Podcasts about 3d cgi

For Toy Story's 30th anniversary, we're diving deep into the film and studio that changed animation forever—but also how Pixar itself evolved from a revolutionary indie disruptor into a corporate franchise machine. We'll explore Pixar's early era, where its films tackled bold political and existential themes—from A Bug's Life's working-class rebellion to WALL-E's anti-consumerist dystopia—before shifting, post-Disney acquisition, into a safer, identity-driven storytelling model that trades larger commentaries for more safe formulas. Then, we'll break down the Toy Story franchise as a whole before going deep on the original masterpiece. We forgot to discuss the evolution of 2D to 3D CGI and how the oncoming AI boom and those two pieces of history connect, but I'm sure we'll do another animated film in the near future!The Extra Credits YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Become a member of The Extra Credits+ on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠How to link Patreon to Spotify and Apple⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd: ⁠The Extra Credits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok: The Extra Credits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Reddit: r/TheExtraCredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram: ⁠@theextracredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter: ⁠@theextracredits⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Send requests, questions, and thoughts to our email: extracreditspod@gmail.com

Today's Guest Giorgio and Martin Koppehele are brothers and the Co-CEOs of Magic Horizons. They founded Magic Horizons in 2018 for the conception, production, and distribution of virtual reality experiences. Together with their wives, Suna and Gabby, they developed relaxation virtual reality experiences for the global market. Martin and Giorgio bring to Magic Horizons an extraordinary level of expertise and audiovisual media, which they gained through years of successful production in their first two companies, Avenue Music and Classic Arts. Through these experiences, they won numerous awards at the highest levels. Since 2013, Giorgio and Martin also produced 360 planetarium shows, where they gained extensive experience and pioneered work in the field of 3D audio and immersive surround sound. In this area, they benefited from their expertise in the immersive audio and collaborated with exceptional partners such as Dolby Almos Systems and also the inventor of MP3s and many, many more. Together with their team, Martin and Giorgio had expertise in stereoscopic full spherical 3D CGI high-end animation. Their audiovisual productions were released on Blu-ray, 3D Blu-ray, UHD Blu-ray, and DVD, as well as performed and broadcasted via planetarium, cinemas, and internet, and of course, TV.  Magic Horizons is committed to the highest quality products. The team is honored to receive scientific advice from the Game Lab Berlin, a research and developmental platform for the interdisciplinary and laboratory-imagined knowledge design cluster excellence of the Humboldt University in Berlin, Germany. With an exceptional design and programming team, Magic Horizon creates VR experiences at the highest artistic and technical levels. https://magic-horizons.com/en/ About Dr. Raj Dr Raj is a quadruple board certified physician and associate professor at the University of Southern California. He was a co-host on the TNT series Chasing the Cure with Ann Curry, a regular on the TV Show The Doctors for the past 7 seasons and has a weekly medical segment on ABC news Los Angeles. More from Dr. Raj www.BeyondThePearls.net The Dr. Raj Podcast Dr. Raj on Twitter Dr. Raj on Instagram Want more board review content? USMLE Step 1 Ad-Free Bundle Crush Step 1 Step 2 Secrets Beyond the Pearls The Dr. Raj Podcast Beyond the Pearls Premium USMLE Step 3 Review MedPrepTGo Step 1 Questions MedPrepTGo Step 2 Questions Learn more about your ad choices. Visit megaphone.fm/adchoices

Bad 3D in 2D Anime has always been a big issue that is usually due to an animation studio's limitations or circumstances… but is there a way to vastly improve 3D usage without much cost? Jason thinks so.Note: This BP was recorded on January 18th, 2024.------------------------------------------You can always reach us via the following platforms:Email: gapalette@gmail.comTwitter/X: @PaletteGoodWebsite: www.goodanimepalette.comInstagram/Threads: @goodanimepaletteDiscord: Discord Invite Link------------------------------------------Music CreditsIntro:  After Hours Dinner by Almost HereOutro:  Twenty Eleven by Rocket JrAll music used is courtesy of Epidemic Sound (www.epidemicsound.com). If you are interested in using their service, here is a referral link to their platform (Click Here!).

Mac Mave Studios: UFO Crash Retrieval - The Kalahari UAP Incident // 3D CGI Animation / Unreal Engine 5.2

On this episode we talk about 3D/CGI anime, Chainsaw Man, She Loves to Cook, and She Loves to Eat, Mujina in to the Deep, and more! Then we explore some fantastic indie manga from Glacier Bay Books and Star Fruit Books for a Triple Dip! We review Mermaid Town, The Karman Line, and WONDER HOUSE OF HORRORS!!! Send us emails! mangamachinations@gmail.com  Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our YouTube channel! https://www.youtube.com/mangamactv Buy us a Kofi! https://ko-fi.com/mangamac Timestamps: Intro Song: “Are You Ready For Me Baby” by Funky Giraffe, Opening, Introductions, Beaches and sunburns - 00:00:00 Listener Mail: 3D/CGI anime - 00:03:46 Whatchu Been Reading: Transition Song: “Funkymania” by The Original Orchestra, *SPOILERS* Darfox is excited about the newest chapters of Chainsaw Man - 00:11:17 Morgana revisited Skip・Beat! - 00:15:53 Morgana and dakazu discuss She Loves to Cook, and She Loves to Eat - 00:17:59 dakazu finds lots of similarities in Aya to Watashi, Mainichi Miso-shiru - 00:26:46 Inio Asano gets into assassin action series with Mujina in to the Deep - 00:32:24 dakazu finally read the first Glacier Bay Books release, Sleepy Child - 00:36:38 Next Episode Preview and Rundown: Triple Dip, where we read the beginning of three different manga, including: WIND BREAKER by Satoru Nii, Level 1 Demon Lord and One Room Hero by toufu, and Frieren: Beyond Journey's End by Kanehito Yamada & Tsukasa Abe - 00:39:12 Main Segment Triple Dip: Mermaid Town/The Karman Line/WONDER HOUSE OF HORRORS, Transition Song: “It's Over” by Generation Lost, We three different independent manga from Glacier Bay Books and Star Fruit Books for discussion before picking our favorite of the three - 00:41:07, Including: Mermaid Town by Tomohiro Tsugawa - 00:42:21 The Karman Line by Kotaro Mitsuhashi - 01:08:21 WONDER HOUSE OF HORRORS by Miyako Cojima - 01:25:46 We pick our favorite out of the three manga -  01:44:07 Next Week's Topic: WIND BREAKER/Level 1 Demon Lord and One Room Hero/Frieren: Beyond Journey's End, Social Media Rundown, Sign Off Song: “Crazy for Your Love” by Orkas - 01:46:30

«EL ANIME Y SU IMPACTO EN REDES SOCIALES» Que tal a toda la banda de MultiAnime! Bienvenidos y Bienvenidas al MultiAnime Podcast tu podcast de anime en español favorito, en la edición número 14 de la tercera temporada, hoy 24 DE OCTUBRE DEL 2022. En el episodio de hoy, como tema principal, tenemos: «EL ANIME Y SU IMPACTO EN REDES SOCIALES» Pero antes platicaremos rápidamente de lo más destacado de la semana, como la razón de usar CGI (3D) en vez del estilo típico de animación de acuerdo al director de Kuroko No Basket. Se da a conocer que el creador de Yu-Gi-Oh! falleció por salvar a unas personas, tenemos más anime en cines mexicanos: Takagi San en Cinepolis del 10 al 13 de noviembre y ya tenemos todas las referencias de películas en el Opening de ChainSawMan. Andy: Y porque a veces vemos más que solo anime, en Netflix, vimos la película «La Escuela del Bien y el Mal» y la inquientante «MidSommar«, mientras que en HBO MAX empezamos a ver «El Valle Olvidado». | Conducido por Alex y Andy | Visítanos en http://MultiAnime.com.mx | Suscríbete YouTube: https://www.youtube.com/c/MultiAnimePlus | Contacto: alex@multianime.com.mx o multianime0@gmail.com Déjanos un Mensaje de Voz o Texto por WhatsApp aquí: https://bit.ly/3BOXRiv Puedes escucharnos en otras plataformas de audio aquí: https://anchor.fm/multianime/ --- Send in a voice message: https://anchor.fm/multianime/message

