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惊奇 | Inspiration Time #74

各位周一好啊,一大早儿我就要来分享一些优质视频给各位了,希望新的一周各位也能新气象,新想法,新作品……本周内容包含老面孔1stAveMachine以及Blind两支大团,而后者的作品还配有幕后制作花絮哦,值得研究学习……

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'Sweet Water' is a short film about some of the surfing that happens on the Canadian side of the Great Lakes. Music by_ Ultimate Spinach www.lifeofleisure.org Additional footage from Tania Dupon-Martinez and Jordan Groves
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惊奇 | Inspiration Time #73
WDI73

时间真是刷刷的过啊,虽说周末可以尽情玩儿自己的,可以尽情放松休息,但周末过得更快,每当我们沉下心做事儿的时候事件都是这样对待我们。听朋友说过时间是他们最大的敌人,这个玩笑开得恰到好处。哈哈,所以珍惜时间从现在做起吧,先好好欣赏学习今日的惊奇分享,相信会有一些打动或是刺激到你的内容……

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When it was released in 2013, Gravity was that rare case of a movie that was (generally) well received by public, critics and film scholars alike. Critics even wielded lofty terms such as "avant-garde" and famous film scholars described it as an "experimental film". High and nearly unanimous praise indeed. But Gravity is also a movie of contradictions. It features state-of-the-art special effects that push the boundaries of film technology. Yet this high tech extravaganza also evokes early cinematic technology and experience. It is a film that focuses on bodily experience, taking us on a breathless ride with the (heavily breathing) Sandra Bullock. Yet in other ways this film denounces the human body and its autonomy. Several years have passed since Gravity blasted off in cinemas, so maybe this is a good time to take another look at the movie and at what makes it remarkable. What is its importance in film (and even art) history? Did it herald a new way of filmmaking or did it harken back to earlier episodes of this art form? Those are the questions this video essay tries to address, along the way connecting Cuarón's movie to abstract expressionist painting and computer chess. Please visit www.filmscalpel.com for detailed credits. This video was made solely for educational purposes and makes "fair use" of copyrighted material. Fair use is codified at Section 107 of the Copyright Act: Under the fair use doctrine, it is not an infringement to use the copyrighted works of another in some circumstances, such as for commentary, criticism, news reporting, or educational use.
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惊奇 | Inspiration Time #72

周四又到了,又是惊奇时间,尽管网站看的人不多了,但依然有忠实观众在这里等着欣赏这些来自全球的精选内容……有时候会很好奇,这些内容究竟让大家有了哪些收获呢,很想知道这个潜移默化的影响到底是什么样子的……这一期包含了优质团队Golden Wolf与奇葩导演David Wilson的作品,我们一起来欣赏下吧!

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The latest documentary by Ivan Olita is a piece documenting the far reaches of the southern state of Oaxaca where, in the indigenous communities around the town of Juchitán, the world is not divided simply into males and females. The local Zapotec people have made room for a third category, which they call “muxes” - men who consider themselves women and live in a socially sanctioned limbo between the two genders. Exclusively premiered on NOWNESS: nowness.com/series/define-gender/mexico-muxes-ivan-olita Featured on SHORT OF THE WEEK: https://www.shortoftheweek.com/2017/01/03/muxes/
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惊奇 | Inspiration Time #71
WDI71

我们的绘画小活动2015每一天顺利进行中,不同风格的创作人带来了各式各样的奇思妙想,各有各的美,很赞,各位感兴趣可以去看看,说不定还能给你的动画带来些许启发,要知道动画的灵感未必就来自动化哦……好啦,我们看看这一期的惊奇有啥好玩儿的吧!

