Projection mapping project for HeavyM Contest


I made this to enter a contest at HeavyM Software and I think I am just too far behind on the deadline to get the votes... but here goes anyways...!!!

Vote for me so I can win stuff and make more projections!

Click here to VOTE!

AfterLife Projection 2017 by Angie Jones from Angie Jones on Vimeo.

After Life Behind The Scenes Projection 2017 By Angie Jones from Angie Jones on Vimeo.

5-foot x 4-foot quad skull form built with coroplast.

Behind the scenes look at how I made the Afterlife Projection with:

Maya (

Pepakura (

HeavyM (

Credits: Music by RL Grime & What So Not - Tell Me

Explosions videos by

David Fincher’s Extreme Close-Ups


The extreme close-up may not be the first thing that comes to mind when you think of David Fincher's unique visual aesthetic. That's because Fincher's extreme close-ups don't call attention to themselves. The filmmaker stitches the shots into his pictures in a way that is subtle and fluid, yet impactful and abrasive. They often go unnoticed, sitting just under the surface and scratching at our eyes. In my previous two "Extreme Close-Up" videos, I looked at Quentin Tarantino and Paul Thomas Anderson, two masters of the ECU. If Tarantino and PTA use the ECU as explanation points, Fincher's are used as hyphens, semicolons, and parentheses. Here is a look at some of Fincher's best usages of the extreme close-up.
MUSIC: "Closer (Precursor) by Nine Inch Nails and "Where is My Mind?" by The Pixies
Films Used:
Alien 3 (1992)
Se7en (1995)
The Game (1997)
Fight Club (1999)
Panic Room (2002)
Zodiac (2007)
The Curious Case of Benjamin Button (2008)
The Social Network (2010)
The Girl with the Dragon Tattoo (2011)
Gone Girl (2014)


Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

Rocco’s Carrot - Making Of

Some behind the scenes of our work for Rocco's carrot. Thank's to all artist who did a wonderful job.
Enjoy watching.

Music: Bostro Pesopeo "Cheer Up"

Thank's to Robert

Rocco's Carrot from Spellwork Pictures on Vimeo.

The Gimp

Escape, an animated short


A cinematic poem about the world-changing power of invention, the short film Escape is the latest example of animated storytelling that showcases state-of-the-art Dolby technologies. Combining techniques such as miniatures and animation with the spectacular imaging of Dolby Vision and the moving audio of Dolby Atmos, Escape invites the audience to imagine and experience a joyous vision of the future. It is a story of persistence and passion that is intended to inspire individuals to never give up on their hopes and dreams.

After crash-landing on a desolate planet, a lone space explorer must find a way to make her new home habitable. The teenage heroine is an older version of the central character in our Emmy award–winning film, Silent, known there as “the Kid.” This intrepid character displays courage, passion, determination, and curiosity as she transforms the barren landscape she has found into a beautiful planet.

Singer Imogen Heap developed an original soundtrack that wraps the audience in Dolby Atmos sound, unveiling the lead character’s changing emotions as she faces the challenges of a dark, disturbed landscape and persists to transform it into a place of joy and delight.


Limbert Fabian
Brandon Oldenburg

Lampton Enochs
Vince Voron

Trish Farnsworth­Smith
Angus McGilpin

Wendell Riley

Calvin O’Neal Jr.

Imogen Heap

Nick Ryan

Alexis Michallek

Matt Desborough
Jurgen Scharpf

Adam Daniels
Graham Daniels

Point 1 Post

Learn more about Dolby Laboratories

To purchase MagicMe by Imogen Heap

Like us on Facebook

Follow us on Twitter

Funky Low Poly Animation

Ink In Motion

The hypnotising beauty of colored ink in water and the interaction of this substance with different elements.

Facebook Is Shutting Down Its Award-Winning Oculus Story Studio

Oculus Story Studio, the award-winning studio behind virtual reality (VR) short films like “Dear Angelica” and “Henry,” is being shut down, Facebook announced Thursday afternoon. The studio’s 50 staffers are encouraged to apply for new jobs within Oculus, but all ongoing projects of the studio are being canceled.

