Archive for the ‘2D’ Category

More Video Slitscans

Tuesday, January 15th, 2013

The opening shot from Contact:

The Project Genesis terraforming sequence from Star Trek II: The Wrath of Khan:

Two Star Wars opening title sequences, from the original Jedi and the remake of A New Hope, respectively, including some nasty video artifacts:

And four from the 2001: A Space Odyssey monolith journey, including a few higher-fps captures of the warp:

And to spoil the SF mood: the famous 9-minute pool shot from Tarkovsky‘s Nostalghia:

These all courtesy of Sha Hwang‘s
slitscanner.js bookmarklet.

Video Slitscans

Tuesday, January 15th, 2013

These slit-scan images were made from some of my older 3D work using slitscanner.js, a JavaScript bookmarklet from Sha Hwang. Click each for full-size versions.

Hedgehog in the Fog

Saturday, July 17th, 2010

From 1975, based on a story by Sergei Kozlov, directed by Yuriy Norshteyn.

I am led to believe this is Miyazaki’s favorite animated work.

[Via mjduffy.]


Sunday, April 18th, 2010

Beautiful and spookily compelling bitmap magic from Toronto-based pixel-charmers Superbrothers.

Vanishing Point

Friday, January 29th, 2010

By Takuya Hosogane of Bonsajo.

[Via Kitsune Noir.]

Jelly Sunday

Wednesday, November 25th, 2009

Gobelins keeping it real for Annecy 2009.

Awesome bloopy 2D animation, very heavily Ren-and-Stimpified — such a relief after so much 3D. I would trade a million high-tech 3D pieces for a few more like this.

I do miss Ren and Stimpy.

[Via Motionographer.]

The Lighthouse Keeper

Wednesday, November 18th, 2009

Wow, a lot of this looks like 3D. Some of it is, including the ship and much of the sets, but even the characters often look 3D. And it’s not the precision of the lines or the smoothness of the shading — the volume and the massing on the rotations is, how you say, parfait.

From a team of talented Gobelins students.

[Via Drawn.]

Pellet Gunn

Friday, November 6th, 2009

From RISD student Tim Beckhardt in 2008.

A nice balance of focus between plot and moments. I hate it when there’s never any question about what’s happening, and the only thing to learn is what will happen. That’s a sitcom. This has a plot, per se, but the plot isn’t the point, and it’s chopped up and spread around.

Also, I know I recently mentioned him, but continue to cf. my man Brandon Graham, plot-wise and other-wise, who writes my favorite blog these days. His book King City is one of my favorites in the mold of Tekkon Kinkreet: well-balanced — between detail and suggestion, personal and epic, serious and silly — all through mastery of the evocative. It’s all about choosing the details to suggest a super-deep, rich world, which happens to be populated by casual bad-asses who have their priorities straight, which is a world in which I aspire to live.

Also it reminds me of the Pacific Northwest, which I miss. And he does graffiti properly. There’s nothing lamer than obviously-fake graffiti in comics.

Also it is funny and nice. I love you Brandon Graham.

Brandon Graham vending machines

[Via Cartoon Brew.]

Wild Wind

Thursday, November 5th, 2009

Cute animation, nice bloopiness in the motion, but the main event is the style of the thing, which gets me thinking about the appeal of old low-rez low-color art in the EGA days, like Space Quest:

Space Quest screenshots

Putting limits on the work enforces a certain internal consistency. This works for doodles in black ball-point pen, and things drawn in the sand with a stick. Once you add color, or start putting rocks and seaweed in the design, you’ve added a dimension that increases the number of possible combinations of elements exponentially — proportionally greater than the number of successful combinations.

Point being: it’s easier to be Rothko than Blake.

[Via Motionographer.]


Thursday, July 30th, 2009

Gobelins alert — this is one of the intro shorts for Annecy 2009. Brilliant design, motion, and pacing. Lots of Japanese influence: shades of Miyazake and Zelda. Fenrir is of course the wolfy son of Loki the Professional Norse Shit-Starter, and this scene looks a lot like his death at the hands of Víðarr, son of Odin.

Inside information and analysis available from, ahem, Articles & Texticles.

Credits: Nuno Alves Rodrigues, Oussama Bouacheria, Alice Dieudonné, Aymeric Kevin, and Ulysse Malassagne.

[Via Motionographer.]

The Astronomer’s Dream

Tuesday, July 21st, 2009

Lovely 2.5D cartoon texture work from Malcolm Sutherland, reminds me a bit of the tech and BG work from two of my favorite comic dudes: Brandon Graham and his buddy James Stokoe.

[Via Cartoon Brew.]

Birdy Nam Nam – The Parachute Ending

Thursday, June 4th, 2009

Rather straightforward Euroclash from French DJ crew Birdy Nam Nam, with bitchin’ vintage animation designed and directed by Will Sweeney and Steve Scott for Not To Scale.

The Flash-on-illustrations look comes off as a 70’s cartoon mashup, with Hanna-Barbera characters running around Fantastic Planet, but somehow less ridiculous and more self-aware. I think it has to do with the balance of hard-rockin-ness with obvious goofiness — something Heavy Metal got exactly wrong in 1981.

Oy, 1981.

[Via Motionographer.]

“Yoga” Scrabble ad by Wizz

Monday, April 27th, 2009

Lordy! Conceptually, it’s a stretch, but the animation by Wizz is nifty, based on illustrations by Edik Katykhin.

This is the best of the three they’ve done, starting last year, maybe because of the music. The others are a little too try-hardy.

Looks to me like it was done in After Effects or some other 2.5D setup, with a whole lot of hand-drawn inbetweens to keep the scaling and rotations from being so obvious.

[Via Drawn.]

La Mare aux Têtards

Friday, January 30th, 2009

Title card of Mare aux Tetards
Watch “La Mare aux Têtards”
(The Tadpole Pond).

Charmingly twee piece from French five-tet Bonzom, made up of graduates of Les Gobelins, La Poudriere, and L’ESAAT, and repped by Passion Pictures Paris.

Après la Pluie

Thursday, January 1st, 2009

Goebelins encore, naturellement. Blending 2D and 3D, they’re getting better every year. So much has to do with restraint: which things you emphasize, and at which times. Matching 3D camera speed and pacing to the 2D character’s speed and pacing is a lot of it. The camera is a spoiler, and can hide a world of errors. Shading is only a tiny piece of the puzzle.

Gorgeous painting helps too. Very anime, especially in the wide shots, with the curving cirrus clouds. That fake wide-angle lens, though an anime cliche*, still works to stretch out the horizon and emphasize the timelessness of a moment.

Credits: Charles-André LEFEBVRE, Manuel TANON-TCHI, Louis TARDIVIER, Sébastien VOVAU, Emmanuelle WALKER. Apparently they are all from FRANCE.

[via Motionographer.]

*I’m looking at you, Voices of a Distant Star**.

**I couldn’t remember the name of this Non-Ironic Anime Tropes Clearinghouse but it was tracked down by googling “anime emo”.