This last week at work I have been mostly editing for Simon's Cat Ltd. We're putting together some short educational films showing how the hugely talented Simon Tofield draws his amazing cartoons. This first film shows Simon sketching his much-loved Simon's Cat character complete with his own narration. Simon drew straight into Adobe Flash and we used screen capture software to record his performance. Simon's voice over was recorded simultaneously as high quality .wav files using an Edirol digital sound recorder and my Rode Videomic pro shotgun microphone. The backing music was specially recorded for the film by Shrooty (a.k.a. composer and sound designer Russell Pay).
Sunday, November 20, 2011
Simon Draws: Simon's Cat
This last week at work I have been mostly editing for Simon's Cat Ltd. We're putting together some short educational films showing how the hugely talented Simon Tofield draws his amazing cartoons. This first film shows Simon sketching his much-loved Simon's Cat character complete with his own narration. Simon drew straight into Adobe Flash and we used screen capture software to record his performance. Simon's voice over was recorded simultaneously as high quality .wav files using an Edirol digital sound recorder and my Rode Videomic pro shotgun microphone. The backing music was specially recorded for the film by Shrooty (a.k.a. composer and sound designer Russell Pay).
Friday, November 18, 2011
New Film Old Camera
Well, these little yellow boxes on my desk can only mean one thing...
Yep, that's right, I'm scratching my 8mm itch again. Some weekends recently I've been out and about in Enfield shooting some proper cine film. I bought 3 rolls of this Kodak Ektachrome 100T film, and have shot almost 2 of them already.
I've been getting some funny looks from the locals whilst shooting... we don't get many tourists in Enfield, and even if we did, not many of them would be filming with a camera like this...
Yep, it's my 'new' Nizo 156XL, and the monstrosity stuck on the front is the Panasonic LA7200 Anamorphic lens adaptor. WHAT? Yes, I'm making my little film in Super8 16x9 format... exciting stuff.
The first finished roll has already been processed at Andec FilmTechnik lab in Germany and returned. (A round-trip of three weeks!) I've now sent that film over to Uppsala Bildteknik in Sweden for a Flashscan HD transfer. (I'll possibly blog a bit more about the logistics of all of this at a later date.)
Who knows how the film will come out... Will it be jittery, will it be sharp, and for that matter will it be any damn good at all ???
Yep, that's right, I'm scratching my 8mm itch again. Some weekends recently I've been out and about in Enfield shooting some proper cine film. I bought 3 rolls of this Kodak Ektachrome 100T film, and have shot almost 2 of them already.
I've been getting some funny looks from the locals whilst shooting... we don't get many tourists in Enfield, and even if we did, not many of them would be filming with a camera like this...
Yep, it's my 'new' Nizo 156XL, and the monstrosity stuck on the front is the Panasonic LA7200 Anamorphic lens adaptor. WHAT? Yes, I'm making my little film in Super8 16x9 format... exciting stuff.
The first finished roll has already been processed at Andec FilmTechnik lab in Germany and returned. (A round-trip of three weeks!) I've now sent that film over to Uppsala Bildteknik in Sweden for a Flashscan HD transfer. (I'll possibly blog a bit more about the logistics of all of this at a later date.)
Who knows how the film will come out... Will it be jittery, will it be sharp, and for that matter will it be any damn good at all ???
Monday, November 14, 2011
Sunday, November 13, 2011
Spins From the Bin
Whilst archiving data off my PC hard drive, I've un-earthed many tests and experimental projects; lots of these are things that never saw the light of day, until now... First up, we have some of my adventures in the field of audio/music making.
Stunned
Back in 2005 then I was experimenting with Cubasis and playing around with some text to speech software. There's even a little bit of accoustic guitar in here, how rock 'n' roll is that?
Stunned by projectmusic
Xylofonos
This second example is also circa 2005. This repetitive piece of plinky plonky electronica became the soundtrack for my 2006 animation film Evo.
Xylofonos by projectmusic
Pony
Now to bring things more up to date, here is some 2011 material! I recently downloaded a demo version of Mixcraft and had another go; perhaps some kind of soundtrack piece, maybe for another short film...
Pony by projectmusic
Stunned
Back in 2005 then I was experimenting with Cubasis and playing around with some text to speech software. There's even a little bit of accoustic guitar in here, how rock 'n' roll is that?