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Eric Vilas-Boas who wrote If Rotoscoping Isn't Animation, Nothing Is for Vulture. Here's what I wrote about it:This year director Richard Linklater released the film Apollo 10 ½: A Space Age Childhood, which is animated through rotoscoping. Essentially, live-action footage is painstakingly animated over using a technique that harkens back to the dawn of animation, a process that required a suite of about 200 2D animators for costs upwards of $20 million. The animated film, however, has been rejected by the animation committee of the Academy Awards, arguing it relies on live-action footage even though the film clearly surpasses the requirement 75 percent of running time must be animated. Linklater and company are ticked off, claiming that the branch has been captured by corporations and aimed at children, with 19 of the past 21 awards for Best Animated Feature going to CG-animated kids movies, and with just two independent studies winning.Eric is brilliant on the topic of animation, he was one of the founders of The Dot and Line animation blog and is one of the most plugged-in writers on the topic these days. We spoke about why the awards scene around animated film is chaotic, why it's a demoralizing moment to be in the field, and how streaming has upended the industry. Eric can be found at @e_vb_ and at Vulture.This interview has been condensed and edited. You wrote a really fascinating story about a new film that's coming out from director Richard Linklater. Before we dive into the whole concept of rotoscoping and whatnot, do you want to tell folks a little about your history with animation? You're currently at Vulture, you've got a long history of working in this space. What's been your journey in covering animation so far?I've been interested in this area of coverage for a long time. I always wanted to be an entertainment journalist. I always wanted to angle my career in that direction. A buddy of mine and I looked around at the space of magazine journalism a few years ago and we noticed, "Oh, there's no The New Yorker for animation coverage." No one covers cartoons with what we thought was a level of both consistency and seriousness.We started this website called The Dot and Line based off an iconic Chuck Jones short cartoon; that was in 2016. My friend and I, John Maher, started that site. That site was just our way of covering animation from a fan perspective and a magaziney perspective, a bloggy perspective, and also covering the business through the same lens.We never made any money. The Dot and Line shut down, we gave it a viking funeral in 2020, in the beginning of the pandemic, very lovingly.I always really loved cartoons and animation. I wanted to cover it more deeply and make sure that it had a place in the media ecosystem that I was working in. These days I've parleyed that experience into writing about animation for Vulture, for Thrillist in the past, for Hyperallergic, for The Observer. Now I'm currently in Vulture where I edit most of our streaming coverage, and then also work on the occasional animation and cartoons piece, which brings me to this topic today.I just wanted to make sure that we got that set up, because there's this idea that you've always been reporting on how there's tension in animation, how there aren't a lot of people who treat it seriously, that there's a tremendous amount of effort and art that goes into it but that mainstream sources oftentimes don't necessarily understand what some of the power and appeal of it is. That all really comes to a head in the story. Do you want to talk a little bit about Apollo 10 ½ and how it was made?It definitely hits a lot of points for me. Apollo 10 ½ is a rotoscoped movie directed by Richard Linklater, a very well-regarded indie filmmaker who has done both animated movies like A Scanner Darkly and Waking Life as well as live-action movies like the Before trilogy and Dazed and Confused, and a few other things that you might have seen before. Apollo 10 ½ is basically his latest animated effort. It was made by a large team of around 200 animators through a studio called Minnow Mountain, based in Austin, Texas, where Richard Linklater is also based. Apollo 10 ½ is essentially a coming-of-age fantasy story about a kid who gets to experience sitting in a NASA space mission.The opening hook of the movie is like, "Oh, we made the space capsule too small and now this preteen child must be signed up for a NASA mission." And it's a fantasy. It's meant to be fantastical in a way that live action can't be. Richard Linklater has talked about this, so that's all well and good. Apollo 10 ½ was released on Netflix earlier this year, over the summer. It was also submitted for Academy Award consideration for Best Animated Feature.Best Animated Feature is an interesting category and we can get into why. But long story short, the film was rejected from consideration over the summer on the grounds that it "did not meet the definition of animation" according to the Academy's feature animation committee.That's ticked a lot of folks off, because it is animated with a technique used called rotoscoping which as you wrote, goes back to some of the earliest days of not just animation but film, period. Do you want to talk about what the controversy is there?To give just a definition, rotoscoping is essentially you'll film something in live action. The tool that was invented was literally called the rotoscope, and it was invented by this animator Max Fleischer, who people might know from the Superman cartoons. These old 1940 Superman cartoons are some of the best cartoons of their kind even to this day; they're very well respected. He invented this thing in 1915 called the rotoscope. What the rotoscope is is essentially a multi-plane camera on steroids that allows you to film something in live action, and then to trace the images of what's been filmed into an animated form — to trace the outlines of something and create art out of it, essentially.The Fleischer brothers used this on a number of their animated cartoons. They had this series called Out of the Inkwell: They traced Cab Calloway, the jazz musician, dancing and doing some awesome moves in some of their cartoons. The upshot of all this is that it looks really good. It's an easy way to capture fluidity and a certain level of realism, without having to draw every single thing from nothing, essentially. It's a technique that's been used for decades upon decades by not just the Fleischers but also animators at Disney. Snow White heavily referenced a performer named Marge Belcher using similar techniques.It goes all the way to Ralph Bakshi's 1970s Lord of the Rings film, which famously uses rotoscoping. You can argue one way or another over whether Ralph Bakshi's rotoscoping looks good or not. I think a lot of it looks really good. Lord of the Rings is not a very good-looking movie, but it's interesting, I think.People feel a lot of different ways about rotoscoping. Part of the mystique of animation is that something is artistic and being delivered in front of you, in a moving way that literally tricks you to think that these images that are just layered on top of each other very, very fast are actually moving. That's the point. I think that it takes an element of the mystique out of it, or the artistry out of it, to hear later on, "Oh, that was traced," or something like that. But the reality is this is just a tool, it's just a technique that a lot of animators and a lot of your favorite movies have actually deployed over the years. A lot of movies that you might know.The crux here is that the animated film division of the Academy came to the determination that this wasn't an animated film, because it required rotoscoping as much as it did. And it's got a lot of people ticked off for a lot of different reasons.2D animators obviously have had a hell of a time just continuing their craft. Just in general, the category as you wrote has been really dominated by fairly colossal corporate interest for a while. Do you want to talk a little bit about what specifically this tempest is all about?I think it's really frustrating to anybody who knows about the history of animation to call a decades-old technique used in animation not animation. So that's one side of that argument.Another side of this argument is the corporate aspect of the specific animated feature award. It's not Best Picture, which has been around for forever. It's not as clear-cut as Best Actor or Best Actress or something like that. Best Animated Feature has been around since the year 2001, so it's newer. Ever since 2001, it's always been largely dominated by either 3D CGI movies and/or films that are owned or have been distributed by Disney-Pixar. To pull out some examples, I think Shrek won the first year, and last year Encanto won.I don't have the history in front of me, but every year it's an ongoing joke in the animation community like, "Oh, another CGI movie is going to win." And it's very rare that, number one, a 2D film wins, even more rare I think than that a film that's not owned by a large mega-conglomerate, either Disney or Dreamworks, wins.They've all been Disney, Pixar, Dreamworks, Sony, with the exception of one Aardman picture, and then Spirited Away.Two independent studios have won over the past 20 years, which is like, I personally don't like those numbers. A lot of folks can say otherwise.And then there's this other side of the argument, and I think the animator Phil Lord got into this a little bit when he tweeted last year and a lot of people tweeted: The larger cultural understanding of the animated feature category is that it's made for children. That animation is just for kids, and that this is a juvenile pursuit. I think that the presenters at last year's Academy Awards leaned into that.It was really patronizing, if I recall.Yeah. The tone of that is very patronizing. You look at the animator Richard Williams who passed away a few years ago, this is a person who is known for a hyper-realistic, very, very fluid animated style. He's the reason that Who Framed Roger Rabbit looks as good as it does, because he impressed upon his animators, "You have to make sure the eyelines match up between the cartoon characters and the actors on stage."You look at artists on his level or on a Miyazaki level, or to go back even further a Chuck Jones level, and to say that they are making stuff that's only for kids is, if it were me, if I were in their shoes, I would find it very offensive. I would find it very patronizing.It's an interesting category for a lot of reasons. I looked at it last year because I'm obsessed with the Oscars, and Pixar usually gets a bid, Disney usually gets a bid, Dreamworks usually gets a bid, one of the other biggies gets a bid. And then they'll usually get an international feature or one of the Ghibli, Aardman worlds.It's weird that there's clearly a degree to which the animators within the division have enough clout to get those nominees for those international features and those smaller indie features, but it does seem that the branch is dominated by the kind of folks who just want to give it to Pixar, Disney or Dreamworks.That's the story the numbers seem to tell us. I think one of the frustrations, and I understand why it has to be this way, is that you do want to know how these voting bodies work, but it raises a wide variety of complications if we knew exactly how everybody voted, but a lot of the stuff happens in a very opaque way. Richard Linklater, in my story, when I interviewed him for this Apollo 10 ½ thing, his words I think were, "We really just don't know who's behind this decision making." The only way that he can conceive of it is that like, they must have something against rotoscoping, or, against us, "us" speaking for the independent animators that he works with.To him, to them, it feels like a David and Goliath situation where I'm sure a film like the latest Disney-Pixar thing that is made for $150 or $200 million or whatever it is, they would probably have no trouble getting nominated for anything, for clearing through any of the rules that are stipulated. This film, which is made for $20 million and there's definitely an outsider feeling there on the part of him and his animators, they're running into trouble.It's a challenging category because again, the work is really fairly incredible coming out of even the larger houses, not to diminish any of that. It is just weird.That's the thing too. No value judgment, it's not an artistic judgment on the artistry of a film like Encanto or Turning Red which are stunning, beautiful animated movies. I cried during Encanto not quite like I'd cried in any movie that year that it came out. But I think the tension is really like, "Oh, why is animation only this?" I think that's the question that is on some of these other animators' minds and on Linklater's mind.It's almost entirely 3D animated stuff. Again, I'm a LAIKA stan, and it's just shocking to me that they occasionally get the nominations, but it's a little evident that the body is just going to be predisposed toward 3D computer-animated graphic stuff instead of the 2D stuff, instead of the anime stuff, instead of the rotoscoping and stop-motion stuff.Yeah. LAIKA is a perfect example; just everything that they put out is amazing, it just looks stunning and it feels like if they get a nomination, it's a good year.You also cover a lot about just how the business of animation and streaming has really fundamentally changed; a lot of that, whether it's Crunchyroll merging with Funimation, whether it's all these streaming services jumping directly into the world of animation and then some of them getting cold feet and then getting the hell out. It's been an interesting couple of years for the business itself. Do you maybe want to talk a little bit about streaming and how that's changed some of the math for animated stuff?I'm glad you asked about that because we're in this moment right now, this sense in the animated world that this idea that animation and animators are playing second fiddle constantly to the world of live action. It shouldn't really be that way. These movies and shows take a lot of effort to produce and they do connect with kids and with adults in very, very profound ways. But we're in this moment where it's like, "Oh, you have this corner of the entertainment industry that is doing all this stuff but it feels like it's not getting recognized."Even within that side of the entertainment industry, you have these aspects of it that are, like anything else, it feels like the big dogs are running the show, like the indie animators are doing their own thing, doing something different but then maybe they're being shut out of awards consideration.The same is happening on a macro level. In terms of what I've been covering, to take the streaming wars for example, part of the larger capitalist world in which we operate — for example, Warner Brothers Discovery, the company removed I think 36 titles off of HBO Max without warning over the summer as they were trying to carve down on overhead and slash $3 billion worth of debt which the merged company had inherited.A big part of that was animated shows. A lot of animated shows were in that mix. A few of them, like Infinity Train for example, an amazing show, a brilliant genius show, very not of the same mold as other programming like it, Infinity Train was spiked from the service and all their social media accounts were eliminated. I think the music on Apple Music was removed. This all happened within a span of a few days to a week.I don't know the status of Infinity Train's physical media, but the sense of it was that this show had disappeared off the internet, completely disappeared. And as a fan, you're kind of like, "What the f**k?" As a fan, you're like, "What just happened here?" Offhandedly, I talked to people who worked on the show, and they were also just confused like, "What's going on?" I think that they were all blindsided. The creator of the show, Owen Dennis, wrote a very good Substack post on that exact thing, that feeling of blindsidedness.You've got all these things going on and it's not helping. Animators, or people who are fans of animation, it doesn't help them that some movies are being treated with seemingly a different set of rules as other movies, debatable on whether those rules should exist or not as they pertain to the Academy Awards. It feels like they're being devalued by some of these large companies that own some of the titles that they worked on, either to slash them to just offload debt or to eliminate them entirely for no reason. It seems like the reason is money, which to me doesn't really seem a good reason at all.Then at the same time, something like the Academy Awards, and the award is presented, are we then going to be treated to some hacky line from the last year's best supporting actress or whatever saying, "Oh, animation is so good for kids. It's so great to watch when you grow up, this is what you do when you're a child, and that sense of wonder" or whatever.I don't know, man. If all this stuff is happening to you and you're an animator and you're already baseline underpaid, because everybody's underpaid in Hollywood or anywhere in media, you learn that your work is being devalued by the company you work for. You learn that, an opportunity that I have to go on stage and accept this award is being seen as this purely juvenile pursuit that only appeals to children. Again, we're speaking hypotheticals for all of this, but the multinational company worth billions upon billions of dollars that happens to have billions upon billions of dollars in debt, essentially disappears your cartoon from the service that it was running on?I would be demoralized. I'd be very demoralized.Demoralized is a really good word. It's also fascinating because it's objectively wrong. Adult animation, it's really hit a stride recently; demand is only going up.I alluded to Crunchyroll earlier, but again we've seen demand for anime go through the roof. It seems like it's very much a dated mentality that animated programming is exclusively for kids. It is just a separate art form in a way.You've written a lot in particular about how creatively we've been in a bit of a renaissance when it comes to what one can do with animation and who animation can be for.Yes, absolutely. I don't know, some of the best action filmmaking that I have ever seen has come from Genndy Tartakovsky, director and creator of Primal and Samurai Jack and Dexter's Laboratory. I interviewed him a few years ago and I can't remember the exact quote, I've got to pull it up in my notes. I think I asked him something on the level of, "Would you want to direct a live-action film?" or something like that. And for him, it's not about that. It's not about "graduating" from animation into live action. I can't remember the exact quote, but he told me, basically, it's all about filmmaking. It's all about composing shots, creating storyboards, getting the timing, getting the action and putting a film together.I just saw a tweet today, it's Steven Spielberg getting interviewed about something 30 or 40 years ago. He talks about how animation is the father of live-action filmmaking. The quote is like, "They need to know how a chipmunk rolls into a bank of snow or whatever, because they need to paint every motion of that chipmunk rolling over and over and over across 12 cells per second." This is Steven Spielberg. Steven Spielberg gets it. Why can't anybody else get it?I talk to folks in the comics world who say very similar things, where it's just, they're not trying to storyboard Marvel movies 10 years from now. They're trying to do something in a format that you can uniquely only accomplish in that. You can do things in animation that you cannot do in live action and that's what makes it very cool.It's not for nothing, but the conversations that are happening in the film and TV animated world are probably also happening at the same time in the VFX animation world. We're hearing a lot about these video effects workers on these Marvel movies talking about their labor issues, everything from increased workload leading to overly demanding schedules, and so the product resulting in it looking bad, the product looking not what a movie should look like and not adhering to some of these basic rules of filmmaking, framing and making sure what the stakes are. I think we're just in an interesting period where a lot of these big productions are coming out, you've got Star Wars, you've got all these Marvel movies, you've got the DC Extended Universe. All those require intense special effects like animators. And these two practices are very closely linked, even if they're not going after the same goals.Where can folks find you, Eric? Where can folks find your work and what are you working on these days?Yeah, I'm at Vulture. My Twitter handle is @e_vb_, and anything I write these days typically winds up at vulture.com.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips, or feedback at walt@numlock.news.  Get full access to Numlock News at www.numlock.com/subscribe