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"Sonámbulo / The Sleepwalker" is this week's Vimeo Staff Pick Premiere. Read a Q&A with director Theodore Ushev here: https://vimeo.com/blog/post/staff-pick-premiere-the-sleepwalker A surrealist journey through colours and shapes inspired by the poem Romance Sonámbulo by Federico García Lorca. Visual poetry in the rhythm of fantastic dreams and passionate nights. A film by Theodore Ushev Music by Kottarashky Production: Les Productions Unité centrale / 9311-8990 Quebec Inc., Canada, 2015 Distribution: Bonobostudio (International), La Distributrice de films (Canada) AWARDS Special Jury Award, Animafest Zagreb 2015 Special Mention, Fest Anca 2015 Best Music Award, Animator Poznan 2015 Canadian Film Institute Honorable Mention for Best Canadian Animation, Ottawa International Animation Festival 2015 Special Mention, Multivision International Festival of Animated Arts 2015 Alva Costa Award for Best Short Film up to 5 Minutes, Cinanima Espinho 2015 Honorary Distinction, Etiuda & Anima International Film Festival 2015 Special Mention, Longue vue sur le court 2015 Special Mention, Sommets du cinema d'animation 2015 Best Short Animated Film Award, Les Rendez-vous du cinéma québécois 2016 Special Prize, Hiroshima International Animation Festival 2016 MORE THAN 100 FESTIVAL SELECTIONS, INCLUDING: Holland Animation Film Festival Annecy International Animation Festival Animafest Zagreb Ottawa International Animation Festival Toronto International Film Festival DOK Leipzig Edinburgh International Film Festival Encounters Short Film and Animation Festival Curtas Vila do Conde IndieLisboa Cinanima Espinho Anima Mundi Guanajuato International Film Festival Sao Paulo International Short Film Festival Vienna Independent Shorts Melbourne International Animation Festival ANIMATOR Poznan Animatou Geneva Anim'est Bucharest Sapporo International Short Film Festival Uppsala International Short Film Festival Festival du nouveau cinéma Montréal London International Animation Festival Animateka Ljubljana Anima Brussels Ann Arbor Film Festival Stuttgart International Festival of Animated Film Hiroshima International Animation Festival More about the film: http://bonobostudio.hr/en/film/distribution/sonambulo
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惊奇 | Inspiration Time #70
WDI70

周六到了,对于一部分人来说这是个不错的休息日,可以很放松的过一天,还不用着急睡觉,不过对于另一部分朋友来讲,这一天依然会在单位度过,因为几乎所有工作都需要加班才能完成……不论你在哪里,如果你空闲了,希望换换脑子或者充充电,点开我们的页面欣赏一下惊奇视频,也算是个不错的选择,那么各位准备愉快的欣赏本期内容吧!

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"Reflections" is a 2D-animated film composed of approximately 1,100 individual drawings. __ What do our memories become? They are alive inside, even when the reality is dead. The fleeting quality of love forces a girl to question if her relationship ever truly existed, or if it was all in her head. –– Directed, Animated, & Edited MORGAN GRUER http://morgangruer.com Music PEDR https://www.facebook.com/psymonspineband/ COLLEEN SCHIKOWSKI http://colleenschikowski.com Girl KIMI SADANAGA Boy ADAM HEISIG Dancer JENNY YOO Special Thanks KELLY DENATO © 2016 Morgan Gruer Pratt Institute Brooklyn, NY 11205
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访谈 | 杜肉海 · Way Out 出口
way-out

从几年前开始,我们的手机变得越来越强大了,能做的事儿多了,我们也就用得多了,这直接导致的就是人与人面对面交流的减少,大家关注的不是对方的眼睛而是手里的小屏幕,这一全球问题在几年前被广美毕业的杜肉海记在了心里,在毕业旅英留学一段时间后,她决定重启这个想法,通过毕设创作向全世界的观众展示自己对此的观点和遐想。

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Story of a fifteen year old boy, who wants to overcome his acrophobia by making first parachute jump. Director's cut. Directed by Philipp Yuyryev Dop: Mikhail Khursevich Creative producer: Ilya Povolozkiy Executive producer: Pavel Sarychev Sound: Nikita Gankin Assistant director: Anton Zverev Color: Artem Leonov Cast: Boy: Vlad Martynov Coach: Vladimir Matrunich Production: Blackchamber 2016
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一篇文字让你认识AnimeTaste
一篇文字让你认识AnimeTaste

大家对AT!组织一直很好奇。原因是没见过我们、没参加过我们活动的童鞋能得到关于我们的信息很少,连我们的百度词条都不知道是哪位好心人帮我们建的。

对于我们几个创始人来说,做AT!更像是做一件自己感兴趣的事,而不是一个产品,或一个公司。我们都很乐在其中,所以也并没有很在意别人是否知道…(不是傲娇)。看到上面某位同学复制的AT!大事记,发现也一年多没更新过了。

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Atlantic writer Vann R. Newkirk is about to be a father, and he’s nervous. America’s history of racial violence is something that every citizen inherits, but the consequences for black Americans remain acute. “One day I’m gonna look that boy in the eye and have to explain the same thing my father did to me, and his grandfather to him: This is who we are,” he says in this film. “This is the same America that killed Emmett Till, and the same place that gave us Jim Crow.” Now, it’s the country that elected Donald Trump to the presidency. In this animation, Newkirk reflects on his own childhood in the South and the lesson’s he’ll try to impart to his son. This has been adapted from Newkirk’s Atlantic essay, “This Is Who We Are.”
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惊奇 | Inspiration Time #69
WDI69