Stunned by projectmusic
Xylofonos
This second example is also circa 2005. This repetitive piece of plinky plonky electronica became the soundtrack for my 2006 animation film Evo.
Xylofonos by projectmusic
Pony
Now to bring things more up to date, here is some 2011 material! I recently downloaded a demo version of Mixcraft and had another go; perhaps some kind of soundtrack piece, maybe for another short film...
Pony by projectmusic
Wednesday, November 09, 2011
Information Film for Camelot Property Management
At the very end of last year I produced,directed,designed and edited this 13 minute corporate film for Camelot Property Management. The company rents out living spaces in properties that would otherwise lie dormant and unused. Camelot Property Management hired me to create an informational film to be presented to all prospective customers of their service.
Given the information-rich content of the film and the importance of the legal and safety information involved; the client and I decided on a very clean 'info-graphics' style for maximum clarity. The video contains text-animation, simple CGI animation, 2D graphical animation and some 'rotoscoped' live action characters too.
The entire video is now over on the Camelot website and YouTube channel, so I now feel happy to embed a link to the film...
Given the information-rich content of the film and the importance of the legal and safety information involved; the client and I decided on a very clean 'info-graphics' style for maximum clarity. The video contains text-animation, simple CGI animation, 2D graphical animation and some 'rotoscoped' live action characters too.
The entire video is now over on the Camelot website and YouTube channel, so I now feel happy to embed a link to the film...
Saturday, November 05, 2011
A Special Slide Show
We went to see The Specials play at Alexandra Palace last night. It was a cracking gig, and I'm still wondering where all of those middle-aged skinheads turned up from, I mean, where do they go the rest of the time?
Anyway, one of the clear highlights of the gig, didn't feature the band at all. Right before The Specials came on, we had John Barry's Theme from The Persuaders accompanied by a projected slide show of still photos covering life in Britain over the past 30 years. The first photo was Margaret Thatcher, the last one was David Cameron, the obvious question being, how have things changed/stayed the same over these last three decades?
The skillfully-sequenced pictures covered every news-worthy triumph and disaster imaginable. From sporting moments to terrorist attacks, the selection of images was spot on: a reminder of just how powerful these editorial stills can be.
The band kicked-off with Gangters, the irresistable ska took over and the Rude Boys (and somewhat fewer Rude Girls) began leaping up and down with increasing abandon; partying like it was 1979.
Anyway, one of the clear highlights of the gig, didn't feature the band at all. Right before The Specials came on, we had John Barry's Theme from The Persuaders accompanied by a projected slide show of still photos covering life in Britain over the past 30 years. The first photo was Margaret Thatcher, the last one was David Cameron, the obvious question being, how have things changed/stayed the same over these last three decades?
The skillfully-sequenced pictures covered every news-worthy triumph and disaster imaginable. From sporting moments to terrorist attacks, the selection of images was spot on: a reminder of just how powerful these editorial stills can be.
The band kicked-off with Gangters, the irresistable ska took over and the Rude Boys (and somewhat fewer Rude Girls) began leaping up and down with increasing abandon; partying like it was 1979.
Labels:
alexandra palace,
gigs,
london,
music,
the specials
Friday, October 28, 2011
Cheap Book Club Chronicles : Volume One by Bob Dylan £3
Following in the esteemed footsteps of Oprah Winfrey, Richard and indeed Judy, I announce the Cheap Book Club... All books must be second-hand, borrowed, freebies or hugely discounted to qualify for review... No new or expensive books will be considered...
Here's a book I've just hugely enjoyed... It came out in 2004, but I've waited seven years for the £3 discounted paperback to appear...
I 'discovered' Bob Dylan in my impressionable 1980s mid-teens after seeing the D.A. Pennebaker documentary film Don't Look Back. (see the all time classic Subterranean Homesick Blues via YouTube embedded below). I was impressed enough then to seek out more; even to go out and buy a few albums. So Chronicles : Volume One was an easy read for me. I think you have to have some interest to pick up this book, but you don't have to be a hard-core Dylan fan to enjoy the story as it's told.
Bob Dylan seems to have lived an accelerated life; even to the extent of achieving his mid-life crisis in his twenties. We read here as much about his doubts and uncertainties as we do his output of songs and albums.