Nearly 4 years after Broly, Dragon Ball Super: Super Hero – the 21st Dragon Ball film overall, and 4th of the modern era – opened this weekend in North American theaters, playing in both English and Japanese for the first time in franchise history, and with the widest opening for an anime film ever in the United States, playing on nearly 4,000 screens! It's also the first Dragon Ball film to be produced completely in 3D CGI, with a new team led by director Tetsuro Kodama bringing Akira Toriyama's script to life in a very different style than we've seen before. And the movie turned out to be well worth the wait and the hype, telling a compelling character-driven story centered on Piccolo, Gohan, and Pan, with several wonderful new characters, a lot of incredible action, plenty of big laughs, and even a few surprisingly touching pay-offs at the end! It's a great Dragon Ball movie, and a big step forward for CGI anime, and it makes for an incredible fun discussion between Sean and Jonathan. Enjoy, and come back next time for Part 1 of our Fullmetal Alchemist: Brotherhood review, where we'll be covering Episodes 1-32 of the 2009 anime! Follow us on Twitter @JapanimationPod Follow Jonathan Lack on Twitter @JonathanLack Follow Sean Chapman on Twitter @SeantheChapman JapanimationStation.Com WeeklySuitGundam.Com WeeklyStuffPodcast.Com

Nearly 4 years after Broly, Dragon Ball Super: Super Hero – the 21st Dragon Ball film overall, and 4th of the modern era – opened this weekend in North American theaters, playing in both English and Japanese for the first time in franchise history, and with the widest opening for an anime film ever in the United States, playing on nearly 4,000 screens! It's also the first Dragon Ball film to be produced completely in 3D CGI, with a new team led by director Tetsuro Kodama bringing Akira Toriyama's script to life in a very different style than we've seen before. And the movie turned out to be well worth the wait and the hype, telling a compelling character-driven story centered on Piccolo, Gohan, and Pan, with several wonderful new characters, a lot of incredible action, plenty of big laughs, and even a few surprisingly touching pay-offs at the end! It's a great Dragon Ball movie, and a big step forward for CGI anime, and it makes for an incredible fun discussion between Sean and Jonathan. Subscribe to our YouTube Channel!Subscribe to the WEEKLY SUIT GUNDAM Podcast!Subscribe for free to 'The Weekly Stuff' in Apple Podcasts!Follow Jonathan Lack on Twitter!Follow Sean Chapman on Twitter!

Nearly 4 years after Broly, Dragon Ball Super: Super Hero – the 21st Dragon Ball film overall, and 4th of the modern era – opened this weekend in North American theaters, playing in both English and Japanese for the first time in franchise history, and with the widest opening for an anime film ever in the United States, playing on nearly 4,000 screens! It's also the first Dragon Ball film to be produced completely in 3D CGI, with a new team led by director Tetsuro Kodama bringing Akira Toriyama's script to life in a very different style than we've seen before. And the movie turned out to be well worth the wait and the hype, telling a compelling character-driven story centered on Piccolo, Gohan, and Pan, with several wonderful new characters, a lot of incredible action, plenty of big laughs, and even a few surprisingly touching pay-offs at the end! It's a great Dragon Ball movie, and a big step forward for CGI anime, and it makes for an incredible fun discussion between Sean and Jonathan. Enjoy, and come back next time for Part 1 of our Fullmetal Alchemist: Brotherhood review, where we'll be covering Episodes 1-32 of the 2009 anime! Follow us on Twitter @JapanimationPod Follow Jonathan Lack on Twitter @JonathanLack Follow Sean Chapman on Twitter @SeantheChapman JapanimationStation.Com WeeklySuitGundam.Com WeeklyStuffPodcast.Com

Chapters00:00 - Introduction 00:13 - Launch In The Film Industry02:59 - Moving Into Music04:53 - Controlling 3D Sound07:26 - EastWest WordBuilder11:05 - Density14:07 - The End-User Format17:04 - Solving Binaural19:45 - Head Tracking21:42 - Future DevelopmentsSound Particles BiogSound Particles creates 3D Audio Software that brings the power of computer graphics to the sound world, allowing sound professionals to create breathtaking sounds that simply would not be possible to create in any other way. Sound Particles provides the world's first native 3D audio software combining CGI and audio techniques to create a new audio standard. The software creates the most realistic sound effects allowing perfect coherence between image and sound due to its true 3D CGI integration, while increasing the productivity of audio professionals.Based in Leiria (Portugal) and founded by Nuno Fonseca, a former university professor, Sound Particles has been steadily growing since being founded in 2016 and is now composed of a team of over 30 people (with 1 in the UK and 1 in LA).Sound Particles' unique software is used in all major Hollywood studios and top videogame companies, in productions like "Dune", “Game of Thrones”, “Ready Player One”, "Frozen 2", "Star Wars" and many others.https://soundparticles.com/Paul White BiogPaul White joined the Sound On Sound team in 1991 where he became Editor In Chief, a position he held for many years before recently becoming Executive Editor. Paul has written more than 20 recording and music technology textbooks, the latest being The Producer's Manual.Having established his own multitrack home studio in the 1970s he's worked with many notable names including Bert Jansch and Gordon Giltrap. He's played in various bands over the years and currently collaborates with Malvern musician Mark Soden, under the name of Cydonia Collective. Paul still performs live claiming that as he has suffered for his music he doesn't see why everyone else shouldn't too!http://www.cydoniacollective.co.uk/