各位周四好,惊奇时间又到了,我们又带来了一些美妙的作品给大家,其中还包括两部MV哟,喜欢音乐的你可就不要错过咯……当然如果小编来推荐的话,Greg Barth的那部作品是我的最爱,一点点技术一点点根据现实的联想,很好玩儿的将周围的事物与音乐相结合,是个能给人不少启发的小作品,各位可以特别关注一下哟。

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Song by Tony Anderson: “The Way Home" (Licensed through The Music Bed: https://www.musicbed.com/) Follow me: http://www.mikeolbinski.com / http://www.twitter.com/mikeolbinski / http://www.facebook.com/mikeolbinskiphotography / http://www.instagram.com/mikeolbinski For quite a few years now I've been wanting to do something different with my time-lapse films. I love color. Storms are full of color. The blues, the greens, the warm oranges and reds at sunset. The colors are sometimes what make a simple storm into something extra special. But black and white speaks to my soul. I love it. There is something when you remove the color that lets you truly see the textures, movement and emotion of a storm. And then you hear a song. I had asked my buddy Jay Worsley (https://vimeo.com/jayworsley) if he had heard anything lately that might rock for a black and white storm film, and he linked me to Tony Anderson's "The Way Home." The moment I heard it, I knew that was the song. My recent films have a frantic pace to them and people occasionally tell me they'd love to see the footage in a much slower speed. I already knew that going with the monochrome style sorta demanded something more solemn and poetic...and the song was perfect for that. I also went with a much wider aspect ratio than I've ever done before. I feel like it actually feels like it brings you in closer to the action, almost like you were standing right there with me. I held myself back for a long time in doing this project because I wasn't very knowledgable about using tools like Premiere Pro to color grade footage, and all I thought was that I'd have to re-render all my clips as black and white before doing the film. And that's a lot of work. But the past few years have brought me tons of experience in Premiere Pro, plus help from my buddy Jay, and I figured out how to do it all there and without a ton of effort. The film is made up of some of my favorite clips from the past few years. A mix of the monsoon and supercell plains chasing. I'm so inspired by the songs I choose for these videos. Kerry Muzzey, Tony Anderson. Their songs are so powerful and moving and the stories they tell themselves are amazing. I went with clips that felt right with each beat of the song and while I usually try to tell a story with these films, I mostly decided to let the music be that here. Thanks to Tony Anderson for such an incredible piece of music, and to Jay for pointing it out to me. And also to my friend and fellow time-lapser, Brian Miner (see him on Vimeo: https://vimeo.com/bdmphoto), who did some B&W work this past fall and reminded me of what I've wanted to do for so long now. I hope you enjoy this! The creative juices were flowing and I also have some serious withdrawals from chasing storms. I HAD to work on something to hold me over until spring gets here. Only around four months to go before I hit the road to chase supercells and tornadoes in April, May and June! I have a couple of tornado chasing tours going this spring, if you are interested in checking those out, here you go: http://www.mikeolbinski.com/plains-chase/ ------- Captured with a Canon 5DSR, 5D3, 11-24mm, 16-35, 35mm, 50mm and 135mm. Processed using Lightroom, LR Timelapse, After Effects and Premiere Pro
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停不下的Gif→Ross Phillips

就如我们之前所说,很多动画人不仅限于视频类作品的创作,也会抽空、随手来些小Gif,这样的作品小巧便于传播,便于传播就会引发更多的互动,这样一来便形成了一个良性循环。当然,是否能传播出去还是看作品的水准,好看生动是第一位,我想今天这位主角Ross Phillips就符合这个要求,我们一起来欣赏一下!

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WRITTEN & DIRECTED BY Joseph Bennett Charles Huettner EXECUTIVE PRODUCERS Matt Harrigan Dave Newberg ANIMATION Joseph Bennett Charles Huettner Caleb Wood Nelson Boles Jonathan Djob Nkondo Sean Buckelew BACKGROUND ART Charles Huettner Joseph Bennett SOUND DESIGN Mike Jansson MUSIC Joe Wong Didier Leplae
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全球创作人@中国 | 吴晋超讲述那些光儿
w-light

第一次着手拍摄到光的轨迹,是在2011年的夏天。

光影涂鸦(Light painting),也被称为光绘画、光涂鸦和光电涂鸦,不管如何称呼它,都与光脱不了关系。是一种在较为黑暗的环境下移动光源并用相机产生光成图效果的摄影技术,依靠光线移动制造出妙不可言的画面。

慢慢成为一种街头和时尚的艺术活动。原理就是把照相机的快门调的非常慢,然后用发光体挥舞出形状,然后相机就记录下了发光点的运动轨迹,就成了大家看到的样子了。提到光影涂鸦,不得不说,外国人都很会玩,往往会玩出情理之中,意料之外的“好东西”。

