 'Battlefield 3' garnered them the top spot in the newly released Social Brands 100 for 2013.
Click headline for full story.
Machinima: How brands are making films within games
I think in this times of life videogames are openning the doors for new types of filmaking by giving them chances to start producing about new topics and types of themes that are related to life and to actual information that would be great for editing and producing films, they would be magical, or of action, drama and they will have too many kind of brilliant acts to show
Mike Seymore: "The net result is one of the most adaptable modern ‘transmedia’ pipelines able to render TVCs, press, game cinematics, animated features or TV series work."
A very technical look at House of Move's 'transmedia' pipeline.
Shrek, Futurama, and Marge and Homer would not have come into being without the Beatles' subversive masterpiece, says Simpsons writer Josh Weinstein...
Frank Mertens: "It used to be that movie title sequences were the forums for incredible animation innovation and creative expression."
The page shows how animation can be used and how animation could be used as a narrative tool. It shows examples of ways animation can and has been used.
Susan Karlin: "Long before ParaNorman’s protagonist could start battling zombies, Laika’s Brian McLean and his 40-member team had to tame a new stop-motion technology process. McLean talks about the bloody road to the film’s bleeding-edge character design."
Caitlin Roper: "With tens of thousands of printed parts, millions of hours of work, and billions of pixels invested, the project represents unparalleled innovation in handmade storytelling—and a new future for a 100-year-old art form" ...
Joe Berkowitz: "Bill Plympton is an independent animation icon. His drawings have appeared in syndicated columns, Academy Award-nominated shorts, videos for musicians like Kanye West, commercials for Microsoft, and more. Although he doesn’t believe much in art school, here he shares some lessons with Co.Create" ...
It's the show's 500th episode this weekend – so what are the secrets of its success?
[Who doesn't love The Simpsons? This article gives us 10 lessons learnt from the making of a great television show.]
A lot of people have been discovering Tintin recently due to the feature film, but he’s actually been around for a while...
The very first rule of Scooby-Doo, the single premise that sits at the heart of their adventures, is that the world is full of grown-ups who lie to kids, and that it's up to those kids to figure out what those lies are and call them on it, even if there are other adults who believe those lies with every fiber of their being.
[A great look at the storytelling craft of Scooby-Doo.]
Mark Strauss: "The Nielsen Company has created this handy infographic so that you can precisely determine how much of your life would be required to view every episode of every season of the top animated shows. That way, you can plan accordingly if a planet-destroying asteroid is just one week away from impact."
Annie Park: "Dylan Blau is practically a Vine celebrity, thanks to his uncanny ability to make ambitious stop-motion paper animations. Here's how he creates them."
If you're an active Vine user, you've probably seen some of Dylan Blau's incredible work. The 20-year-old stop-motion animator is famous for making extraordinary CGI-free Vine videos, often with basic material like clay and paper.
Click to see more.
The six-second rule & video magic using Vine. Awesome!
Josh Spiegel: "In essence, the value of a voice performance in an animated film is directly connected to how much that film’s creators require you to recognize its source" ....
Mike Vogel: "Much of the talk about Wreck-It Ralph this week will be about the fact that it comes out in Digital HD on February 12th–almost a month ahead of the DVD release. I’m all for anything that makes DVDs less relevant, but I think the transmedia strategy behind Wreck-It Ralph is more innovative than releasing a movie digitally."
Mike Vogel ponders the difference between transmedia and marketing when it comes to Wreck-It Ralph.
Update: For more on how this applies to indie filmmakers, check out Randy Finch’s Disney's Marketing for Wreck-It Ralph Employs Transmedia Storytelling: A Case Study in Expanding a Film's Storyworld Across Multiple Platforms.
For Dr Who fans everywhere ....
Bibi van der Zee: "The team behind the hit cartoon on their boy with a magic watch, and drawing crazy-coloured alien life" ...
Geek Dad: "Aided by the literal decades of advancements in animation technology since that television “Golden Age,” the show boasts both a new-school focus on plot and characterization and Disney’s historic attention to detail" ...
Kelsey Campbell-Dollaghan: "Over the past three years, Google Data Arts creative director Aaron Koblin and director Chris Milk have produced some of the most powerful music videos of all time, by allowing passive viewers to participate in the creative process."
BrandSpeak: "We've come a long way in the world of animation. Check out the innovations that have made animated characters so lifelike" ...
Tasha Robinson: "Until now, the studio behind the Toy Story movies, Finding Nemo, The Incredibles, Wall-E, Up, and more has never made a movie with a female protagonist" ...
Animators find it difficult to bring the realistic human form to life on the screen. Why is this? The author suggests it has to do with the way we tell stories.
Steven Spielberg tells us about the journey to make his first animated feature.