“We’ve been looking at the best way to allocate our resources to create an impact on the ecosystem,” said Oculus VP of Content Jason Rubin in a blog post. “After careful consideration, we’ve decided to shift our focus away from internal content creation to support more external production. As part of that shift, we’ll be winding down Story Studio.”

Read More Here...

Made for More by Yoojin Seol

Made for More by Yoojin Seol - another one of my graduating seniors from USC this year.

Music Video for Sam Ock, a senior film made at USC. It’s about a girl’s adventure and realization that she’s made for more than to conform to society. (MV comes out 5/24!)
Designed & Animated in Photoshop, After Effects, & Flash.

She also participated in the R + V Expanded live event @ USC with projections of her film.

Rhythms + Visions Projection Mapping

At the event Rhythms + Visions / Expanded + Live 3, artists and students lighted up the outdoor spaces of USC School of Cinematic Arts with projection mapping, interactive animation, and VR. Taking some visuals from my senior film, Made for More, I projected animation on the building wall.

Designed in Photoshop, animated & mapped out in After Effects.
Rhythms+Visions is produced by USC professors Michael Patterson, Candace Reckinger, and Eric Hanson.

Brad Bird- Playful Cinema

SFX Secrets: The 180 Degree Rule

This is one of the first and most important fundamentals you learn in film school. Why not learn it from this 2-minute video, tuition free?

To help maintain your spatial continuity (and personal sanity), mapping out each of your shots is a must. Whether you do that with detailed storyboards or basic sketches of shot setups is up to you, but having something clear and easy to follow to look at before you start shooting will not only help you get the right shot, but it'll help you notice any mistakes before you make them.

Thanks to No Film School for the Heads Up


get up, take a shower, go to work, work, be tired, eat, wait, enjoy, fornicate, sleep, wake up, repeat
REPEAT is a way to live each day - a vision of the society routine.
Each day is a loop without end on a straight line.
What a great story ?

Director / Motion designer : Melvin Le Riboter
Sound designer : Panagiotis Pagonis

More details on Behance :

Direct Registering Cat Gait

Cats are capable of walking very precisely because, like all felines, they directly register; that is, they place each hind paw (almost) directly in the print of the corresponding fore paw, minimizing noise and visible tracks. This also provides sure footing for their hind paws when they navigate rough terrain.

Jolmood with his Reference

From Omar Labbad:

This loop is a part of animated poem called "In arabic world" that I did it with AJ+ Arabi.
I worked more on it and developed it,
This Arabian man called "Jolmood"
Big thanks for "Vahva Fitness" for this great reference.
you can watch the original reference here:

Dynamics Reel - Will Wallace

nice reel...

Lux: Binding Light | League Animation Workshop

A young Demacian mage has a secret she must hide - not just from her family, but the entire kingdom.

Lux: Binding Light - Animation by Glen Keane

Music: Bassnectar - “Butterfly (feat. Mimi Page)”

2016 AICP Sponsor Reel - Dir Cut

Neruza more about it here

I dedicate this post to my graduate USC student Cynthia Cantrell because I think she will dig it.




The Dallas-based company has released ‘Tempest,’ the self-funded, three-minute teaser version of their first original content, which follows a grizzled sailor as he reflects on life and faces his fiercest adversary.

Brazen Animation

more here...

Kate Lin - Color 2016

One of my USC animation minor's films from last year - Kate Lin - Color.

Pepsi Arabia ‘Hand in Hand, We Can’ – Making Of

Glassworks Barcelona is glad to present the making of video for the spot directed by Ernest Desumbila in collaboration with Sauvage for the Pepsi Arabia's campaign ‘Hand in Hand, We Can’, launched earlier 2017.

In the spot we can see six top sport personalities from Saudi Arabia, from athletes to football players, joining efforts to fight against the obstacles appearing on their way.

Follow @glassworksbcn on Twitter, Facebook & Instagram for more updates.