大家现在看到的光影涂鸦基本上都是以图片的形式出现。然而,光影涂鸦的视频形式已经悄然的走到我们的身边,但并没有被人们发觉。

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对于第一眼看到的光影涂鸦作品,具体是什么样,早已记不真切了,但是它给我带来的那一刹惊艳,却是挥之不去。这些年,看很多外国人用光绘玩得不亦乐乎。就问自己,“既然喜欢,为什么不去做呢?”而我们制作光绘需要的东西也很简陋:两个人,一盏灯,一部相机和一个黑暗的环境。简单的说,光绘很美很有趣。

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直到看到德国团队LICHTFAKTOR(光电工厂)做的《talktalk》

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好吧,我承认,我不淡定了。这样美好的光绘视频,任谁也都会被吸引住吧。然而不得不说我们的运气实在太好。竟然有幸通过德国电影博物馆馆长Rolf Giesen先生联络上了《talktalk》的制作团队!!!虽然语言上有很大的障碍,也勉强表达出了自己的意愿···总之,这来之不易的交流机会且聊且珍惜吧···他们向我们说明了一些在制作影片时的情况,也解答了我们对视频中部分镜头制作的疑惑。态度温和友善,但是带给我的感觉,并不是光影涂鸦的制作有多么的高大上。而是,有钱,任性···实现一个镜头三百六十度立体的展示,他们可是用了几十台摄像机啊!!!更别说那些专业用于光绘的设备和软件了。望尘莫及的同时,也打击了我们小小的自信心。

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东北夏日的晚风吹得人神清气爽,我们吃着冰棍散着步(此处并不是描述浪漫的爱情故事)做出了一个重要的决定!没有解决不了的问题,只有想不到的办法,光影动画我们一定要做!于是,漫长的,艰辛的,光影动画制作在驱蚊液的香味中开始了···俗话说:“你有张良计,我有过墙梯。”就凭着这句话我们几颗“蒸不烂,煮不熟,锤不扁,炒不爆,响当当的铜豌豆”用我们自己的穷办法也实现了镜头三百六十度的展示!从取景,到分镜,从器材的购买到自己制作器材,从计划到实践,从傍晚到凌晨,从争吵到和好,从蚊子咬到感冒,从绘制到音乐,从零到有。各种艰苦,就不在此一一赘述了。。。

我们的第一部光影动画《光之声》讲述的是一个当深夜晚来临,所有的“光”来到日间人类的生活场所中玩耍,歌唱的小故事。短片完成之后,获得了很多人的认可,在这里感谢大家的支持。让我们惊喜的是,这样的一种并不能说得上是准确的光线轨迹,能为大家的审美所接受。然而同时,也暴露了一些问题,有更大一部分的人并不知道光绘是什么。让我们感到惋惜的并不是作品没有得到认可。而是,很多人没有认识到这样的美的存在。

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2014年,最后的一个月里,在忽忽的北风中,我们完成了第一个商业性质的光影动画。

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这一次,并不比上一次轻松。恶劣的天气,让我们再一次体会到什么叫“计划赶不上变化”。我们遇到的问题有很多:场地,光线,空间,保安,雾霾,还有冻僵的手•••但是,这些问题最终得以解决。靠得不仅是之前做过光影动画的经验。不要忘了!我们是“铜豌豆”!!!筹备时间很短,踩着2014最后的脚印,顺利交片了。

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其实从一早我们就意识到光影涂鸦的商业价值。不拘一格的表现形式,独一无二不可复制的光线轨迹,这样的“玩”法,是年轻人喜欢的,也是各种年轻产品需要的。这种形式在国外已经很常见,而且商业化程度比较高。但这也和国情还有文化有关。相对于包容度更高以及多元化的西方国家,比较传统的中国在一定程度上是比较难接受这类表现形式。但现在来看随着西方文化的冲击,中国的接受能力也越来越强。并且目前中国做光影涂鸦的基本还只是停留在照片上,做成动画的可以说很少很少。所以我觉得这块是个很大的市场,如果有感兴趣的伙伴们可以一起加入我们!

光影涂鸦,本来就是玩出来的艺术,从来就没有固定的套路。同一个人的手上都弄不出一模一样的光影效果,何况,不同的人,不同的灯,不同的时间,不同的地点,更是造就了光影涂鸦千变万化的可能。这种独树一帜的艺术形式,像夜空中的星星一样吸引着人们。在相机旁等待成像的时光,一秒也变得漫长。期待到惊喜,从不落空。光影涂鸦,是一种人人都会“玩”的艺术。

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吴晋超作品集:站酷地址

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动画时刻


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