New York's early '60s folk club scene is vividly brought to life; then the book makes thematically-based leaps, lurching forwards and backwards in time from there. There are extended dry periods when Dylan seeks motivation and is continually bewildered by the expectations of others. There are curious gaps in his recording work and similarly in his telling of it too. The recording of most of the great albums goes without a mention, then he singles out the New Orleans recording sessions for the 'Oh Mercy' album with Daniel Lanois in 1989 for particular scrutiny.
Chronicles is an eclectic and entirely subjective selection of moments from an extraordinary life: yet it's the process by which Dylan comes to his writing that emerges from the tangled-up reminiscences here.
Book club members (Well that's anybody really) are invited to use the comments feature below to discuss the book...
I liked it.
Here's a book I've just hugely enjoyed... It came out in 2004, but I've waited seven years for the £3 discounted paperback to appear...
I 'discovered' Bob Dylan in my impressionable 1980s mid-teens after seeing the D.A. Pennebaker documentary film Don't Look Back. (see the all time classic Subterranean Homesick Blues via YouTube embedded below). I was impressed enough then to seek out more; even to go out and buy a few albums. So Chronicles : Volume One was an easy read for me. I think you have to have some interest to pick up this book, but you don't have to be a hard-core Dylan fan to enjoy the story as it's told.
Bob Dylan seems to have lived an accelerated life; even to the extent of achieving his mid-life crisis in his twenties. We read here as much about his doubts and uncertainties as we do his output of songs and albums.
New York's early '60s folk club scene is vividly brought to life; then the book makes thematically-based leaps, lurching forwards and backwards in time from there. There are extended dry periods when Dylan seeks motivation and is continually bewildered by the expectations of others. There are curious gaps in his recording work and similarly in his telling of it too. The recording of most of the great albums goes without a mention, then he singles out the New Orleans recording sessions for the 'Oh Mercy' album with Daniel Lanois in 1989 for particular scrutiny.
Chronicles is an eclectic and entirely subjective selection of moments from an extraordinary life: yet it's the process by which Dylan comes to his writing that emerges from the tangled-up reminiscences here.
Book club members (Well that's anybody really) are invited to use the comments feature below to discuss the book...
I liked it.
Labels:
Bob Dylan,
book review,
Cheap Book Club,
Chronicles
Sunday, October 23, 2011
8mm Early 90s : Super8 film ... YouTube Reloaded
Here's a collection of my old 'college days' super 8 footage from the early 1990s. I've re-uploaded it to my YouTube Channel, because the quality of this now is so much better than it was with 2008 YouTube compression and low resolution settings I used previously... I mean, it was THREE whole years ago I first put this online.
I've also now upgraded my music licence for the soundtrack I chose back in 2008 to edit this to. The music is called 'Secrets From The Screen' by Chris Harvey; I discovered/licenced this through Magnatune.com
Fans of this blog. (erm... consider yourself to be one of a very small and select group in this respect) might notice I've just added FaceBook 'like' buttons to these posts. Go ahead, I invite you to try them out... You might also spot the comment button too... that has always been there (where it says 0 comments); but granted, it is easily over-looked.
Thursday, October 20, 2011
Simon's Cat: Kitten Chaos Premiere Event Film
Well this IS very exciting! Two weeks ago I was hired by Canongate Books / Simon's Cat Ltd. to film the launch event for Simon Tofield's new book 'Kitten Chaos'. I shot lots of footage (and some stills) at the event and then spent around a week getting this edited down to this short web-friendly promo film. I'll probably post a bit more soon about shooting the event itself, but in the meantime, please enjoy the film embedded here from the Canongate Books YouTube channel.
Labels:
canongate,
corporate films,
event filming,
promos,
simon's cat
California 08 : Super8 film ... YouTube Reloaded
Well, I didn't like the look of my California 08 film on YouTube with its 2008 era video quality, so I've re-uploaded this now (see above), and it is looking a lot better. The video quality still seems to be better over on vimeo.com though...
Saturday, October 15, 2011
Magnatune for Production Music?
Around three years ago I posted this film on YouTube...
As I mentioned a few posts back, some fragmentary clips from this film can currently be seen in the music promo video for the new Lana Del Rey song Video Games.