In this episode, David continues his conversation with Iain Drudy the host of the Fearless Inspiration podcast, who is a pioneer and exponent of 3D CGI. His focus is on helping organizations and companies harness the power of the latest 3D virtual imagery. David shares his journey from being overwhelmed to being able to recognize his why and help others. Why is now all about Uniting Team Human   KEY TAKEAWAY Understanding your why is a big part of defining your values, and what you stand for. 3D travel is a part of uniting team humans. If you have lots of problems, lose yourself in helping others. There are a lot of common threads across the different belief systems. Anyone can raise their vibration. Listen to yourself and respect what your inner thoughts are saying. The way you think about money is important. It is an enabler. If there are things you cannot help doing, they are the things that make your heart sing.   BEST MOMENTS ‘Challenges are to grow from don´t throw all of the toys out of the pram when something's a bit hard,' ‘I am inspired by the fact that you can raise your vibration, energetically and emotionally.' ‘We are actually balloons that can fly but we are weighted down with all this weight.' ‘Money needs to be enough of a priority to be able to serve your life and help you to fulfill your mission.'   EPISODE RESOURCES 3D CGI Website: https://missioncontrol.pitchmyspace.com/ Email: iaindrudy@pitchmyspace.com/ Podcast email: inspiringteamhuman@gmail.com Fearless Inspiration Podcast - https://podcasts.apple.com/us/podcast/fearless-inspiration-with-iain-drudy/id1579592615   ABOUT THE SHOW People with purpose make a difference. Imagine a world where more people can just get their purpose out of them, into a plan and then actually make it happen. What a world that would be - People everywhere finding meaning and harnessing that to bring inspiration and energy to each and every day, changing lives for the better. But no one ever achieved anything on their own - we all have something unique to bring and that means we all have to play our part - if we want to go far we have to go together and lead or serve towards a vision of the world we want to see. Everyone has a story to tell, and this show is where these stories come to life.   ABOUT THE HOST David Roberts is a highly regarded CEO, mentor, and investor with 30 years of experience across multiple sectors. As an intrapreneur and entrepreneur David has bought, grown, started and sold several businesses, working with values-driven start-ups, award-winning SMEs, and multinational corporations on strategies for service excellence, leadership, and profitable growth. David's passion is for purpose and creating an environment where everyone can succeed, through building teams that get things done, execute on their mission with passion, deliver exceptional service and really make a difference.   ARTWORK CREDIT Penny Roberts - https://www.instagram.com/penpennypencils   CONTACT METHODS LinkedIn - https://www.linkedin.com/in/david-roberts-nu-heat/ Facebook - https://www.facebook.com/DavidRobertsPeopleWithPurpose Instagram - https://www.instagram.com/davidcroberts_/ Clubhouse - https://www.clubhouse.com/@davidcroberts?utm_medium=ch_profile&utm_campaign=MBv1ubya1-oOBXc_uQKFHw-46334See omnystudio.com/listener for privacy information.

In this episode, David sits down to talk with Iain Drudy, the host of the Fearless Inspiration podcast and a pioneer and exponent of 3D CGI. He helps organizations and companies harness the power of the latest 3D virtual imagery. David shares some of the remarkable ways this technology is already being used. He also talks about how it can greatly enhance the value of certain NFTs. As well as empower people, help them to learn and much more.   KEY TAKEAWAYS It is possible for anyone to make a 3D model of a place or a virtual gallery and earn income from them. You no longer need to have the goggles. The opportunities are endless, museums, universities, real estate agents, artists and far more are now using 3D CGI. It is a great way to showcase new technology, stage events and show off your work. You can create a mall of stores e.g., the best rocking horse shops in the world in one place. It is possible to shop virtually with your friends. 3D is a great way to train people remotely. .   BEST MOMENTS ‘Nowhere is off-limits, really' ‘With health and safety no longer being an issue even factories can be a place to host your Zoom call.' ‘We are just making much more engaging and visual learning for all types of environments.'   EPISODE RESOURCES 3D CGI Website: https://missioncontrol.pitchmyspace.com/ Email: iaindrudy@pitchmyspace.com/ Podcast email: inspiringteamhuman@gmail.com Fearless Inspiration Podcast - https://podcasts.apple.com/us/podcast/fearless-inspiration-with-iain-drudy/id1579592615   ABOUT THE SHOW People with purpose make a difference. Imagine a world where more people can just get their purpose out of them, into a plan and then actually make it happen. What a world that would be - People everywhere finding meaning and harnessing that to bring inspiration and energy to each and every day, changing lives for the better. But no one ever achieved anything on their own - we all have something unique to bring and that means we all have to play our part - if we want to go far we have to go together and lead or serve towards a vision of the world we want to see. Everyone has a story to tell, and this show is where these stories come to life.   ABOUT THE HOST David Roberts is a highly regarded CEO, mentor, and investor with 30 years of experience across multiple sectors. As an intrapreneur and entrepreneur David has bought, grown, started and sold several businesses, working with values-driven start-ups, award-winning SMEs, and multinational corporations on strategies for service excellence, leadership, and profitable growth. David's passion is for purpose and creating an environment where everyone can succeed, through building teams that get things done, execute on their mission with passion, deliver exceptional service and really make a difference.   ARTWORK CREDIT Penny Roberts - https://www.instagram.com/penpennypencils   CONTACT METHODS LinkedIn - https://www.linkedin.com/in/david-roberts-nu-heat/ Facebook - https://www.facebook.com/DavidRobertsPeopleWithPurpose Instagram - https://www.instagram.com/davidcroberts_/ Clubhouse - https://www.clubhouse.com/@davidcroberts?utm_medium=ch_profile&utm_campaign=MBv1ubya1-oOBXc_uQKFHw-46334See omnystudio.com/listener for privacy information.

This week we watched the most lovingly a penis has ever been 3D CGI rendered. We watched Hollow Man that is some sizzling Bacon. Join the Patreon (http://patreon.com/myopia)! There are tiers to that will help us keep doing what we are doing! (Each tier unlocks all lower tiers) What is patreon? It is our way of rewarding our biggest fans with additional stuff, like movie episodes, riffs, and our back catalog! Join now for additional stuff at $1, $3, $5, and $10! Or a one time $50 to pick your own flick! What do you unlock? The Alien Franchise: Alien, Aliens, Alien 3, Alien Resurrection, Prometheus, and Alien Covenant, the rest of Harry Potter: The Half Blood Prince, Hallows part 1 and 2, plus Silver Bullet, The Watchmen, The Lawnmower Man, Demolition Man, True Lies, Van Helsing, The 39 Steps, Baby's Day Out, The 13th Warrior, Star Trek IV: The Voyage Home, The Thomas Crown Affair, Austin Powers: International Man of Mystery, and London Has Fallen! Not to mention movie riffs and much more to come! Also, because you love us, find us everywhere! Like Facebook! Or the Facebook Fan Group! Or Twitter! Or Letterboxd! Or the Fancy Website! We are also available wherever you are too! Apple Podcasts, Google Podcasts, Spotify, Stitcher, TuneIn and Alexa, Podbean, Listen Notes, YouTube, everywhere! Coming soon to Pandora, iHeartRadio, and Deezer. How will Hollow Man hold up? Host: Nic Panel: Nic, Matthew, Daniel, and Nur

This week we watched the most lovingly a penis has ever been 3D CGI rendered. We watched Hollow Man that is some sizzling Bacon. Join the Patreon (http://patreon.com/myopia)! There are tiers to that will help us keep doing what we are doing! (Each tier unlocks all lower tiers) What is patreon? It is our way of rewarding our biggest fans with additional stuff, like movie episodes, riffs, and our back catalog! Join now for additional stuff at $1, $3, $5, and $10! Or a one time $50 to pick your own flick! What do you unlock? The Alien Franchise: Alien, Aliens, Alien 3, Alien Resurrection, Prometheus, and Alien Covenant, the rest of Harry Potter: The Half Blood Prince, Hallows part 1 and 2, plus Silver Bullet, The Watchmen, The Lawnmower Man, Demolition Man, True Lies, Van Helsing, The 39 Steps, Baby's Day Out, The 13th Warrior, Star Trek IV: The Voyage Home, The Thomas Crown Affair, Austin Powers: International Man of Mystery, and London Has Fallen! Not to mention movie riffs and much more to come! Also, because you love us, find us everywhere! Like Facebook! Or the Facebook Fan Group! Or Twitter! Or Letterboxd! Or the Fancy Website! We are also available wherever you are too! Apple Podcasts, Google Podcasts, Spotify, Stitcher, TuneIn and Alexa, Podbean, Listen Notes, YouTube, everywhere! Coming soon to Pandora, iHeartRadio, and Deezer. How will Hollow Man hold up? Host: Nic Panel: Nic, Matthew, Daniel, and Nur

Sejam bem-vindos ao MadaMadaMensal! Neste programa, conversamos sobre a criação e conclusão de "Dead Dead Demon's Dededededestruction", o excelente e já considerado clássico moderno dos mangás! Passamos pelo final de "Oyasumi Punpun", e como a obra cedeu carga direta para criação de "DeDeDeDe" e os sentimentos do Asano, ao criar uma obra mais comercial. Linha do tempo: 00:00 - O final de Oyasumi Punpun e os limites da mídia 05:03 - Mudança interna de Inio Asano, em relação ao mercado 07:05 - DeDeDeDe e intenções autorais 10:03 - Ambições técnicas, mudança no traço e 3D CGI 13:40 - Animações promocionais e as possibilidades do 3D CGI - SPOILERS! - 16:25 - O final de DeDeDeDe, capítulo 100 Obrigado por assistirem! Contato: @Edurrabo @GaijinImundo @canalmadamada

It's time for our brand-new episode of 2022! We have tons to talk about and so come listen and enjoy!1:00 Welcome and what we're excited for in 20228:27 Levi Ackerman Skin for Call of Duty12:17 Wendy's Twitter account roasts17:48 Pokemon Arceus Gameplay Trailer discussion33:44 Cobra Kai season 4 talk1:01:46 3D/CGI in anime and in its future. Is it good or bad? 

