My Grad film!!! We were finally allowed to put it online! I was lead character animator/clean up and director! Working with MJT, who was lead effects animator/clean-up and director and gillianimation, who was in charge of the Backgrounds, an animator, producer and director. Check out the film blog on [link]
My final year project at Multimedia University, Malaysia. 3D background created in Autodesk Maya, 2D animation created using GIMP with the GIMP Animation Plugin, rain and various things add in Adobe After Effects.
Dedicated to all the people brought down by the tough world we live in.
First off I want to say a huge thank you to the lovely who gave me the permission to post films on DA. You're a star hon and thank you very much!
HEAR ME COLOUR
Finally I can post my end of 2nd year film on DA, and boy am i happy about it i love this film so much. It's all hand drawn traditional animation, with colour and textures put in using ANIMO and other small effects done in Adobe Premiere
This little film features the children Eric and Rhea going about cheering up a dull and grey city through the use of communication, encouraging the lifeless inhabitants to become colourful and vibrant individuals
This film took about 6 months to make, including all the pre-production.
The music is the song 'Eple' by Roysopp, and before you run to hit that 'report' button I DO have permission to use that track in this film
I have a syncronisation licence with Universal Publishing which gives me free use of the song provided I don't make any money from my film....so yay!
...and dija know that 'Eple' is Norwegan for 'Apple'? Yeah, neither did I
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ other stuff:
- First off and most importantly a massive thanks to all my wonderful friends and tutors at , in particular and who were kind enough to lend me some of their time to do video reffs for this piece (and who often dragged me away from my lightbox to do fun stuff). There was a 'thanks to' screen at the end of this film but I took it out to protect the innocent ;D So you guys get a huge thank you hug here instead!
- a friend of mine wrote a HUGELY amusing mock-review of HMC. It can be found here, so do read it, it's funny XD [link]
- Hear Me Colour was picked up by a company in australia and used as part of a Virgin Broadband advert. The advert can be seen here, can you spot the shots from HMC? [link]
- If you enjoyed HMC maybe you'd like this desktop i made? [link]
ok enough of the plugs
Holy Jumpcuts a DD for HMC?! ;0; a Massive load of plug-type thanks to for choosing it, and to for reccomending it...and to all of YOU GUYS for leaving me comments and faving it and telling me how much you enjoy it.
I really do appreciate it, even if it takes me time to reply and say thank you. It warms my heart to know that people enjoy this film, and it makes all the hours spent slaving over a lightbox in a dark, freezing cold student livingroom as some gawdawful hour at night totally worth it XD
So all i can really say is thank you....thank you from the bottom of my heart. Thank you!
(insert platinum award medal thingy here cause thumbs don't work on image comments, boo hiss)
...and if a regular DD wasn't enough Hear Me Colour was also awarded a platinum award by on the reccomendation of
MY JOY IS BOUNDLESS. As said before it's so wonderful to have something you spent months slaving over be appreciated and enjoyed by so many...and in all honestly this film wouldn't have come about without the warmth and encouragement of my college friends (not just the ones specifically featured above, but all of them!) and my tutors and my family AND my DA friends and my other internet buddies who ALL put up with my moodyness and migranes and hissy fits and unwillingless to cut loose and have fun and my hysteria and my stress induced over-chirpyness XD
again, all i can say is THANK YOU
and thank you to all the people who have commented and faved my film (especially the people who did both ;D)
Here you go! You people have been waiting for this for a while, hopefully you won't be disappointed. This is my very first stop-motion film, my third animated short overall... I'm quite pleased with the result, although the making was a complete nightmare from beginning to end (camera and Stanislav's nose breaking---it shows if you pay attention, but it's not that obvious, thankfully)...
Shot with a digital camera over the course of only one day, assembled in Crater CTP for the timing, and then edited in Adobe Premiere Pro. The sound was mostly taken from my school's free sound banks, except for a couple which were recorded in foley (the coat, the hands, the paper...). I paid the rights for the music.
I hope you like!