A further development, now is that YouTube have written to me to ask if I wish the video to be considered for YouTube 'Partnership' status. The idea is that if approved, the film will have ads placed on it, and that eventually I might just see some trickle of revenue back via Google AdSense (we'll see how that goes). I was very surprised to be asked about this, because the number of hits the film has received so far, is very modest indeed (around 9000 in 3 years.)
One consequence of the YouTube approach, is that I've decided to secure the appropriate licence on the sound track of the film to enable the agreement to go ahead.
Fortunately back in 2008, I was (and still remain) fairly scrupulous about music usage rights on my films, and I had sought music from www.magnatune.com Under the terms and conditions they had then, I was able to buy the album and use it for internet distribution of a non profit-making film.
Now that the YT partnership has been offered, I got back in touch with Magnatune last night and got a very speedy and reasonable deal to 'upgrade' to a more suitable licence to reflect this change in circumstances.
I can say that not only is Magnatune a great source for new and varied music, but that they also very much have their act together in terms of enabling film-makers to effectively and affordably gain the licences they need to use the music in productions.
Now, I only wish there was a way of retrospectively improving the video quality of the old YouTube film. Three years ago, there was no HD option on YouTube only something called 'HQ mode' which seems to have been scrapped since then. I'm left with an online video only at 360P size which is very low-res indeed (and also horribly compressed). YouTube don't seem to offer any way of replacing an old clip like this apart from re-uploading and beginning again with no comments or hits etc.
The best quality online version of this film available, is the one over on Vimeo.com. Compare and contrast the quality of this same online film hosted on the different video sharing platforms... Come on YouTube, we need to be able to upgrade these grotty old uploads from the bad old days...
As I mentioned a few posts back, some fragmentary clips from this film can currently be seen in the music promo video for the new Lana Del Rey song Video Games.
A further development, now is that YouTube have written to me to ask if I wish the video to be considered for YouTube 'Partnership' status. The idea is that if approved, the film will have ads placed on it, and that eventually I might just see some trickle of revenue back via Google AdSense (we'll see how that goes). I was very surprised to be asked about this, because the number of hits the film has received so far, is very modest indeed (around 9000 in 3 years.)
One consequence of the YouTube approach, is that I've decided to secure the appropriate licence on the sound track of the film to enable the agreement to go ahead.
Fortunately back in 2008, I was (and still remain) fairly scrupulous about music usage rights on my films, and I had sought music from www.magnatune.com Under the terms and conditions they had then, I was able to buy the album and use it for internet distribution of a non profit-making film.
Now that the YT partnership has been offered, I got back in touch with Magnatune last night and got a very speedy and reasonable deal to 'upgrade' to a more suitable licence to reflect this change in circumstances.
I can say that not only is Magnatune a great source for new and varied music, but that they also very much have their act together in terms of enabling film-makers to effectively and affordably gain the licences they need to use the music in productions.
Now, I only wish there was a way of retrospectively improving the video quality of the old YouTube film. Three years ago, there was no HD option on YouTube only something called 'HQ mode' which seems to have been scrapped since then. I'm left with an online video only at 360P size which is very low-res indeed (and also horribly compressed). YouTube don't seem to offer any way of replacing an old clip like this apart from re-uploading and beginning again with no comments or hits etc.
The best quality online version of this film available, is the one over on Vimeo.com. Compare and contrast the quality of this same online film hosted on the different video sharing platforms... Come on YouTube, we need to be able to upgrade these grotty old uploads from the bad old days...
Saturday, October 01, 2011
Police 101 Promo
At TANDEM recently I was asked to make a promo video for the Police. A Learjet over to Sting's Tuscan villa? Well no, the client would be the UK Home Office, so instead I went to the M&C Saatchi offices in Golden Square to find out what it was all about.
My enquiries revealed that the police forces up and down the UK are rolling out a new telephone response service for reporting 'non emergency' issues. The public are to be encouraged to use the number 101 for the types of calls which don't warrant the full emergency response of a 999 call. The police were asking for an on-line film to promote the new number and encourage the public to use it from now on.