Pepsi Arabia

Impact BBDO Jeddah

Production Company

Ernest Desumbila


Production Company
Dejavu Dubai

Executive Producer
Manasvi Gosalia

Alison Steve Jennings
Kavya Iyer


Creative Director
Moe Sarhi
Wissam Chaar

Agency Producer
Diana Gebaly


Executive Producer
Eva Lafitte

Llibert Figueras

Lluis Murúa


3D Lead
Carlos Cortés

2D Lead
Carlos Cortés

Executive Producer / Head of Production
Joan Amat

Belén Palos

VFX Supervisor
Carlos Cortés

3D Artists
Carlos Cortés
Javier Verdugo
Fabio Medrano
Frankie de Leonardis
Simon Glas
Marco Rossi
Rodrigo Torres
Anthony Vincent
Eric Moliner
Borja A. Ortiz
Sarah Gatefield
Igor Gouziev

2D Artists
Carlos Cortés
Ruben Llusià
Saúl Yowi
Gonzalo Moyano
Fabio Medrano
Dani Granado
Alexandre Hurtado
Joan Hurtado
Anna Mejuto

Xavi Santolaya

Making of by Dani Barrio

3D car sequence and monster made in collaboration with Sauvage.

Song: a-is-to-b-as-b-is-to-c

Rhythms & Visions Expanded Live 3 @ USC DADA 70-Foot Projection “AfterLife” By Angie Jones

In April, I posted about this show and finally, I am posting the video of my :15 piece projected on a 70=foot screen at USC.

Rhythms + Visions /Expanded + Live 3 - AfterLife by Angie Jones, Music composed by Bryan Curt Kostors from Angie Jones on Vimeo.

After Life by Angie Jones
6k render for a 70-foot installation
Music Composed By Bryan Curt Kostors 

:15 piece in the Rhythms & Visions Expanded Live Show projected in the park behind the USC John C. Hench Division of Animation & Digital Arts.

My piece projected on a 70-foot screen, along with other work by faculty and students.

Refik Anadol, Miwa Matreyek, Davide Quayola and more!

April 28, 2017 Rhythms + Visions /Expanded + Live 3. Work from over 60 of our current students, alumni and faculty will be featured in the event!
Rhythms + Visions / Expanded + Live 3 will light up the outdoor spaces of the USC School of Cinematic Arts Complex in an evening of music, interactive animation, projection mapping, animated inflatables, and virtual reality. Innovative artists Refik Anadol, Miwa Matreyek, and Patterson + Reckinger will perform an eclectic program of contemporary visual music and audio-visual art.

Groundbreaking artist Refik Anadol, who has performed visuals with the L.A. Philharmonic at Disney Hall, will create imagery on a super-panoramic 70-foot screen to live performances by Grammy Award–winning pianist Gloria Cheng and guzheng player Zi-Zhu Zhao. Patterson + Reckinger’s kinetic op-art abstractions will be accompanied by toy piano trio, Thomas Feng, Alexa Constantine, Dante Luna. Music by composers John Adams, Esa Pekka Salonen (piano), Tristan Perich (3 toy pianos and 3-channel, one-bit electronics) and Pantawit Kiangsiri (guzheng) will be performed live.

On a second stage, Miwa Matreyek performs her fantastical shadow theatre work, The World Made Itself, inside a multi-projection stage. Miwa takes us on a journey through her surrealistic and magical worlds as she interacts within the projection. She has performed her work at MoMA, the Tate Modern, REDCAT, and Sundance. The VR Visual Music Lounge will offer exciting virtual-reality musical experiences and interactive installations from international artists as well as USC faculty and students.

Check out this teaser for the Bjork VR experience, which will be featured in the VR Visual Music Lounge.

Presented by USC Visions and Voices: The Arts and Humanities Initiative. Produced by Michael Patterson, Candace Reckinger, Eric Hanson (Cinematic Arts).

