|
Illumination overall has really disappointed me over the years but thats just because I thought they were an underdog that was going to take big weird swings, but in reality they are just trying to make the most broadly appealing movies possible, but because they're more french it initially seemed different and refreshing. There are still aspects of the designs in Despicable Me that I like, but movies like Thelma The Unicorn are more of the type of film I thought the studio would make.
|
#
¿
Jan 31, 2024 03:43
|
|
|
|
| # ¿ May 9, 2024 21:56 |
|
|
Robindaybird posted:
Haha, this is what I expected of the series. I don't think its very hard to do, they just need to eliminate all the adventuring episodes that sort of reminded viewers that this was a show on Nickelodeon. I assume the first season will adapt some of the premiere (minus penguin sledding and the littlest members of the water tribe appearing so much), then air temple, blue spirit, solstice, deserter, and the season finale. I really hope they don't excise Pakku and his sexism and Katara overcoming that, but I have a feeling the showrunners are cowards about "depiction equals endorsement" stuff, so they might get rid of that. I don't expect to enjoy this adaption much. I will watch the first episode but like the One Piece one, I'll probably nope out after the first 20 minutes. The difference is I like Avatar, and I'm not a big fan of One Piece outside of the Hosoda movie.
|
|
#
¿
Feb 5, 2024 16:12
|
|
|
I'm all for shows growing up with their audiences, like what Fionna and Cake did with Adventure Time, or what Adventure Time did with Adventure Time as it progressed through the seasons. But I like it to be in the original medium with the original creators involved. That is what Legend of Korra basically did with original Avatar. I might've mentioned before in this thread that I work in vfx and I do not think you can actually do justice to a fantasy world like Avatar's with the current technology available at the budgets reserved for prestige tv shows (around 15 million per episode). You can gesture at it. You can have some shots of fantasy creatures here and there as shorthand for "yeah this is the same world as the cartoon". But you can't actually sell it the way an animated world can where you're only bumping up against pencil mileage and not the insane amount of creature design, animation, rigging, render passes, comp passes, dmp, etc etc etc that you need to make something convincing. 2d animation is a complicated pipeline but its nothing compared to all the poo poo that needs to go right to make a live action fantasy show work. Which is apparently why they went through multiple vfx teams to get the first season out. Ccs fucked around with this message at 21:06 on Feb 5, 2024 |
|
#
¿
Feb 5, 2024 20:59
|
|
|
Dumbo has the honor of being the movie that saved Disney. I don't know if the remake is any good but it is longer and i don't think I need to see a longer version of that story.
|
|
#
¿
Feb 18, 2024 04:15
|
|
|
Total Meatlove posted:But the fight in Man of Steel had a lot of the payoff for different plot and story elements within it, and has been aped relentlessly since? Has it? Every blockbuster seems to take their guidance from the first Avengers final battle, and not the relentless and character-assassinating fight from Man of Steel.
|
|
#
¿
Feb 26, 2024 20:31
|
|
|
For some reason in trailers for animated movies the audio and lipsync are frequently wrong, but in the actual show/movie they match. I dunno why
|
|
#
¿
Mar 4, 2024 15:25
|
|
|
So I guess Dreamworks is also adopting the Pixar model of "one sequel, one original film" to let the executives have a safe bet and still test the waters.
|
|
#
¿
Mar 6, 2024 03:20
|
|
|
This outsourcing the actual production to either low cost countries or countries with tons of subsidies has been happening for decades with vfx. It just took longer to happen with feature animation because the cg in those movies were usually made by the company distributing them, and therefore didn't feel the financial need right away to go abroad, instead preferring to have more input over the final product. But Canada has built up a strong talent base over the last 20 years, mainly from imported talent from the US and France, so it makes sense to send the work there. It sucks for the dreamworks workers that have families and will find it difficult to actually fully immigrate to Canada, as once you pass 35 it becomes a lot more challenging to get Permanent Residency. But working in Canada as an artist is way better. The cities are easier to get around without a car, there's way more studios within a short distance from one another inside the Vancouver and Montreal areas, so if one place downsizes you can just go to the next without relocating. Whereas in the US if you were working at Pixar and then got a job at Dreamworks, you'd have to move because they're 5 hours away. And there's a good mix between games, feature animation, vfx and tv animation all within each city. So aside from right now, when every single one of those industries is in the pits, it can be a much more stable place to survive. The issue is the whole thing falls apart if the subsides get reduced. Like they would still realize some savings, but if Quebec's new plan to reduce their subsidies actually goes through then all the vfx studios will try to flee to Australia.