Statistics: 28 scenes 3 months of pre-production 17 hours of shooting 1 take per scene 1 broken camera
for slashTHREE, 30th century This is my first motion and very experimental, it is collaboration with & Direction:me Conceptualization: me Illustration: me Animation: myaka Character Illustration: myaka Sound: neo
It started off with my concept, which i based off a dream in which I felt like i was dying ( i have these weird lucid dreams) I layed it out to myaka, and using the dream as the entire storyline we came up with this :
At start there is a storm, a boy (me) falls into the water in water and feels like hes dying. he awakes, Thanks God it was only a nightmare. Panting, he hurries down stairs, After a few seconds we realize this boy lives in future world. And when he goes outside he comes to the realization that reality is even has become a thousand times worth then his nightmare EVERYTHING dies, and a dark, decrepit tree as a main symbol of it( trees are used as symbols of life) . So the boy realizes that in his nightmare he could die and wake up, but here there is no waking up, his tear-drop symbolizes hope, because there is always hope, but it so small this time Also this tear-drop symbolize that humans can actually save situation, but not in future, we must act now. Hence the title 'the reprieve of humanity, this boys tear'
software: c4d, photoshop, illustrator, after effects. This is my first motion, but not my last ! portfolio coming soon
Gift of Ages is an animation I made in about a week and a half for my church's Christmas program.
Ah, there's so much to say about this one, but I somehow feel that explaining it will make it weaker. I should hope that the piece is strong enough to stand on its own without my having to prop it up with words.
And so for some of you I might have ruined Christmas. But to everyone else, I hope you've enjoyed this presentation and that it brings new meaning to the secular symbols we see annually.
Programs used: Flash 8, openCanvas, 3D Studio Max, and Sound Forge. All 3D work was done by my brother Brian (thanks!), and the music is Chopin's Etude in E major Op.10 No.3.
My first animation on multiplane Cut-out animation combined with natural materials, like leaves and macaroni. Febr. 2007
Wolfje (means small wolf) is a poem for children made by Geerd de Kockere: Jij was al groot en ik was nog klein, toen speelden we wolfje en jij wilde hem zijn, ik liep, ik liep, ik liep naar de top, maar jij was daar eerst en at mij toen op.
translation: You where already tall and I was small, we where playing wolf and you want to be him, I ran, I ran, I ran to the top, but you where there first and then you ate me.
My fourth 16 mm film for Sight and Sound: Film in the Kanbar institute of film and television of the Tisch school of the arts at NYU.
I love working with media that's hand-made, and so I wanted to pay tribute to the Steenbeck flatbed editing machine, which is sadly falling out of use as digital editing becomes the norm. The film was shot on an Arri-S 16 millimeter camera with kodak film and cut by hand on a Steenbeck. I took sound effects from the Steenbeck room and cobbled them together into a version of Raymond Scott's classic jazz composition "Powerhouse." (With the help of Daniel LaCosse, of course). The music was recorded onto magnetic tape and synced on the Steenbeck. All the while, I felt like I was channeling a media pioneer from the 30s or something.
I wanted to show a character playing a Steenbeck like a musical instrument. I chose to use Raymond Scott's "Powerhouse" (1937) because it has become famous as the "assembly-line song" from Warner Bros. Cartoons. A Steenbeck reminds me of factory equipment (in a film factory), the WB cartoons are significant to media history, and the song itself is a significant formalist achievement.
Blaaargh. So here's the last animation exercise I did for my Animation II class. (It's over now dfjghekghadfg)
The theme was "self-portrait", but we couldn't put ourselves in it, so basically we had to animate something that represented us in some way. I was so exhausted after doing the previous assignment (The Great Jump, seen here [link] ) that I decided I'd aim super low and go all experimental because I knew I had no strength and motivation to come up with something that would actually end up better than my granny skydiving. Phew.
So here's the drill: I've had this eye condition for nearly two years now, which makes me see several faint grey dots everywhere, especially on bright days. It's a very common and benign condition, but there's a slight risk that my retina might get pulled off somehow, and then I'd go blind. I'm not as worried now as I was when I got diagnosed with that thing, but the fear of going blind can't really go away unless my eyes magically heal by themselves, which won't happen.
I decided to illustrate roughly what I see. Don't fret just now--it's highly exaggerated, and it worsens as the film progresses, I don't really see like that! But you can get an overall feeling of what's going on when I'm looking around. I personally don't like the film, but it's usually successful, people squint and shiver as they watch. Maybe it's because I'm not an experimental type of filmmaker and I feel this was way too easy to make.
I'm rambling. So here's how it was made: - Shot nearly 300 photos, one at a time - Assembled them in Crater CTP - Added 24 layers of dots as the film goes on, still in CTP (each had its own camera layer, which means I had about 45 layers in the software. I nearly crashed the network.) - Added about 20 layers of sound in Adobe Premiere
and I did the whole thing in less than SIX HOURS. D: I guess that explains how some experimental filmmakers can be so prolific?