Saturday, March 31, 2007
I was inspired a lot from Steve's demostartion last few days, and i really want to draw something again. My friend Jose is a fans of Magzinger Z and it just pop up in my head... so l drew it.
Friday, March 30, 2007
Thursday, March 29, 2007
Monday, March 26, 2007
Shell shock sends '300' to second place
NEW YORK - Animated pic "TMNT," the latest installment in the "Teenage Mutant Ninja Turtles" franchise, won the weekend at the B.O. by taking in $25.45 million.
Pic - from Warner Bros. and the Weinstein Co. -- played 3,110 theaters for a per location average of $8,183. Warners also had the No. 2 pic with "300," the holdover that raised its cume to $162.3 million in its third frame.Among other new releases, Paramount's R-rated actioner "Shooter" targeted third place in the charts by debuting to $14.5 million, off 2,806......
Sunday, March 25, 2007
上映戲院數目 (Threaters) :
TMNT 3,110 300 3,280
TMNT knocked 300 out of the top spot as the sword-wielding turtles -- resurrected by computer graphics --slice off $8.6 million on Friday -- beating those other buff fighting machines from the Middle East by $2.6 million...
How the Ninja Turtles hold up through the rest of the weekend is anyone's guess, but after two decades as iconic cultural figures, the muscled amphibians still represent a formidable franchise. And put Hong Kong's Imagi studios solidly on the map.
過往曾在美國上映的電腦動畫電影的製作成本(Production Budget) 、本地票房(Domestic Box Office)及首個週末票房︰
● TMNT — March 23, 2007
Opening Weekend $25,450,000
● Happily N'Ever After — January 5, 2007
Budget N/A, Domestic Gross $15,589,393
Opening Weekend $6,608,244
● Hoodwinked — January 13, 2006
Budget N/A, Domestic Gross $51,386,611
Opening Weekend $12,401,900
● Ice Age: Melt Down — 31 March 2006
Budget $80,000,000, Domestic Gross $195,330,621
Opening Weekend $68,033,544
● The Wild — April 14 ,2006
Budget $80,000,000, Domestic Gross $37,384,046
Opening Weekend $9,684,809
● Over the Hedge — May 19, 2006
Budget $ N/A, Domestic Gross $155,019,340
Opening Weekend $38,457,003
● Cars — June 9, 2006
Budget $120,000,000, Domestic Gross $244,082,982
Opening Weekend $60,119,509
● Monster House — July 21, 2006
Budget $75,000,000, Domestic Gross $73,661,010
Opening Weekend $22,217,226
● The Ant Bully — July 28, 2006
Budget $50,000,000, Domestic Gross $28,142,535
Opening Weekend $8,432,465
● Barnyard: The Original Party Animals — August 4, 2006
Budget $51,000,000, Domestic Gross $72,637,803
Opening Weekend $15,820,864
● Everyone's Hero — September 15, 2006
Budget $ N/A, Domestic Gross $14,523,101
Opening Weekend: $6,061,762
● Open Season — September 29, 2006
Budget $ 85,000,000, Domestic Gross $84,303,558
Opening Weekend $23,624,548
● Flushed Away — November 3, 2006
Budget $149,000,000, Domestic Gross $64,488,856
Opening Weekend $18,814,323
● Happy Feet — November 17, 2006
Budget $100,000,000 Domestic Gross $196,811,996
Opening Weekend $41,533,432
● Doogal — 24 February 2005
Budget N/A, Domestic Gross $7,417,319
Opening Weekend $3,605,899
● Robots — 11 March 2005
Budget $75,000,000, Domestic Gross $128,200,012
Opening Weekend $36,045,301
● Madagascar — 27 May 2005
Budget N/A, Domestic Gross $193,595,521
Opening Weekend $47,224,594
● Valiant — 19 August 2005
Budget $35,000,000, Domestic Gross $19,478,106
Opening Weekend $5,914,722
● Chicken Little — 4 November 2005
Budget $150,000,000, Domestic Gross $135,386,665
Opening Weekend $40,049,778
● Shrek 2 — 19 May 2004
Budget $70,000,000, Domestic Gross $441,226,247
Opening Weekend $108,037,878
● Shark Tale — October 1, 2004
Budget $75,000,000, Domestic Gross $160,861,908
Opening Weekend $47,604,606
● The Incredibles — November 5, 2004
Budget $92,000,000, Domestic Gross $261,441,092
Opening Weekend $70,467,623
● The Polar Express — 12 November 2004
Budget $165,000,000, Domestic Gross $176,616,677
Opening Weekend $23,323,463
● Finding Nemo — 30 May 2003
Budget $94,000,000, Domestic Gross $339,714,978
Opening Weekend $70,251,710
● Ice Age — 15 March 2002
Budget $59,000,000, Domestic Gross $176,387,405
Opening Weekend $46,312,454
● Jonah: A VeggieTales Movie — October 4, 2002
Budget $14,000,000, Domestic Gross $25,581,229
Opening Weekend $6,201,345
● Shrek — May 16, 2001
Budget $60,000,000, Domestic Gross $267,665,011
Opening Weekend $42,347,760
● Final Fantasy: The Spirits Within — 11 July 2001
Budget $137,000,000, Domestic Gross $32,131,830
Opening Weekend $11,408,853