Agent 327: Operation Barbershop

This three-minute teaser for a full-length animated feature is based on Dutch artist Martin Lodewijk's classic comics series Agent 327. The Blender Animation Studio is currently developing the story and seeks for funding to bring this adventurous comedy animation film to an international audience.

More information:

Entirely made in Blender, released as Creative Commons for Blender Cloud subscribers.

Join today, get 10 years of film production history, tutorials, and help us making more!

Match by Danny Munoz

password: match

You might remember me mentioning Danny Munoz' kickstarter campaign for his senior thesis film. Danny was smart and created a several crowd funding campaign to support his senior thesis.

Match - indiegogo

Well, he finished the film and graduated the John C. Hench Division of Animation & Digital Arts, School of Cinematic Arts, University of Southern California.

His film called Match.

More about Danny here.

Zed: Death Mark | League Animation Workshop

From Riot Animation Workshop:

Riot has a history of technical experiments and character studies that usually aren’t slated for release as standalone pieces. Instead, creations of this kind tend to be absorbed in the development process, rolled up into the colorful katamari of a more ambitious final product.

Among these creations are a slew of short animations we’ve gathered together and called the League Animation Workshop—a collection straight from the workstations of Riot animators, exploring familiar champions in vastly different styles, techniques, settings, and moods.

Some of what you’ll see is standard “fight porn”like a ninja slicing and dicing a squad of Noxians. Other animations hint at a world outside the frame, or give an impression of what champions are like when they’re not busy bashing one another on the Rift. All represent the craft and care that gives the champions of League of Legends a life beyond the game.

We hope you enjoy this look into our workshop.

Animal Gaits for Animators

How Pixar Lost Its Way

This article has kicked up a lot of dust on facebook and twitter.  What are your thoughts?

How Pixar Lost Its Way

For 15 years, the animation studio was the best on the planet. Then Disney bought it.



A well-regarded hollywood insider recently suggested that sequels can represent “a sort of creative bankruptcy.” He was discussing Pixar, the legendary animation studio, and its avowed distaste for cheap spin-offs. More pointedly, he argued that if Pixar were only to make sequels, it would “wither and die.” Now, all kinds of industry experts say all kinds of things. But it is surely relevant that these observations were made by Ed Catmull, the president of Pixar, in his best-selling 2014 business-leadership book.

Yet here comes Cars 3, rolling into a theater near you this month. You may recall that the original Cars, released back in 2006, was widely judged to be the studio’s worst film to date. Cars 2, which followed five years later, was panned as even worse. And if Cars 3 isn’t disheartening enough, two of the three Pixar films in line after it are also sequels: The Incredibles 2 and (say it isn’t so!) Toy Story 4.

read more here - How Pixar Lost Its Way

Ducktales teaser - Frame by frame animation analysis

I love the way this guy says cushion.  Also, great action analysis.

My 7 steps to great Character Design By Aaron Blaise


It’s absolutely crucial that you know as much about the “real thing” as you possibly can before you start designing. There are a lot of ways to do research. Personally, in the case of Snow Bear, I am recording and watching animal documentaries by the truckload. I also utilize Google for information regarding polar bears, as well as images.

Whenever possible I also try to get out into nature and see the animals, or other subject matter, in person. While making Brother Bear for Disney the story team and I took numerous trips up to Alaska to study wildlife, and native Inuit and Athabaskan culture.

This sort of first-hand experience is invaluable. On these trips, we will create hundreds of drawings and shoot thousands of photos. All of which will aid in our understanding of the world of the film and help us build a “mental library” that we can pull from.

Once I’m back in at my desk I typically print out hundreds of research images and sketches. I then pin them to boards all around the studio. These “vision boards” help to immerse me in the subject. Everywhere I look there is an image that tells me something about the real world and that all seeps back into development and design process. I will continually add to these boards as the vis-dev process unfolds.

2. Know Anatomy (The REAL Thing)

It’s crucial that you have an understanding of anatomy so that you understand the underlying form… Only then you can begin to abstract it effectively.