I directed, shot and composited the film in about three weeks with a couple of days compositing help from Chris Forrester at the end of the schedule. Due to all kinds of constraints, I decided the film could be made (almost) entirely with stills photography and After Effects compositing, so that's the way we went. I shot the film all with my Canon 600D camera, mostly using the Tokina 11-16mm wide angle zoom , but I also experimented with some of my dad's old Pentax mount lenses when shooting the panoramic cityscape shots at the start of the film.
The film has appeared on-line now (It seems the Devon & Cornwall police have put it on YouTube already) so it seems OK now to embed that link here for you to see it...
My enquiries revealed that the police forces up and down the UK are rolling out a new telephone response service for reporting 'non emergency' issues. The public are to be encouraged to use the number 101 for the types of calls which don't warrant the full emergency response of a 999 call. The police were asking for an on-line film to promote the new number and encourage the public to use it from now on.
I directed, shot and composited the film in about three weeks with a couple of days compositing help from Chris Forrester at the end of the schedule. Due to all kinds of constraints, I decided the film could be made (almost) entirely with stills photography and After Effects compositing, so that's the way we went. I shot the film all with my Canon 600D camera, mostly using the Tokina 11-16mm wide angle zoom , but I also experimented with some of my dad's old Pentax mount lenses when shooting the panoramic cityscape shots at the start of the film.
The film has appeared on-line now (It seems the Devon & Cornwall police have put it on YouTube already) so it seems OK now to embed that link here for you to see it...
Labels:
after effects,
animation,
films,
photography,
promos,
work
Friday, September 30, 2011
Return To Alghero: Animatti 2011
Well, I've just got back from a 10 day trip to Alghero (Sardinia). This was a return visit to what has now become one of my favourite places in the world!
I was invited back to run animation workshops and make a presentation for the annual Animatti event there. This time, I also managed to fit in some exploring and fine dinning too... Many many thanks again to prof. Ceccarelli for inviting me over, being a fantastic host, and of course to the students too. I was hugely impressed by the workshop projects and final films the students turned-in; I hope these films appear on-line soon, and I'll link-up to them if they do.
***UPDATE***
OK, of the student films made at Animatti this year, this is the first one to show up on Youtube. 'Zodiac' made by Sara Pilloni, Lucrezia Urtis, Silvia Canu, Marcello Monti, Gabriele Desogus. This is one of the group projects the students went on to make after the workshops we did. These films were made in about 4 days (with lots of night time work too of course.)
***END OF UPDATE***
This time I took my DSLR camera along and had a bit more time for taking pictures, so here is my adventure represented in a few photos I took along the way...
I was invited back to run animation workshops and make a presentation for the annual Animatti event there. This time, I also managed to fit in some exploring and fine dinning too... Many many thanks again to prof. Ceccarelli for inviting me over, being a fantastic host, and of course to the students too. I was hugely impressed by the workshop projects and final films the students turned-in; I hope these films appear on-line soon, and I'll link-up to them if they do.
***UPDATE***
OK, of the student films made at Animatti this year, this is the first one to show up on Youtube. 'Zodiac' made by Sara Pilloni, Lucrezia Urtis, Silvia Canu, Marcello Monti, Gabriele Desogus. This is one of the group projects the students went on to make after the workshops we did. These films were made in about 4 days (with lots of night time work too of course.)
***END OF UPDATE***
This time I took my DSLR camera along and had a bit more time for taking pictures, so here is my adventure represented in a few photos I took along the way...
Alghero is a beautiful and ancient Mediterranean coastal town. |
'The dungeon' in which we worked. |
Alghero's marina with yellow submarine. |
Some stacked chairs near the market. |
Students creating stop motion animation. |
More students of the Animatti workshops. |
Alghero's marina at dusk. |
Prof. Ceccarelli introduces Michele Abbas of Framestore. |
In Alghero the sun always sets over the Mediterranean sea: spectacular. |
Monday, September 26, 2011
My Super8 Clips Used in Pop Promo
A couple of weeks ago I got an email from the producer of the music promo video for the new Lana Del Rey track 'Video Games'. After a little negotiation, I have approved use of my clips for use in their production. See the video below and look out for my (very fleeting) shots of American flags, seagulls and the ocean etc.
The clips have been sourced from a roll of Super 8 cine film I shot in 2008 whilst on holiday in California. You can see the whole of my original footage here.