Inspired by this week's main feature, Reegs took the easy way out and nominated the Top 5 Prisoners for our discussion. As it happens this was pretty fruitful territory as there has been one or two movies made featuring prisoners over the years. With the release of Denis Villeneuve's DUNE imminent we decided to look back at his 2013 English language debut PRISONERS. A kidnapping thriller exploiting parents worst fears, with incredibly intense performances from leads Hugh Jackman and Jake Gyllenhaal and able support from Terence Howard, Melissa Leo and especially Paul Dano, it's the confident film-making and gorgeously grey suburban cinematography courtesy of the Oscar winning Roger Deakins which elevates this film in the face of some laboured symbolism and plot contrivances which occasionally stretch credulity. Co-created by Andy Heyward, Jean Chalopin and Bruno Bianchi, the 1983 classic animation INSPECTOR GADGET  was rebooted as a 3D CGI monstrosity back in 2015 and then streamed by Netflix from 2017 onwards. Set approximately 5 years after the events of the original series, this sequel to the original cartoon sees the clueless cyborg cop's retirement put on hold until his nemesis, Dr Claw, has been defeated. We are asking the big questions this week: how did Gadget receive his horrifying abilities? Is he a man or a simulation of a man? What percentage of his head is taken up with storing helicopter blades? Can Gadget ever be killed? And how was it that the genius Dr Claw never realised his schemes are being foiled by a 10-year-old girl and her curiously surly dog? We love to hear from our listeners! By which I mean we tolerate it. Try us on twitter @dads_film, on Facebook Bad Dads Film Review or on our website baddadsfilm.com.   Until next time, we remain...   Bad Dads

In this episode of the Immersive Audio Podcast, Oliver Kadel and Monica Bolles are joined by the founder and CEO of Sound Particles Nuno Fonseca from Leiria, Portugal.  Nuno Fonseca (PhD), is the founder and CEO of Sound Particles company, and was the creator of Sound Particles software, a 3D CGI-like audio software used in all major Hollywood studios in productions such as “Star Wars 9”, “Frozen II”, “Aquaman” or “Game of Thrones”. Former university professor (computer science and music technology areas),  Nuno is the author of the Portuguese book “Introdução à Engenharia de Som” (Introduction to Sound Engineering), co-author of the Portuguese book “Desenvolvimento em iOS” (iOS Development), author of "All You Need to Know About 3D Audio" ebook, and author of more than 20 papers regarding audio research. He is a member of AES, SMPTE, CAS, MPSE, AMPS, and a member of the Audio Engineering Society (AES) Technical Committee on “Audio for Cinema”.  In this episode, Nuno shares the story of the creation of Sound Particles and he explains the core operational principles of Physics-based Audio and its unique sonic properties. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to https://www.1618digital.com/immersive-audio-podcast-episode-56-nuno-fonseca-sound-particles-physics-based-audio/ If you enjoy the podcast and would like to show your support please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com

This week on Comm Talk by Geek Devotions; we do a review of Geek'd Con 2021, talk with Branson of B's Views and Reviews, Kevin of The Dapper Man Reviews, Devoted Geek Dale, AND we talk with Flash Gordon! Buckle in! Time Stamps: 00:00 Intro 00:30 Explanation About Today's Episode and Special Thanks to Greg Atoms and Geek'd Con Team 02:52 Conversation with Kevin - The Dapper Man 08:17 Conversation with Devoted Geek - Dale 09:05 Conversation with Branson of B's Views and Reviews 13:47 Interview with Sam Jones - Flash Gordon 18:06 Commercial Break - The Cel Cast 18:45 Dallas and Celeste discuss what we enjoyed about Geek'd Con 30:35 What it was like being Con Venders for the first time 36:05 What was our mission at Geek'd Con? Check out The Cel Cast and other Members of the Culture Box Network: https://culturebox.media/ The Cel Cast hosts by Jacob and Drew review animated movies and TV shows, discussing what they appreciate about the medium in whatever form it takes, whether it is a traditional hand drawn animated movie, claymation shorts, or a 3D CGI series - check out some "animated" reviews when you subscribe to The Cel Cast at https://thecelcast.podbean.com/. And don't forget, cel is spelled with a single "L" at thecelcast.podbean.com    Check out Geek Devotions at https://geekdevotions.com/   Join the Devoted Geeks Discord at https://discord.gg/ZekSXbDnJm   Check out our Podchaser Page - https://www.podchaser.com/podcasts/comm-talk-by-geek-devotions-519210   We want to give a very special thank you to the Devoted Patreon Geeks who help to support Geek Devotions on a monthly basis: Francisco Ruiz, Adam Arciniega, Cody McGurk, Erin Straus, Andrew Markham, Paul Turner, Jacob Russel, Mike Alderman, Nathan Marchand, The Dapper Man, Dale White, Ashley Kronenbitter, Victoria Dalton, Michael Joesph Manacci, Drew Dodgen, and Jonathan Player, Savannah Wilson If you'd like to become a Devoted Patreon Geek or learn more about the benefits of becoming one, click the link below; https://www.patreon.com/GeekDevotions You can do a one time gift via PayPal here https://www.paypal.me/geekdevotions

Kanye West is moving the release of his long-awaited new album Donda to August 6, a representative for West tells Pitchfork. Media personality Justin Laboy and West collaborator Malik Yusef posted about the August release date last week; TMZ also previously reported an August 6 release date. Donda had been slated to come out on Friday, July 23, via G.O.O.D. Music and Def Jam Recordings. Kanye West premiered Donda during a listening event at Atlanta's Mercedes-Benz Stadium on July 22. The event streamed on Apple Music, too, and, according to TMZ, it broke the Apple Music Global Livestream record, with 3.3 million viewers tuning in to watch. Joel Osteen, an American preacher, and televangelist does not own a Ferrari.Social media attackers descended on him based on fake news. Pictures of the $325,000 Ferrari had surfaced on Twitter on Sunday, July 18. But as it turned out the pastor does not have such a car in his garage. A fact check by snopes.com has debunked the news, pointing out that the original purveyor of the news, the Houston Chronicle has deleted the news. Space Jam: A New Legacy is a 2021 American live-action/animated sports comedy film directed by Malcolm D. Lee, serving as a standalone sequel to Space Jam (1996). It is the first theatrically-released film to feature the Looney Tunes characters since Looney Tunes: Back in Action (2003), and is also a combination of live-action, traditional hand-drawn animation, and 3D CGI effects. The film stars basketball player LeBron James as a fictionalized version of himself, along with Don Cheadle, Khris Davis, Sonequa Martin-Green, and Cedric Joe in live-action roles while Jeff Bergman, Eric Bauza, and Zendaya headline the Looney Tunes voice cast. Set in a shared Warner Bros. virtual space multiverse, the film follows James teaming up with the Looney Tunes to win a basketball match against digitized champions to rescue his son from a rogue artificial intelligence (AI). That's NOT Christian is a podcast by four urban believers who discuss current events and push the envelope on traditional religious subjects with a touch of humor. ►Interviwed by FiveTwenty Collective- https://t.co/KvUNwwb6Gg?amp=1 ►Merch Store: www.thatsnotchristian.com ►Donate: https://www.paypal.com/paypalme/thatsnotchristian ►Listen to That's NOT Christian Spotify: https://open.spotify.com/show/3tGrB3G... Apple: https://podcasts.apple.com/us/podcast... ► Telegram: https://t.me/thatsnotchristian ► Music by Ryan Little SPOTIFY: https://spoti.fi/2MmjRru ►Follow the Squad ANT: https://www.instagram.com/aptop25/ JAY: https://www.instagram.com/jayacosta/ JIMMY: https://www.instagram.com/jaeisla/ SWITCH: https://www.instagram.com/switch_in_h... ►Podcast Equipment Canon M50: https://amzn.to/2NP7s3G Logitech C920: https://amzn.to/36odZJ9 SamsonQ2U: https://amzn.to/3tcv2aW Ring Light: https://amzn.to/3tbxApJ LightStand: https://amzn.to/2NKbg69 Smart Lights: https://amzn.to/3aeU5kW Gaming Chair: https://amzn.to/36nnFn0 DISCLAIMER: This video and description may contain affiliate links which allow us to receive a small commission when you click on a product links. This helps support the podcast and allows us to continue to make videos like this. Thank you for the support! #thatsnotchristian #kanye #joelosteen --- Send in a voice message: https://anchor.fm/thatsnotchristian/message

Alright people, for tonight's episode, we're doing something completely different. And by we, I mean I. Chris is on a well deserved vacation, which left me by myself to review Space Jam: A New Legacy. And oh man, did we have a lot to talk about here. Space Jam: A New Legacy is a 2021 American live-action/animated sports comedy film directed by Malcolm D. Lee, serving as a standalone sequel to 1996's Space Jam. It is the first theatrically-released film to feature the Looney Tunes characters since Looney Tunes: Back in Action (2003), and is also a combination of live-action, traditional hand-drawn animation, and 3D CGI effects. The film stars basketball player LeBron James as a fictionalized version of himself, along with Don Cheadle, Khris Davis, Sonequa Martin-Green, and Cedric Joe in live-action roles, while Jeff Bergman, Eric Bauza, and Zendaya headline the Looney Tunes voice cast. Set in a shared Warner Bros. virtual space multiverse, the film follows James teaming up with the Looney Tunes to win a basketball match against digitized champions to rescue his son from a rogue artificial intelligence (AI). Talks for a Space Jam successor began after the release of the first film, which Joe Pytka would have returned to direct. Spike Brandt and Tony Cervone signed on as the animation supervisors, but eventually the deal fell through due to Michael Jordan's refusal to return. Several possible spin-offs focusing on other athletes, including Jeff Gordon, Tiger Woods, and Tony Hawk, were also discussed, but never came to fruition. After several years of languishing, a LeBron James-led sequel was officially announced in 2014 with filming under Terence Nance took place from June to September 2019 around Los Angeles. After a few weeks into filming, Nance left the project and Lee was hired to replace him in July 2019. Dom talks about the troubled path this film had on its way to the big screen, its similarities to the first one and ultimately how the same thing ultimately makes this more of a commercial than an actual film. It's all covered here on the #talkintvpodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talkintvpodcastgmailcom/support