● Monsters, Inc. — 2 November 2001
Budget $115,000,000, Domestic Gross $255,873,250
Opening Weekend $62,577,067
● Jimmy Neutron: Boy Genius — December 21, 2001
Budget $30,000,000, Domestic Gross $80,936,232
Opening Weekend $13,832,786
● Toy Story 2 — November 18, 1999
Budget $90,000,000, Domestic Gross $245,852,179
Opening Weekend $57,388,839
● Antz — October 2, 1998
Budget $105,000,000, Domestic Gross $90,757,863
Opening Weekend $17,195,160
● A Bug's Life — November 14, 1998
Budget $120,000,000, Domestic Gross $162,798,565
Opening Weekend $33,258,052
● Toy Story — November 22, 1995
Budget N/A, Domestic Gross $191,796,233
Opening Weekend $29,140,617
Saturday, March 24, 2007
By DaiQuan Cain, Comic Book Movie, 3/24/2007
"...a film that looks like a too-long episode of a Saturday morning cartoon with a healthy CGI budget..."
By Brian Tallerico, UnderGroundOnline
it is a kids’ movie, it’s one that’ll satisfy the big kids, too.
By Deanish, deanish.com
The Teenage Mutant Ninja Turtles Return to the Big Screen
By Ester Molayeme, The Epoch Times
TMNT is surprisingly dark, but still enjoyable
By Forrest Hartman, StatesmenJournal
By Walt Kneeland, comiXtreme.com
By Joel Massie, MoviePulse.net
By Erik Davis, cinematical.com
March 23, 2007 By Joe Strike
When Peter Laird and Kevin Eastman first doodled up a funny-animal turtle dressed as a ninja warrior, it's a safe bet they had no idea of the entertainment franchise they were about to unleash on the world. The tongue-in-cheek terrapin evolved into a quartet of heroes who debuted in a 1984 self-published, black-and-white comicbook as the Teenage Mutant Ninja Turtles. The foursome became a surprise comics phenomenon that led to mega-licensing deals, several cartoon (and one live-action) series, along with three live-action movies. The franchise got its second wind in 2003 with a new Saturday morning 2D cartoon series and is about to return to the big screen with a fully animated CGI version.
You just can't keep a good turtle down.
It might have worked in the 1990s, but actors in turtle suits (even ones designed by Jim Henson's Creature Shop) won't cut it in the all-digital 21st century. The new movie, opening March 23, 2007 in the U.S., comes from the Hong Kong-based Imagi Studios. The film is being distributed in North America by Warner Bros. and overseas by the Weinstein Co. As with 2D animation, budget-driven producers and distributors are searching outside the U.S. for lower cost CGI -- and what they're finding is looking better all the time.
"Everyone is wired in Hong Kong with broadband, everyone has cell phones you'll see a year from now," observes Paul Wang, who finally has a few moments to relax after producing (with Thomas K. Gray and H. Galen Walker) TMNT, the latest chapter in the Turtles' adventures and their first theatrical feature since their third film in 1993. "They have latest fashions as far as technology goes. When I'm over there I see stuff I've never seen before -- now they're advertising real time cell phone video delivery at 30 frames per second. Hong Kong is a hi-tech city. They've been heavily influenced by Japanese anime and western blockbusters. They get both things and you see that reflected in their own cinema and the sensibility of the people there."
Wang's CGI experience dates back to 1995 and Pacific Data Images (now PDI/DreamWorks), where he did effects for movies like The Peacemaker and The Arrival before leaving hands-on work behind to become the lighting supervisor on Antz.
Paul Wang, a producer on TMNT found it easy to work with Hong Kong-based Imagi Animation Studio on the feature. In fact, he has since joined the company as an exec.
Imagi got its start in 2000, producing CGI TV series like Zentrix and a direct-to-video feature based on the Digimon franchise. The studio always had its eye on the prize, though: theatrical feature animation, beginning with the Ninja Turtles.
Wang joined Imagi's TMNT team in 2005, while director Kevin Munroe was still working on the film's script. Gray, the producer of the Turtles' three previous features, had convinced their co-creator Peter Laird to go to the well one more time and Imagi, formed in 2000 was ready to play with the big boys. Towards that end, they had opened up a creative development office and production facility in the Los Angeles area, the better to tap into the local talent market and pitch to the studios in town.