The clips have been sourced from a roll of Super 8 cine film I shot in 2008 whilst on holiday in California. You can see the whole of my original footage here.
Labels:
DIY,
films,
lana del rey,
promos,
super 8,
video games
Thursday, September 15, 2011
Animatti
Here's a video about Animatti; the animation summer school I was invited to in Alghero Sardinia for a few days back in September 2010. Well, I'm going back to run more workshops there this year, and for a little bit longer this time... More news soon...
Wednesday, September 14, 2011
Making 3D Letters
In preparation for the animation workshops I'll be running again at the Animatti event in Sardinia very soon, I've been making several three dimensional letter-forms out of folded card.
I first made Illustrator drawings of the letters. I wanted to make 100mm high models based on the upper case letters of the Futura typeface. The Illustrator files would have to include the fold lines and any tabs needed for gluing the models together.
I found it was a good idea to differentiate the fold lines and the cut lines by placing them on different layers in the Illustrator file.
I also found it helpful to colour code these lines differently (Green for folds, red for cut lines).
From Illustrator, I exported the image to my CraftRobo cutting machine. I specified that the layers I had chosen for 'folds' should receive a perforation cut and all of the rest of the lines be treated as cut lines.
I loaded up the CraftRobo carrier sheet with a sheet of 160gsm white card and set the machine going. There's something very satisfying about sending your data to a robot to do all of the tricky work for you...
I could get two letters on each sheet of A4 card and the CraftRobo took around two minutes to cut each sheet.
Folding the letters together is pretty easy (especially with the pre-scored perforated edges for the folds) and it just takes a dab of Pritt stick or similar to glue the tabs together.
Et voila...
UPDATE 17/01/2017 WITH NEW VIDEO ADDED!
I've now made a 'how to' video showing how to make these letters. This video shows how to use Adobe Illustrator to create the letter templates and then a demo of how to cut the letters (with scissors), score the folds then fold and glue the letters.
I first made Illustrator drawings of the letters. I wanted to make 100mm high models based on the upper case letters of the Futura typeface. The Illustrator files would have to include the fold lines and any tabs needed for gluing the models together.
I found it was a good idea to differentiate the fold lines and the cut lines by placing them on different layers in the Illustrator file.
I also found it helpful to colour code these lines differently (Green for folds, red for cut lines).
From Illustrator, I exported the image to my CraftRobo cutting machine. I specified that the layers I had chosen for 'folds' should receive a perforation cut and all of the rest of the lines be treated as cut lines.
I loaded up the CraftRobo carrier sheet with a sheet of 160gsm white card and set the machine going. There's something very satisfying about sending your data to a robot to do all of the tricky work for you...
I could get two letters on each sheet of A4 card and the CraftRobo took around two minutes to cut each sheet.
Folding the letters together is pretty easy (especially with the pre-scored perforated edges for the folds) and it just takes a dab of Pritt stick or similar to glue the tabs together.
Et voila...
UPDATE 17/01/2017 WITH NEW VIDEO ADDED!
I've now made a 'how to' video showing how to make these letters. This video shows how to use Adobe Illustrator to create the letter templates and then a demo of how to cut the letters (with scissors), score the folds then fold and glue the letters.
Sunday, September 11, 2011
11th September 2011
Given today's date, it's pretty easy to recall my whereabouts exactly ten years ago. Though the weeks, months and years since seem mostly seem to blur as one, September 11th 2001 is clearly another kind of date altogether. For what it's worth, (be warned; there is no great insight to be found here) here's my recollection of the events of that day written from the remove of ten years and three and a half thousand miles away from Ground Zero.
I was working in a temporary animation studio set-up in a red brick house in suburban North London. Each day that summer, I would get the WAGN train to Alexandra Palace, climb through leafy Alexandra Park and emerge onto the residential streets of Muswell Hill. A Los Angeles-based production company had hired a London-domiciled Dutch animation director to make television commercials for the phone company AT&T. So it was that a rented five bedroom Edwardian house on Dukes Avenue had become the unlikely hub of a trans-Atlantic production enterprise. I had established a network of three PCs running Animo software in one of the smaller back bedrooms of the house: from that modest room we would scan, paint and composite every element of five animated television commercials. The larger front bedroom was occupied by our director Michael Dudok de Wit, a couple of his assistants and a video editor (possibly called Matt). we had strung Ethernet cables along the hallways between the rooms and established about ourselves a pleasingly adhoc working space. Downstairs, the front lounge had become a production office whilst the large room to the rear had become the domain of Rufus Dayglo and other animators with their wedge-shaped wooden drawing desks.