The Looney Tunes and a basketball star play a game of basketball. Sound familiar? Space Jam: A New Legacy stars basketball player LeBron James as a fictionalised version of himself, along with Don Cheadle, Khris Davis, Sonequa Martin-Green, and Cedric Joe in live-action roles, while Jeff Bergman, Eric Bauza, and Zendaya headline the Looney Tunes voice cast. Directed by Malcolm D. Lee, Space Jam: A New Legacy is the live-action / animated sports comedy film which serves as a standalone sequel to 1996's Space Jam. It is the first theatrically released film to feature the Looney Tunes characters since Looney Tunes: Back in Action (2003) and combines live-action, traditional hand-drawn animation, and 3D CGI effects. Superstar LeBron James and his young son, Dom, get trapped in digital space (a shared Warner Bros. virtual multiverse) by a rogue AI (Don Cheadle). To get home safely, LeBron teams up with Bugs Bunny, Daffy Duck and the rest of the Looney Tunes gang for a high-stakes basketball game against the AI's digitised champions of the court – a powered-up roster called the Goon Squad.

In this episode of the podcast Joe talks to Eric & Julia Lewald responsible for showrunning (either collectively or individually) X-Men: The Animated Series back in the 90's. This series was groundbreaking for it's storytelling style, it's artistic design, and how it laid the foundation for the current Superhero boom we're in the midst of today.  Enjoy! About X-Men: The Animated Series A team of mutant superheroes fight for justice and human acceptance in the Marvel Comics universe. About Eric & Julia Lewald Eric Lewald and Julia Lewald are two of the premier writer-producers in youth-oriented and animated television, with over 700 produced credits, a number-one hit, an Emmy nomination and an Environmental Media Award between them. They have been showrunners, together or individually, on 14 series, including X-MEN: THE ANIMATED SERIES, the show that put Marvel characters on the map and made Fox TV the number one network in kids' programming. Eric and Julia met at Walt Disney TV Animation during the era of The Disney Afternoon, where they each wrote for Chip 'n' Dale's Rescue Rangers, Goof Troop, Darkwing Duck, Tale Spin, and Winnie the Pooh. The Lewalds, both together and individually, have developed series for most of the major studios – for Universal, MGM, Fox, Disney; for Ivan Reitman at Northern Lights; and for Spielberg and Katzenberg at Dreamworks. At Sam Raimi's Renaissance Films, they supervised the writing on all 50 episodes for the Hercules/Xena spin-off Young Hercules, starring Oscar-nominee Ryan Gosling. For Bonnie Hammer at USA Network they developed and ran Streetfighter, the top animated series on the network. Their RoboCop: Alpha Commando resurrected the RoboCop franchise, and Exo Squad, whose first year Eric supervised, became Universal's number one animated action series. Julia's Skeleton Warriors series was a hit on CBS. The Lewalds most recently were developers/showrunners for the first successful 3D-CGI animated action-adventure series, Dream Defenders, for Singapore's Tiny Island Productions, which premiered in September, 2011, as the top hit on the Sony-Discover-Imax 3D cable network, 3Net. If you want to buy their books, click below To quickly and easily leave a rating/review for this podcast please go to:  https://ratethispodcast.com/dtalkspodcast Thanks to Snuffy for this episode of the podcast! Snuffy is a clothing brand about empowering you to show your weird - unapologetically, with bravery and confidence. 10% of profit goes to LGBTQ+ organizations led by Trans* people of color. Shop online now at snuffy.co Also, thanks to Empire Toys for this episode of the podcast! Nostalgia is something everyone loves and Empire Toys in Keller Texas is on nostalgia overload.   With toys and action figures from the 70's, 80's, 90's, and today, Empire Toys is a one-stop-shop for a trip down memory lane and a chance to reclaim what was once yours (but likely sold at a garage sale)   Check out Empire Toys on Facebook, Instagram, or at TheEmpireToys.com The DTALKS Podcast has also been ranked #9 in the "Top 40 Detox Podcast You Must Follow in 2020" according to Feedspot.com for our work in the Cultural Detox space. Thank you so much to the Feedspot team!  https://blog.feedspot.com/detox_podcasts/

This time, we're taking a detour into one of the most obscure corners of Gundam animation, with the 6-episode CGI OVA MS IGLOO and its 3-episode sequel series MS IGLOO 2: Gravity Well. Originally produced for the Bandai museum in Japan, the first series suffers from repetitive storytelling, thin plotting, and some of the worst 3D CGI animation the early 2000s had to offer, and on its own, there's not a ton worth saying about it. But the sequel series, produced in 2008, isn't just a huge step forward in the quality of the CGI production – it's also a wonderfully unique, compellingly told set of ground-level war stories that make for essential viewing for anyone interested in the One-Year War period of Universal Century Gundam, and is a lot of fun to talk about. Enjoy, and come back in June for our 2-year anniversary podcast celebration! Subscribe to our YouTube Channel! Subscribe for free to 'The Weekly Stuff' in Apple Podcasts! Follow Jonathan Lack on Twitter! Follow Sean Chapman on Twitter!

It's another dive into the world of Mobile Suit Gundam this week with MS IGLOO, but before that, you'll also hear some big personal news from Sean, more discussion of Jason Schreier's fantastic new book Press Reset, and more Resident Evil talk, including Jonathan's experience playing Resident Evil Zero for the first time. Then we're off to one of the most obscure corners of Gundam animation, with the 6-episode CGI OVA MS IGLOO and its 3-episode sequel series MS IGLOO 2: Gravity Well. Originally produced for the Bandai museum in Japan, the first series suffers from repetitive storytelling, thin plotting, and some of the worst 3D CGI animation the early 2000s had to offer, and on its own, there's not a ton worth saying about it. But the sequel series, produced in 2008, isn't just a huge step forward in the quality of the CGI production – it's also a wonderfully unique, compellingly told set of ground-level war stories that make for essential viewing for anyone interested in the One-Year War period of Universal Century Gundam, and is a lot of fun to talk about. TIME CHART:Intro & Stuff: 0:00:00 – 0:36:00MS Igloo Discussion: 0:36:00 – 2:00:51Subscribe to our YouTube Channel!Subscribe to the WEEKLY SUIT GUNDAM Podcast!Subscribe for free to 'The Weekly Stuff' in Apple Podcasts!Follow Jonathan Lack on Twitter!Follow Sean Chapman on Twitter!

“CGI is like fast food. You can get great fastfood but you can also get very bad fast food. Very much a hit and miss”. – Ed (Founder of Suuuper Anime podcast)This question comes amid a lot of negativity from the anime community around CGI in AOT and CGI in general. Is the negativity, cynicism and apathy warranted? Or does CGI deserve a chance in anime? Discussion notes  What's our thoughts on CGI in general? Yes or No!Have you seen any anime with CGI?Did CGI add anything to the anime? Is CGI the future of anime?Is it anime, if it's done in the style of CGI?Could you watch a pure CGI anime series?Refer a friend and get rewarded - https://refer.fm/suuuperanimepodcast If you enjoy the podcast, please don't forget to SUBSCRIBE, RATE and REVIEW (takes less than 30 seconds) Please do also share with anyone you fill will enjoy the show. Doing so will allows us to grow the show and encourage us to keep putting out more content :-). Also as mentioned we love your reviews, so please keep them coming and will read them out in future shows.In case you're wondering here is how to rate and review our show. :-)Also, to keep conversation going were super keen to hear your thoughts, questions and opinions on the show's discussion points, so please do drop us a voice note on our website www.suuuperanimepodcast.com or email at www.suuuper@suuuperanimepodcast.com Suuuper podcast title inspired by Tupac – Changes | Listen Here! Social media links Instagram: SuuuperanimepodcastFacebook Page: SuuuperAnimePodcast Twitter: @Suuuperanime

Happy 2021 everybody!!!!! For this fun first of year Quackcast We do a commentary and reaction to the Ralph Bakshi and Frank Frazetta classic sword and sorcery animated movie from 1983, Fire and Ice! Tantz and Banes have never, ever seen it before so it was a new expereince to them and maybe to YOU as well? Fire and Ice is a simple fantasy story about evil prince Necron who wants to rule over all the lands using his control of a huge glacier. Brave Princess Teegra, Larn (mullet head), and Darkwolf (the Deathdealer), team up to battle to stop him destroying the southern lands. It was done with rotoscoped animation which made the figures look quite realistic. Rotoscoping is basically filming real actors and then taking out the background and painting over their bodies and turning them into cartoons. It's an analogue old fashion way of doing motion capture, like they do in modern 3D CGI animation. Our Commentary begins at the 16.40 minute mark! To watch along with us, go to https://youtube.com and search for “Fire and Ice” The musical feature this week that Gunwallace has given us is theme to O Sarilho: Exotic, Eastern, jazzy groove with a European flare. Lush green piano, bone dry desert winds of the jazz flute, hot sun of the bass shining down on the beautiful sands of the solid percussion below, warm, glittering and stable. Topics and shownotes Fire and Ice IMDB info - https://https://www.imdb.com/title/tt0085542/ A smilar animated fantasy fim from the 1980s, Starchaser: The Legend of Orin - https://www.imdb.com/title/tt0090065/ Featured comic: Area 5 Point 1 - https://www.theduckwebcomics.com/news/2020/dec/29/featured-comic-area-5-point-1/ Featured Music: O Sarilho - https://www.theduckwebcomics.com/O_Sarilho/ - by shizamura, rated T. Special thanks to: Gunwallace - http://www.virtuallycomics.com Tantz Aerine - https://www.theduckwebcomics.com/user/Tantz_Aerine/ Pitface - https://www.theduckwebcomics.com/user/PIT_FACE/ Ozoneocean - https://www.theduckwebcomics.com/user/ozoneocean Banes - https://www.theduckwebcomics.com/user/Banes/ kawaiidaigakusei - https://www.theduckwebcomics.com/user/kawaiidaigakusei/ VIDEO exclusive! Become a subscriber on the $5 level and up to see our weekly Patreon video and get our advertising perks! - https://www.patreon.com/DrunkDuck Even at $1 you get your name with a link on the front page and a mention in the weekend newsposts! Join the Discord server to chat in real time with other DD comics people - https://discordapp.com/invite/7NpJ8GS