The whole point was not just to revive the Turtles franchise, but to push CG animation to another level," Wang recalls. "In 2006 six furry animal movies were released; we thought it was time to do something more edgy, dark -- basically a live-action movie.
"We didn't have the rights to the characters yet [in early 2005]," Wang recalls, but with all parties on the same page and a signed agreement a formality, the L.A. studio began staffing up, ultimately employing some 70 people. As with most U.S. TV animation, character and concept design, creation of a story reel, etc. took place in L.A. The studio created the bare bones CGI cinematography, which was ultimately sent to Hong Kong for full animation by its staff of 300. High-speed Internet data transfers shipping problems and their attendant time delays a thing of the past.
"By the end of 2005 things were ramping up, with Hong Kong doing its own pre-production and producing CGI assets for the film. "Two-thousand-six was the really the year of Hong Kong Imagi production. Here in the States, Kevin and (production designer) Simon Murton [Charlie and the Chocolate Factory, I, Robot] were approving thing and giving notes, along with a few artists guiding that effort. We did the last bits of post the end of February: mostly audio cues, tweaking some of the dialog and trimming a few shots."
Imagi used Maya, today's default CGI software, with Pixar's RenderMan used for the production pipeline's "back-end." "Maya's front end, its tools to move models, place lights and so on are very interactive, it's what Maya's good at," Wang explains. "What it's not so good at, it doesn't have a great render -- it has a sufficient render.
"What people do when they become higher-end studios, either they write own software like DreamWorks, or they'll buy high-end off the shelf software, which is what we did: Pixar created RenderMan. They keep us a year behind the version they use in-house, but it's pretty cool. We upgraded to it to get the better quality for the Turtles."
TMNT's animation and rendering are indeed impressive. The Turtles' body language and facial expressions convey distinct attitudes for each member of the quartet; no Turtle suit could ever come close to the CGI characters' mouth articulation. (Check out their face-spanning smiles.) Skin textures boast convincing texture and translucency (courtesy of RenderMan). A rooftop battle in the rain is a showpiece of effects animation and light reflectivity as raindrops visibly splash off the Turtles' glistening faces.
In fact the Turtles, hewing to their previously established comic book/2D cartoon/live-action appearance, look more "real" than their human supporting cast. It's a decision Wang ascribes to making the shelled heroes "the center of the story. We wanted them to have more detail and visual interest, and have the humans support the Turtles from the design viewpoint."
Definitely a wise decision: after several disastrous flirtations with photo-realistic people (The Polar Express and Final Fantasy: The Spirits Within come to mind, as does Pixar's early short Tin Toy), CGI producers now realize that computer-generated human beings (in CGI movies as opposed to live-action special effects) need to be stylized (if not completely cartoony) or risk falling into the `uncanny valley' of audience rejection.
The contrast between the animation in TMNT and Imagi's previous high-profile effort -- the NBC primetime TV series Father of the Pride -- is particularly striking. "That was a TV show produced on a TV schedule," Wang points out. "Instead approving 50 or 100 shots a month, you'd be approving 100 a week; your throughput has to be so much faster. They had two weeks to complete a 22 minute episode -- that's 11 minutes a week through the pipeline."
FOTP's cast of furry felines suffered as a result, with their textures appearing more painted on than homegrown. "We couldn't afford to render anything more on them than texture mapped fur with little patches of [3D] fur in it. It was a product not only of the time the animators had, but the time available for rendering and tweaking shots. Back then the pipeline was Maya all the way through, including the render."
Today, Imagi's goal is to produce CGI movies that "serve the high-end market" at a fraction of those film's $100 million-plus budgets. "We're doing them for $35 to 40 million," Wang says. "Other CGI films in that range don't have our kind of production quality" and goes on to admit, "our production staff is essentially all in Hong Kong which pretty much cuts our costs."
According to Wang, language barriers aren't a problem because "all the creative supervisors and production management in Hong Kong were hired for their English. We hold English classes for the animation staff" and adds with a touch of hyperbole, "there are no Cantonese [language] classes in the U.S."
"Our animation director has spent most of his life outside Hong Kong. He's Chinese, but he's been around the world -- he grasps the meaning rather than just the words. You can use the adjectives and he'll know exactly what you mean. When you say `thoughtful,' he'll know the Turtle needs to look like he's actively thinking, not zoned out."
With Imagi's first feature under its belt, Wang (now their vp of development) is overseeing the company's next two high profile releases, both based on classic anime TV series. The first is Gatchaman, featuring the exploits of a Power Rangers-style superhero team, but the second one is likely to get the most attention: a long-overdue movie version of the show that first brought anime to the U.S., Osamu Tezuka's Astro Boy. "Sony spent several years trying to do, but for whatever reason they were unable to get it off the ground, so we picked up the rights.