While at Disney we consistently went to figure drawing classes and went to the zoo to keep our “real world” knowledge of humans and animals sharp.

Again, in the case of Snow Bear, I am learning everything I can about polar bear anatomy. I’ve even ordered castings of real polar bear skeletons to really get a sense of the underlying structure. Once, you have a full understanding of the “real thing” and you can draw it from any angle or in any pose. You are now ready to start stylizing the character and finding your design.

Bear anatomy drawings by Aaron Blaise.
Bear anatomy drawings by Aaron Blaise.
3. Know The Universe

Character designs must serve the overall look of the film! The “design concept” or “look” of the film is something that is developed as a part of the pre-production process. If your designs and images don’t look like they “belong” in the world of the film I can guarantee that they will be rejected by an art director every time.

As I briefly mentioned in the video, for Aladdin the look of the film was roughly inspired by the great cartoonist and caricature artist, Al Hirschfeld. Therefore, the directors wanted a very smooth and flowing line for all the characters.

While designing the character of Rajah I initially struggled with turning the stylized linework that was essential to the film into a believable tiger character. Then one day I was walking down the street in Orlando (I was working at the Florida studio at the time) and I saw the hood ornament on a Jaguar automobile. The flowing shape of the sculpture caught my eye. Immediately a “light bulb” went off in my head. I rushed back to my animation desk and having been freshly inspired by the hood ornament, I had my tiger character down on paper very quickly. It was that design that ended up in the final film.

Inspiration and early design approaches to Rajah in "Aladdin."
Inspiration and early design approaches to Rajah in “Aladdin.”
4. Understand the Story (And How Your Character Fits)

No matter how big or small the role of a character in the film is, you should understand their place in the story and their motivations. It’s not just a matter of knowing the plot. You have to know their motivations… How does your character think? What are their needs? Are they happy? Are they sad? Why?

All of this information will begin to inform the look of your character and will give your designs a sense of attitude and life. This is what will ultimately help your audience connect with the character and ultimately make for a better design, and hopefully a better film.

5. Start Drawing, Experimenting & Sketching (But, Don’t Fall In Love)

Now it’s time to have some fun and start drawing! Sketch poses and expressions. And above all have fun!! However, don’t settle on a design too soon. And NEVER fall in love with your art. This is one of the most common mistakes that young or inexperienced artists struggle with.

You have to be willing to throw out an image even if you really, really like it. If it doesn’t serve the character’s role in the story it has to go! Even a great artist may throw out hundreds of sketches before landing on one that works. I know that personally I have had tons of bad drawings for every good one. This is all OK and part of the process so don’t get frustrated.

During the sketching phase you are trying to find attitudes and expressions that your character might need to show in the film. Use all that research in your head to get your design to “emote.”

Remember, as discussed above everything about your character has to serve the story. Keep things simple… Don’t add a bunch of unnecessary ornamentation just because you think it looks “cool”.

6. Draw Expressions, Create Model Sheets & Key Poses

Hopefully you’ve now arrived on a pleasing design that serves the story, fits the look of the film, and conveys emotion. Now, it’s time to start putting your character “in” the world of the story. I like to draw more polished images of key scenes and “moments” from the story and see if my design is still working.

These images, when they work well, are the first time that the film starts to really feel like it’s coming to life! The images all go up on the “vision boards” I mentioned earlier. I also create model sheets to make sure that myself and other animators are able to maintain consistency throughout the film.

Development work from Aaron's upcoming short "Snow Bear."
Development work from Aaron’s upcoming short “Snow Bear.”
7. Move Your Character!

If you are an animator or you work with animators, the next step is to do “motion tests” of your design. Moving your character around on the screen before you go into full production is a crucial step to making sure that your design really works.

You’ll be amazed at what you learn when you see your character moving. If the design works and is believable then you are off to the races! But if there are issues and things aren’t quite working right, this is your chance to catch it before it’s too late. I highly recommend this step as it can teach a lot about the film you are making.