Se realizó la entrega de los Game Awards y para ardor de muchos, la noche se la llevó The Last of Us 2 con siete premios en la mano entre ellos el Juego del Año (GHOTY), además de algunas sorpresas y muchos corazones rotos.La entrega estuvo llena de anuncios de los que 5 nos llamaron bastante la atención: Perfect Dark, The Callisto Protocol, Dragon Age 4, ARK 2 y un nuevo Mass Effect.Después de 8 años de su primer anuncio, por fin se lanzó (más o menos) Cyberpunk 2077, que prometía revolucionar y cambiar el género de los RPG, pues puras promesas, parece que tiene una gran historia, pero los BUGS no te dejan disfrutarlo.NETFLIX anunció una serie de SONIC, parece que será en 2022 y será en 3D, aunque no sabemos si será 3D CGI, 3D con live action o que tipo de 3D.League of Legends llegó finalmente e mobiles en el juego LOL Wild Rose.Henry Cavill se lesionó en las grabaciones del live action The Witcher.El Nintendo SWITCH fue la consola más vendida en el mundo, aunque en USA dominó el PS5.España y México son paises donde dominan los jueghos de soccer, donde FIFA 21 fue de los títulos más vendidos del año.

In this episode, we discuss the surprise announcement that Oscar Isaac will be playing the role of the iconic character, Solid Snake, in Sony's live-action adaptation of Metal Gear Solid. We also talk about Studio Ghibli's official trailer for their first-ever 3D CGI animated feature film, Earwig & The Witch, as we share our first impressions and if this is the right direction for Ghibli, and so much more! Tune in to listen to the full discussion. Listen to #Pulse95Radio in the UAE by tuning in on your radio (95.00 FM) or online on our website: www.pulse95radio.com ************************ Follow us on Social. www.facebook.com/pulse95radio www.twitter.com/pulse95radio www.instagram.com/pulse95radio

Imagine an end to end platform solution enabling the fashion industry to harvest the full potential of 3D across channels, including a complete range of X-Reality digital commerce Apps (AR, VR, MR, etc.) for fashion using 3D CGI content. Change of Paradigm CEO Henri Mura joins from Paris to share the amazing possibilities and implications which can come from these innovations. See omnystudio.com/listener for privacy information.

Bienvenidos y Bienvenidas a MultiAnime Podcast, tu Podcast de Anime en Español Favorito, ya en la Segunda Temporada, Episodio 1. Hoy 22 de junio 2020 En esta ocasión hablaremos de muchas noticias, como el retraso de Log Horizon 3 |Fire Force Segunda Temporada, | El manga de Spy x Family, | Tokyo Revengers, | Sailor Moon Eternal, Primeras imágenes de la primer película 3D CGI de Ghibli. Haremos mención a las convenciones que pasarán a ser eventos en línea como la Tokyo Game Show, Anime Expo Lite, Otakon Online ente otras, | el final del manga de The Promised Neverland | Un increíble mural de Caballeros del Zodiaco en México. También hablaremos del precio de la plataforma de ANIME ONEGAI, | además de El final de esta temporada de anime: los mejores animes que pudimos ver: Tower of God, Mi Siguiente Vida como Villana, | Love is War 2 entre otras. Te recomendaremos Amor de Gata en Netflix, ¿Vale pena? | Y para finalizar hablaremos acerca de los precios que tendrán las consolas de Siguiente Generación y no serán nada económicos. | Conducido por Alex y Andy | Visítanos en http://MultiAnime.com.mx | Suscríbete YouTube: https://www.youtube.com/c/MultiAnimePlus | Contacto: alex@multianime.com.mx o multianime0@gmail.com Puedes escucharnos en otras plataformas de audio aquí: https://anchor.fm/multianime/ --- Send in a voice message: https://anchor.fm/multianime/message

Heute wird's haarig: »Beastars« ist vor etwas mehr als drei Wochen auch außerhalb Japans bei Netflix angespült worden und es ist der interessanteste Anime seit langem, doch das sieht nicht jeder so: Wer Furrys oder CGI nicht mag, geht auf die Barrikaden. Warum ihr euch »Beastars« trotzdem anschauen solltet und was für ein irrer Aufwand hinter der Produktion steckt, das verraten euch Business-Dimbula, Soziologie-Shin, Gesellschaftskritik-Giira und Furry-Katta. Timestamps: (00:37) - Themenübersicht (03:07) - Wer ist Studio Orange? (05:54) - Die Technik hinter 3D-CGI (10:36) - Beastars & sein Setting (26:38) - Beastars & seine Charaktere (35:20) - Beastars & was wäre, wenn? (42:44) - Beastars & seine Übersetzung, seine Synchro, sein Soundtrack (48:01) - Fazit & was wir als Nächstes schauen

It's year 2029, the terminator model Ph-1000 has been lost, and wandering the streets of Tokyo for 10 years. After discovering the rare time travel bracelet dispenser machine, in a 3D CGI anime peep show back alley, he travels back in time to join his fellow terminator models T-808 and J-7 for another riveting podcast episode.The now reunited terminator models celebrate with beers and watching their favorite terminators on the big screen. With Terminator 2: Judgment Day and Terminator: Dark Fate they get to watch their hero T-800 (Model 101) have a redemption arc twice! Can the young whipper-snapper filmmakers top the almighty Cameron? Can the T-808 handle a 1 liter can of IPA?! Does anyone even care about the terminator franchise?!? Find out on today's episode of TWOFOLD! Movie 1: Terminator: Dark FateThe Terminator Films 1:28Tim's Terminator Story & Start of Dark Fate 9:49The Scary Concept 28:54Was There a Better Fate? 32:24Carl, the Terminator 35:36In Conclusion 40:43 Intermission:Taro&Jiro - Unicorn 50:39The Cool Beers 56:46Phil in Japan 58:58Japan Lighting Round 1:27:24 Movie 2: Terminator 2: Judgement DaySo Terminator 1:41:08The Tone of T2 1:51:06In Conclusion 2:00:19 Links:Music of Terminator 2 Beer Selection:Phil: Zmajska Pivovara - CycloneTim: 1 liter IPAJake: Lepi Decki - The Darkside  *Updated Broken Audio

From the minds of Tim Miller and David Fincher, Love Death & Robots features 18 animated shorts telling stories across multiple genres, including science fiction, horror, adventure, and fantasy. Incorporating a vast array of animation techniques, from simple 2D animation, to photo-realistic 3D CGI, there really is something for everyone with this series.

Episode Podcanimasi ke-8, menghadirkan Fakhri Muzaki Ramadhan atau biasa disapa Fakhri. Karya siswa SMKN 1 Ciomas Bogor ini berhasil tembus ke channel youtube CGBros, sebuah channel yang mengkurasi karya 3D CGI dari seluruh dunia. Fakhri menceritakan pengalamannya dengan semangat, mulai dari kisah semasa kecil hingga prosesnya memproduksi film. Dia ingin membuat karya yang bisa menginspirasi banyak orang. Ingin tahu cerita selengkapnya? Apa projek Fakhri selanjutnya? Animaclubbers dimanapun berada, selamat mendengarkan.

Jakob Hjort Jensen er en af de mange fantastiske kunstnere, der besjæler animerede film med det liv, der gør dem vedkommende for os, der sidder i mørket og kigger på. Han er dansker, men han har lagt det meste af sit arbejdsliv på Dreamworks-studierne i Los Angeles, for han er en af dem, der bekender sig til klassiske amerikansk character animation. Jeg er så heldig at have kendt ham i mange år - og han har også optrådt i indslag i Troldspejlet. Han er en af dem, der virkelig elsker sit fag, og hans talent har landet ham en del store roller - som titelfiguren i Sinbad - Legend of the Seven Seas, Hiccup i How to Train Your Dragon og Guy i The Croods. Sidstnævnte skaffede ham også en Annie Award for bedste figuranimation i 2014. Men hvad fik ham til at vælge en vej som animator? Og hvordan fungerer arbejdet på så store animerede produktioner, som dem, Dreamworks står for. Og hvordan gik det med at skifte fra tradionel 2D-animation til moderne 3D CGI. Det og meget andet fortæller han i denne nye episode af Stegelcast. Jakob Jensen ses her foran forsiden til den børnebog, han udgav i 2014. Den nåede vi ikke at tale i podcasten, men den er vikelig sjov og charmerende - og original. Han skrev den sammen med sin danske animatorkollega på Dreamworks, Rune Bennike. Den ser sådan ud og kan købes hos Amazon

Heather is an Animation Producer, Line Producer and Lecturer based in the West of Ireland. A graduate of both GMIT (BA Film & TV Production) and NUIG (MA Film Studies: Theory and Practice), she now works as a lecturer in GMIT. She has worked in Animation Production for more than a decade across a range of animation formats including traditional 2D animation, 3D-CGI, stop-motion puppet animation, and sand animation, for both series and feature films. Heather produced, for Telegael, the first stop-motion feature film ever to be made in Ireland, “Captain Morten & The Spider Queen”, a co-production with Estonia (Nukufilm) and Belgium (Grid Animation) featuring an all-star Irish cast including Brendan Gleeson, Pauline McGlynn, Ciarán Hinds, Tommy Tiernan and Jason Byrne. Learn more about your ad choices. Visit megaphone.fm/adchoices

Heather is an Animation Producer, Line Producer and Lecturer based in the West of Ireland. A graduate of both GMIT (BA Film & TV Production) and NUIG (MA Film Studies: Theory and Practice), she now works as a lecturer in GMIT. She has worked in Animation Production for more than a decade across a range of animation formats including traditional 2D animation, 3D-CGI, stop-motion puppet animation, and sand animation, for both series and feature films. Heather produced, for Telegael, the first stop-motion feature film ever to be made in Ireland, “Captain Morten & The Spider Queen”, a co-production with Estonia (Nukufilm) and Belgium (Grid Animation) featuring an all-star Irish cast including Brendan Gleeson, Pauline McGlynn, Ciarán Hinds, Tommy Tiernan and Jason Byrne.