|
|
#
¿
Mar 16, 2024 22:12
|
|
|
Sourdough Sam posted:Kinda hoping this happens to these giant US based studios exclusively. Or at least make the studio heads move out of Hollywood and into Canada whole hog if they're so reliant on taking government money for their highly profitable shows. There was a legal effort years ago to get tariffs placed on any work done in Canada/Australia, etc to offset the savings that subsidies provide. The case was all prepared and ready to go to the international trade court. Unfortunately a lot of vfx artists just didn't care enough about the issue and were willing to move abroad for the next gig instead of donating money to the legal effort, so it collapsed and the people who were spearheading the movement left the vfx industry . When NAFTA was being renegotiate ahead of it becoming the USCMA, there were also efforts to get the new agreement to include digital goods and digital trade, so one country couldn't be protectionist or try to use subsidies to grab work from another country. But that didn't go anywhere, and it wouldn't have been as effective as the international trade court ruling as it would only apply to Canada and Mexico, whereas US film studios also source work the UK, Australia and France. Even Dreamworks currently plan is to not put all their eggs in one basket and get their movies made by Sony in Vancouver/Montreal, Jellyfish Pictures in the UK/India, and Mikros in France/Montreal/India.
|
|
#
¿
Mar 18, 2024 01:08
|
|
|
Someone pointed me to this short animated by a former 2d Disney animator that they've been working on for 7 years, the steampunk "Hullabaloo" https://www.youtube.com/watch?v=hcd9ZRYlAoI I gotta say I'm really split on what to think. I've been hearing about this project for years and then kind of forgot about it, but its always cool when people used to working inside the studio system are able to try their hand at their own projects. Glenn Keane and Minkyu Lee both made awesome looking short films. But I'm kind of underwhelmed here. Its a bit harsh but I would have expected, given the amount of time involved, that the final product would be a feast for the eyes. But the compositing makes everything look muddy, or graish in the case of that inner cavern scene, with empty looking backgrounds, amateurish lens flares paired with rough 2.5 effects. Also there's the irony of it saying "2D Animation" on the promo image, and then a big part of the episode is the most rigid cars I've ever seen, with no animation on the turning of the wheels when the car swerves a different direction. Apparently Lopez went for a very old school approach to animating rigid body surfaces, modeling the cars in reality, photographing them, and then tracing over them. But the end result is that it looks worse than if the cars were cg and had some rigging to them that would allow the wheels and other parts of the car to articulate. It's probably petty to have this many opinions about a labor of love animated short, but I guess it stems from disappointment at seeing old craftspeople not really be able to keep up with the times.
|
|
#
¿
Mar 22, 2024 16:05
|
|
|
Captain Invictus posted:There's a youtube animator I follow named Alex Henderson, and he's one of the most impressive one-man animation studios(or close to it) I have seen in a long, long time. He has become more prominent in recent years, but it wasn't until his Donkey Kong Country tributes that I feel like he really became more known. but even then, not a lot of folks have heard of him. I went to school with this guy and we worked at the same studio for about a year, but he got sick of the grind of managed productions and had the technical skills in all departments in order to forge his own way. Meanwhile I continued in the "studio" track which meant I've been able to work on big shows but have no real creative control, and my skills increased only in animation which means pulling off a short film by myself is out of reach. I think these type of artists will be much more future proof than all the artists who became cogs in the machine for a steady paycheck, as the former basically know how to do it all and have a certain amount of control over their own destiny. Whereas my own strategy has just been to save as much of the studio paychecks as possible so I can live for a while between jobs if it comes to that.