"In one sense, Astro Boy is the Mickey Mouse of Japan and Tezuka is their Walt Disney. There are a lot of post-World War II themes in his story, but it's about a robot who wants to be a boy -- there are shades of Pinocchio and a lot of movies. AI is especially similar in the beginning; large parts are borrowed from Astro Boy. I believe Spielberg came forth and said as much."
Might there be more Turtles in Wang and Imagi's future as well? "We've talked about it. If it happens, we're ready to hit the ground running."
Joe Strike is a regular contributor to AWN. His animation articles also appear in the NY Daily News and the New York Press.
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to firstname.lastname@example.org: AWN
很多人小时候爱看的电视动画片《忍者神龟》（Teenage Mutant Ninja Turtles）在搬上大银幕后，终于要上映了。3月17日，由华纳公司出资并发行、香港意马国际动画公司负责动画制作的《忍者神龟》电影版在好莱坞中国剧院举行首映典礼。参与本片动画部分的香港意马动画公司多位工作人员及该片华裔制片人王以立（PaulWong）等出席首映式，而为该片配音的章子怡则因事未能出席。
轉載 : 新京报
Tuesday, March 20, 2007
Sunday, March 18, 2007
same face, new look
● New York Post
Flash Back TO '80S Comics at the Movies
click to see detail
● LA Times
Teenage Mutant Ninja Turtles go digital
The comic-book heroes' fourth film is rendered without stuntmen in CGI.
click to see detail
Saturday, March 17, 2007
Friday, March 16, 2007
click the picture to view the trailer
Fans of the Highlander movies, as well as the live-action and animated TV series, can now check out the trailer for Highlander: The Search for Vengeance, a new animated feature being released directly to DVD by Starz Home Entertainment this June. The film is directed by Yoshiaki Kawajiri, the respected anime master behind the hits Ninja Scroll and Vampire Hunter D: Bloodlust, as well as the “Program” segment of The Animatrix.
The Highlander mythology involves a clandestine race of sword-wielding immortals locked in a centuries-old competition to be the last survivor. While Highlander: The Search for Vengeance offers a new anime twist, it’s very much connected to previous productions in the franchise. The film was developed and produced by Peter Davis and Bill Panzer, the team behind the live-action films and TV series, and written by series head writer David Abramowitz.
Animation was handled by Japan’s Madhouse, whose credits include Satoshi Kon’s Millennium Actress and Tokyo Godfathers. Production was overseen by Hong Kong’s Imagi Animation Studios Ltd., which provided primary animation for DreamWorks' NBC series Father of the Pride and the feature film TMNT: Teenage Mutant Ninja Turtles, which hits theaters on March 23.
A fifth live action feature titled Highlander: The Source has been completed and is in need of a distributor. Dimension Films was originally on board to put it into theaters in 2005 but has since dropped the movie from its lineup. Reviews from fans who have seen the film have not been especially kind. Perhaps the future of the franchise lies in animation.
To see the trailer for Highlander: Search for Vengeance, go to http://www.highlandersearchforvengeance.com/.source: Animation Magazine
Thursday, March 15, 2007
HONG KONG -- Brett Feeney has joined "Teenage Mutant Ninja Turtles" animation house Imagi as VP of production. His credits include 3D effects supervision on "The Matrix Reloaded" and digital effects on Oscar-winning "Happy Feet."
Feeney, who joins from Sydney-based Animal Logic, will be responsible for managing Imagi's animation production line which includes 400 artists, animators and technicians.
Imagi, which is listed on the Hong Kong stock market and has offices in Hong Kong and LA, sees its first major theatrical picture "TMNT" released at the end of the month through Warner Bros and The Weinstein Co.
"Our next major milestone will be to upgrade our production capacity so that we can start delivering a film every eight months and Brett Feeney will head that initiative," Imagi founder and co-CEO, Francis Kao said.
Feeney's first assignment will be to ready operations for the firm's next two pictures "Gatchaman" and "Astro Boy," which are skedded for release in late 2008 and early 2009 respectively.
Wednesday, March 14, 2007
近期看有三套很喜歡的電影 : Children of men, Pan's Labyrinth 及 300，都是看後感到"視覺大滿足"...
. 視覺畫面每一鏡都像一幅Painting, 構圖燈光顏色對比
. 其實製作成本不高，背景大都是CG做的，也沒有什麼新的技術，就只是用了很多心力去做影像合成部份...仔細地調教燈光，顏色，對比 (那隻犀牛怪很膠...)
300 Ending credit clips
300 Concept Art
300 電影製作特輯- Sina TV