Holy Celestia, there was a new MLP movie announced today! I can't wait to see my favorite ponies in beautiful 3D CGI animation.

Jack and Jeremy return to a game...a basketball game? That's right, Rain Delay Theater was in attendance at the United Center to see the one and only Chicago Bulls take on the Brooklyn Nets. There's plenty to talk about as the guys dive head first into Social Media Night, including lending their faces to a 3D CGI basketball dunking video (for real), photobombing the Bulls pregame show, and an awkward photo op in front of a video board. There's more goofy fans and a goofy usher to talk about, proving it just doesn't happen at baseball games. Let's face it, the guys can find annoyances wherever they go. We hear some of Jeremy's thoughts about why basketball frustrates him and Jack recounts an overheard story about a girl who passed on the chance to hook up with Rob Gronkowski. All this and more as the guys return to live game action on Rain Delay Theater!

Do you know anyone whose work was nominated for an Emmy? I DO! In this epi, I interview a friend of mine who is a professional 3D CGI artist - YEP, it's exactly what you're thinking and way more!

The Toys That Made Us Geeks This week Johnny and Brian are talking Toys, Toys, Toys! As they look at the Netflix docuseries ‘The Toys That Made Us’ and talk about how the season one toys affected them growing up. Then they will discuss the merits of the toys they have selected for season 2, and maybe give some suggestions for the next round of toys. But before they get to the toys Johnny FINALLY finished reading Thrawn, so they have a quick chat about the book. Thrawn (Buy Thrawn Online) Star Wars: Thrawn (also known simply as Thrawn) is a Star Wars novel by Timothy Zahn, published on April 11, 2017, by Del Rey Books. It chronicles the origins of Grand Admiral Thrawn, a popular character originating from the Star Wars Legends line of works, which were declared non-canon to the franchise after Lucasfilm redefined Star Wars continuity in April 2014. The novel was announced in July 2016 alongside news that the character Thrawn would be reintroduced into the Star Wars franchise on the 3D CGI animated television series Star Wars Rebels. A sequel to the novel, titled Thrawn: Alliances, was announced during New York Comic Con in October...

With a title like this and a theme tune ripped directly from the Best of eJay Demo Tunes 1996 Edition, this was guaranteed to be a fun romp. Fortunately, in a pleasant turn of events - it was! 22nd Century is a bit of an interesting one, not only in its entire premise, but also in that it's a successful co-production between Dic Animation and Scottish Television (aka STV). Featuring a no-star cast of characters (save for Lestrade's voice actor, who went on to be Lieutenant Liu in Alienators) and a striking blend of 3D CGI and 2D animation, SHIT22C aimed to bring Holmes "back to life".Also we mentioned that we wished they had just dressed Watson up in his old clothing - upon looking up screenshots of this cartoon, I found that he does eventually get the clothes which makes his design infinitely better.

The Cinematic Flushers take on 3D CGI gore!  When a young woman (Adelaide Clemens) discovers she's one half of an evil entity (also Clemens), she makes a journey to the burned out town of Silent Hill to save her father (Sean Bean) before he dies a typical Sean Bean death.  What follows are a lot of lame CGI 3D effects, lack of any decent scares, and one scene performances from actors who should know better. Special guests this time out are Branden Haize and Anthony Dynar, the hosts of the LOW SCORE show on YouTube.  Low Score essentially does for crappy videogames what we do for crappy films here in the Restroom.  Check them out!

Returning to the wild world of Netflix, Patrick Walsh and Joe DeRosa return this week to draw some blood from Doug Aarniokoski campy creepshow, NURSE 3D. Throughout their wicked commentary, Pat and Joe talk about Paz de la Huerta's persistent nudity, the film's eclectic cast and the dangers of implementing in-your-face 3D CGI. Yet the show wouldn't be an episode of WE'LL SEE YOU IN HELL without Pat and Joe being derailed throughout, including a surprisingly passionate discussion on the nature of celebrity controversy. Learn more about your ad choices. Visit megaphone.fm/adchoices

On June 1st, Children's Day in China, the Wanda cinema in west Beijing was busier than usual. Young couples in their late 20s or early 30s took their children to watch the first Doraemon movie with 3D CGI technique. The story induced laughters and tears among the most sympathetic audience members, but when the end credits appeared and the lights went on, it was the parents who lingered in their seats trying to catch the behind-the-scenes extras, while the children were anxiously beseeching their mums and dads to leave.It was a remarkable contrast to other, more ordinary films made for kids. Normally it is the children who are too excited to leave as their parents try to coax them out of their seats. This deviation tells a lot about the difference in the lives of the young parents from that of their even younger heirs.About 30 years ago, Doraemon began to attract millions of young Chinese fans. According to the comic book stories, the chubby blue robot cat was sent back in time by a boy in the 22nd century to accompany his great great grandpa Nobita, a typical loser in school who possessed no academic or athletic aptitude. Coming from a more technologically-advanced time, Doraemon presented a myriad of gadgets that defied the laws of science and common sense. The goal was to keep Nobita out of trouble, but more often than not the boy with a gadget caused even more mishaps.The fantastic gadgets in the story appealed greatly to children. More significant was the idea of having a nearly omnipotent friend to help you out every time you are in trouble. In a time when most parents were working hard to cash in on the results of China's Reform and Opening-up, children can get very lonely indeed and an imaginary friend who is always there sounded better than it does.Today our children are the centre of the family. Their parents, sitting on the wealth of the grandparents, no longer have to break their backs for a better life. The marginal benefits of hard work have shrunk and now give way to high quality family time. Instead of loneliness, the smothered kids are more likely to look for a chance to spread their wings and fly away, like Hiccup in "How to Train Your Dragon.""Stand by Me Doraemon" consists of details from several different episodes of the comic series, with the focus on how Nobita courts the favour of his female classmate Shizuka. Most parents would probably recognise the episodes, so there is little originality in the movie. Also the fantastic gadgets are given little exposure, chances are the kids will miss out on the highlight of the story that so captivated their parents.So in conclusion, the movie's sentimental value may be enough to satisfy the parents, but will probably stop short of inspiring younger followers.

EZ WAY BROADCASTING Presents Hosted by James Zuley & Dev Reynolds Ross Dev Ross was one of the original staff writers for Disney, She wrote Land Before Time, Ducktails, Tailspin and many other cartoon movies and series. She is a list experienced live action and animation screenwriter in television, film, for the web, and an experienced children's book writer. Also Emmy and Humanitas Winner. Script doctor, story analyst and developer, voice over director. Three years working with 3D CGI for production companies in S. Korea. Currently working for Amazon Studios and BIx Pix Studios on Stop Motion Science Adventure show for preschoolers. LIKE US  DOWNLOAD THE ERIC ZULEY APP FREE ON APPLE OR ADRIOD Baby Boomers Live  Hosted by Reatha Grey & James Zuley Baby Boomers Live, "All things Baby Boomer, from a Baby Boomers perspective    Baby Boomer Hot Topics Reatha and James talk about news and reviews relating to baby boomers.  Jim's hot topic - stars from the past -  Jim's Gem - hold on to your hat's part two - more information on what baby boomers can expect when entering into retirement - This follow up report also is a wake up call for everyone that will one day be ready to retire. Our guest: To be announced Guest: Dale R. Ferguson Photographer for U.S. Military Brought to you by: STOPTOUR.ORG http://www.mypocket.org 

In this video, we examine how you can use Image Based Light to re-light keyed images to better blend them with their backgrounds. Normally IBLs are used to relight 3D CGI to help blend live action with CG and that can also be done in Flame Premium.

Easter Monday is upon us and what better way to enjoy the bank holiday than with the dulcet tones of the Mouth Off podcast? This week I'm joined by HeyUGuys writers Emily Breen and Craig Skinner, as well as our usual guest /Film’s Brendon Connelly, and we take a look at two films out this week, Louis Leterrier's 3D/CGI behemoth Clash of the Titans and Drew Barrymore's directorial debut Whip It.

Podcast Blu-ray review of Ghost in the Shell 2.0, directed by Mamoru Oshii. Screenplay by Kazunori Ito. Based on the manga by Shirow Masamune. Published by Manga, List Price: 29.97, Not Rated (Features nudity and graphic violence). From the back cover: A film that has spawned a thousand imitations but never bettered-- Mamoru Oshii's legendary anime film GHOST IN THE SHELL returns in a stunning new edition remastered by Oshii himself. For this definitive edition, all the original animations are re-produced with latest digital film and animation technologies, including 3D-CGI. Set in a reimagined Hong Kong at a time when cyberspace is expanding into human reality, the story follows top cyberwarrior Major Motoko Kusanagi as she hovers on the border of total immersion in the digital world. The definitive 2.0 also features new voice recordings from the original cast, a brand new score from Kenji Kawai, and 6.1 channedl sound created with the help of Skywalker Sound. My Grade: A+ Watch the trailer for the movie below: