We present a muscle-based control method for simulated bipeds in which both the muscle routing and control parameters are optimized. This yields a generic locomotion control method that supports a variety of bipedal creatures. All actuation forces are the result of 3D simulated muscles, and a model of neural delay is included for all feedback paths. As a result, our controllers generate torque patterns that incorporate biomechanical constraints. The synthesized controllers find different gaits based on target speed, can cope with uneven terrain and external perturbations, and can steer to target directions.
I’m very humbled that the VICE Creator's Project has covered this series with a new video: youtu.be/iioPicXsAFg
The source footage for this video is a 4-minute shot from the Washington Street bridge above State Route 163 in San Diego captured at 2:39pm Oct 1, 2013. My aim is to reveal the color palette and color preferences of contemporary San Diego drivers in addition to traffic patterns and volumes. There are no CG elements, these are all real cars that have been removed from one sample and reorganized.
The source footage may be viewed here: vimeo.com/81846560
More details on the methodology + are here: cysfilm.com/?p=3345
The San Diego Studies is a series of short videos that collapse time to reveal otherwise unobservable rhythms and movement in the city. The project is supported my MOPA San Diego and the San Diego Foundation . For more information about this video please visit cysfilm.com and MOPA.org
connect with me on Twitter: @cysfilm
Shot on a Canon C100 in CLog with a Canon EFS 17-55 f/2.8 lens at 24p and most of the post work was done in After Effects.
copyright © 2013 Cy Kuckenbaker
Music credit: Ronald Jenkees - From The Arrow Loop
D.I.G.I.T. is a digital mirror that draws a segmented camera feed through seven-segment displays. It channels the long-standing tradition of rendering graphics within the constraints of simple computing paradigms, exemplified best by techniques such as ASCII and typewriter art.
Complete write-up: labs.teehanlax.com/project/digit
Making of film directed by Jake & Josh
The Bear & the Hare is the first John Lewis campaign to embrace the emotive power of animation, a filmic technique so evocative of Christmasses gone by.
Elliot and Yves took the two most traditional and time-honoured animation processes – stop-motion and traditional hand-drawn 2D animation – and combined them to create something innovative and unique. Their aim was to do almost everything in camera, using real lighting, lens and film craft to build a world where the audience can see and feel the painstaking work behind it. The 2D animation’s physical interaction with the set and the human imperfections inherent in the process create a hand-crafted piece full of heart and integrity.
The animation process involved constant shifts between 2D and 3D worlds. In order to achieve this complicated combination the whole film was first created in Blinkink Studios as a 3D previsualisation animatic with all the sets and characters built to scale. This allowed everything to be developed and planned alongside the modelmakers and animators, thus integrating the different disciplines and processes before the set was built or the characters were printed.
Aaron Blaise (Brother Bear, The Lion King, Mulan) and his team of veteran Disney animators at Premise Entertainment in Orlando, Florida, designed and animated the characters. The 2D-animation frames were printed onto mounted paper and cut with a laser. Each frame (nearly 4,000 in total) was then individually hand-labelled before going on set. Feature-film stop-frame animators then spent 6 weeks bringing the world to life.
The set was built by our production designer John Lee (Aliens, Fantastic Mr Fox, Frankenweenie) and his team at Shepperton Studios before being transported to Clapham Road Studios ready for the stop-motion shoot.
Post-production was done in-house in Blinkink’s animation studio, and the final grade was completed at MPC.
Elliot Dear & Yves Geleyn
James Stevenson Bretton
Premise Entertainment LLC
2D Animation Supervisors:
2D Line Producer:
Head of Clean-up 2D Animation:
2D Clean-up Artists:
Mi Yul Lee
2D Compositor/Scene Setup:
2D Artistic Coordinator:
2D Digital Artist:
2D Lead Colourist/Coordinator:
Assistant 2D Colourist:
2D Illustrator Technician:
The Graphical Tree
Robert Frank Hunter
Robert Frank Hunter
3D Technical Director:
3D Previsualisation Artist:
Lead Stop-Frame Animator:
Production Designer/ Supervising Modeller:
Art Department Modellers:
Yossel Simpson Little
Art Department Assistants:
Director of Photography:
Sam Sneade at Speade
Ellie Johnson at Speade
Sam Robson at Factory Studios
Jean-Clement Soret at MPC
‘Making of’ Film:
Jake Hopwell & Josh Hine
Adam & Eve DDB
Executive Creative Director:
Aidan McClure Laurent Simon
"Mathematics, rightly viewed, possesses not only truth, but supreme beauty — a beauty cold and austere, without the gorgeous trappings of painting or music." —Bertrand Russell
By Yann Pineill & Nicolas Lefaucheux
art and tech lab
Browse This Channel
slomo kaleido nature. music selfmade ;) vimeo.com/87384361
A retrospective movie of the year 2013 in Marseilles, south of France, when the city was the european capital for culture. We tried to bring life to the timelapse shots using sounds and working hard on the sound design. Hope you like it. vimeo.com/85152643
Check out my latest animated infographic!