Even when I have worked on computer animated films I’ve been able to do 2D motion tests of our characters that have really helped the CGI animators get a sense of how the character moves and emotes. This is something that really helps me as a director and it’s also something that Disney still tends to do for their films as well.Wrap Up

Well, that’s it. Those are the 7 Steps that I go through every time on every project! It’s a process that I strongly believe in and it will serve you well. I hope that you’ve found this useful and that it helps you with your art or gives you some insights into my experiences that you can draw upon.

If you are interested in additional Character Design or Animation tutorials I have a complete line of courses on my website – there are many, many hours of in-depth content available. I also offer a variety of free tips and tricks on my Youtube channel. I hope that this helps you put some beauty out into the world!

About Aaron Blaise


For 21 years Aaron worked with Disney helping to create some of the greatest animated films ever made. During that time he worked as an animator or supervising animator on The Rescuers Down Under, Beauty and the Beast, Aladdin, The Lion King, Pocahontas, Mulan, and more. In 2003 he was co-director of Brother Bear for which he earned an Oscar nomination for Best Animated Feature Film.

After Brother Bear he helped to develop several projects but ultimately left Disney to pursue an opportunity back home in Florida. Aaron recently served as 2D animation supervisor and character designer for the “The Bear and the Hare,” an advertisement loved by millions around the world. He is currently also working on a new animated short film, once again involving bears called Snow Bear.

Pinky Toe

Overwhelmed by a "phantom itch" from his missing pinky toe, a man must come to terms with his situation or succumb completely to his obsession.

My second year film at CalArts!

I was lucky to have worked with some amazing talent to make this possible. Thank you so much to everyone involved.
Music Composed by Paul Michael Cardon
Narration by Nick D'Agostino
Sound Design by Paul Michael Cardon
Set Fabrication by Ming-Huei Huang
Props by Emily Martinez and Kesiah Manival
2D Coloring Help by Bryan Lee

Enjoy the show!


Team 3D: Léo Brunel, Quentin Camus, Camille Jalabert, Oscar Malet, Corentin Yvergniaux
3D Supervisor: Benoit Revilliot
Production: Wizz
Soundtrack: Kouz

Short film made during our summer internship at WIZZ Design, Paris.

Release from Heaven

Release from Heaven, directed by Ali Noori Oskouei, is an enchanting mixed-technique animation project which blurs the lines between imagination, storytelling and reality. Set in a war-torn country, the film follows a school teacher and writer named Sareh. When she has to take two of her students to find their father, she tries to keep them calm on the perilous journey by telling them stories. When the little group discovers a cave that is exactly like one from Sareh’s stories, she finds out that the hero of her imagination is real. Determined to find him, she becomes a hero in her own right in the eyes of her students. The film is also screening at Cannes on May 22 at 8 p.m. in Gray 1. (Eshragh Animation Co.)

Brian Grazer and Ron Howard's Imagine Entertainment is getting into the booming, competitive animation business

From the LA Times by Ryan Faughnder

Hollywood producers Brian Grazer and Ron Howard are stepping into the animated film business in hopes of taking advantage of the booming — and increasingly competitive -- market for family movies.

Grazer and Howard’s production company Imagine Entertainment has teamed with Australian animation firm Animal Logic to develop, produce and finance six movies during the next five years, they said. Financial terms were not disclosed.

Animal Logic, based in Sydney with offices in Vancouver and Los Angeles, is best known for doing the animation for hit films including Oscar-winner “Happy Feet” and “The Lego Movie,” both of which were released by Warner Bros.

The move comes amid animation’s continued dominance at the box office. Four of the top 10 movies last year were computer animated -- “Finding Dory,” “The Secret Life of Pets,” “Zootopia” and “Sing.” The grown-up mid-budget movies Imagine has built its brand around face growing difficulties at the box office.

Imagine, based in Beverly Hills, is best known for live action adult-oriented fare, including “The Da Vinci Code” trilogy and “Apollo 13.” The company has long wanted to dive into animation, but couldn’t afford to take the gamble, Grazer told The Times.

read more here...