|
|
#
¿
Apr 1, 2024 00:43
|
|
|
mystes posted:You probably only need to be able to do everything if you want to make youtube videos by yourself like that and I'm not sure youtube/patreon would necessarily be any more stable or future proof than working for a studio? Maybe not "more" but definitely separated from the large macro-economic trends that can completely decimate an industry overnight. Say, the strikes, or the Hollywood business model being broken due to streaming, or interest rate hikes and high debt loads studios are carrying, or the complete relocation of work due to film subsidies being cut in one territory, etc etc. This type of freelancer carves out a niche for themselves and if they're popular, they get consistent work, they can live anywhere, and broader industry trends don't affect them because they work for really small clients, unless the type of work they do is completely replaced by AI (which did affect a lot of freelance illustrators I know.) It's possibly I may try to go this route myself if the studio system completely fails in my area. I don't particularly like the freelance lifestyle though and prefer the comradery of a studio atmosphere.
|
|
#
¿
Apr 1, 2024 18:03
|
|
|
That really sucks, cause composition is one element where animation can really shine. I mean, they have control over every element in frame. Arcane and Blue Eyed Samurai were both shows where I actually consciously noticed how good the composition was, which I don't usually do. However the new Ripley series on Netflix also has incredible composition. Something about being shot in black and white really lets them control the visual elements in an incredible way.
|
|
#
¿
Apr 8, 2024 00:39
|
|
|
Crocobile posted:I attended a 2 week workshop for international students at Gobelins nearly a decade ago (I might have posted about it before?). Normally the workshop had like 27-35 attendees at a time, I knew some other people who’d gone and decided to apply myself. Feels like all the major animation schools decided to sell out their brand for some quick cash. Not to say the students who still attend these courses aren't talented, but if I meet someone who studied animation 40 years ago they probably went to Cal Arts or Sheridan, but if its someone who studied in the past 10 years, they more than likely took online courses or studied some place no one has ever heard of in their own country, then worked around the world at various crazy studios until finally breaking into a decent studio in the west.
|
|
#
¿
Apr 10, 2024 02:26
|
|
|
Sourdough Sam posted:https://twitter.com/ScheierJason/status/1780972523230003269?t=oPTbkSohv_pdkKJdpu_ULw&s=19 Hmm, yeah I would have preferred something closer to the Bumblebee movie in terms of how faces are handled but whatevs.
|
|
#
¿
Apr 19, 2024 00:53
|
|
|
I think if Mufasa and a couple of the other already greenlit Disney remakes do well, we'll see more of them. But Disney has a new head of live action and when new executives come in they usually like to kill the babies of the former exec, and the former exec was the guy who shepherded through all these live action remakes. So if one of these flops I could see the exec taking that as a chance to make his own impression at the company. The future of the live action remakes are already on thin ice after Peter Pan and Wendy and Pinnochio being flops, and Little Mermaid making half of Lion King's gross. My dream scenario is they stop with the remakes and greenlight a bunch of original fantasy stories that are also vfx heavy but not so beholden to previous stories.
|
|
#
¿
Apr 30, 2024 01:29
|
|
|
|
| # ¿ May 9, 2024 21:56 |
|
|
Using the prequel to tell an american fairy tale of bootstraps and meritocratic rise is cute, but it falls apart a bit when you consider the boostrapper then leaves the kingdom to his offspring. That's the biggest conundrum of these remakes. They try to mash together modern values and antiquated (or "universal Jungian archetypes" as a frothing Peterson would say) and go "look! we made it better!" Not that they haven't always been doing that to an extent. Such as the original disney versions of movies removing much of the violence and just sort of random happenstances that occur in the Grimm versions (for example Snow White in the Grimm version waking up because one of the Prince's servants trips and loses his balance, which causes the piece of poisoned apple to dislodge from her throat.)
|
|
#
¿
May 1, 2024 02:49
|
|