Whilst I was trying to fit several layers of mis-aligned scanned drawings together, I had the Guardian website open in another window. The planes had hit already and there was a photo of the skyscrapers on fire. Michael appeared at the doorway to my room with "Have you seen what's happened in New York?". I recall thinking how unlikely such an accident could possibly be. I remembered an old statistical saw I had heard many years earlier about the safety of nuclear power stations. A disaster at a nuclear power station was supposedly as likely as two loaded jumbo jets colliding over Wembley Stadium on Cup Final day. Well, now it seemed that a similarly unlikely occurrence had in fact occurred. I was naively slow to realise that this unfolding disaster was not some chance happening but a deliberate act of terror.
As a well-appointed fully-furnished rented house there was a large-screen TV in one of the rooms. We all gathered around to watch just in time to see the towers collapsing. What did all of this mean?
I recall we had two American colleagues with us, we were working for an American studio, we were working on commercials for an American client. The possibility of a sixth commercial rapidly faded away, just as so much else else did that day.
It seems so very strange now, but I did drift back to that back bedroom and get some work done; we still had a series of delivery deadlines to hit. Perhaps a hollow response but it seemed to be the only thing we could do.
I've had a quick look about on the web and have found couple of the animated commercials we were making in that house in Muswell Hill back in September 2001.
I was working in a temporary animation studio set-up in a red brick house in suburban North London. Each day that summer, I would get the WAGN train to Alexandra Palace, climb through leafy Alexandra Park and emerge onto the residential streets of Muswell Hill. A Los Angeles-based production company had hired a London-domiciled Dutch animation director to make television commercials for the phone company AT&T. So it was that a rented five bedroom Edwardian house on Dukes Avenue had become the unlikely hub of a trans-Atlantic production enterprise. I had established a network of three PCs running Animo software in one of the smaller back bedrooms of the house: from that modest room we would scan, paint and composite every element of five animated television commercials. The larger front bedroom was occupied by our director Michael Dudok de Wit, a couple of his assistants and a video editor (possibly called Matt). we had strung Ethernet cables along the hallways between the rooms and established about ourselves a pleasingly adhoc working space. Downstairs, the front lounge had become a production office whilst the large room to the rear had become the domain of Rufus Dayglo and other animators with their wedge-shaped wooden drawing desks.
Whilst I was trying to fit several layers of mis-aligned scanned drawings together, I had the Guardian website open in another window. The planes had hit already and there was a photo of the skyscrapers on fire. Michael appeared at the doorway to my room with "Have you seen what's happened in New York?". I recall thinking how unlikely such an accident could possibly be. I remembered an old statistical saw I had heard many years earlier about the safety of nuclear power stations. A disaster at a nuclear power station was supposedly as likely as two loaded jumbo jets colliding over Wembley Stadium on Cup Final day. Well, now it seemed that a similarly unlikely occurrence had in fact occurred. I was naively slow to realise that this unfolding disaster was not some chance happening but a deliberate act of terror.
As a well-appointed fully-furnished rented house there was a large-screen TV in one of the rooms. We all gathered around to watch just in time to see the towers collapsing. What did all of this mean?
I recall we had two American colleagues with us, we were working for an American studio, we were working on commercials for an American client. The possibility of a sixth commercial rapidly faded away, just as so much else else did that day.
It seems so very strange now, but I did drift back to that back bedroom and get some work done; we still had a series of delivery deadlines to hit. Perhaps a hollow response but it seemed to be the only thing we could do.
I've had a quick look about on the web and have found couple of the animated commercials we were making in that house in Muswell Hill back in September 2001.
Tuesday, August 30, 2011
Open Office is dead!
Open Office seems to be dead now. This most useful (and free) Office software seems to have been axed by Oracle and become an 'Apache Incubator Project.' (Whatever that actually means???) Fortunately though, a bunch of developers known as The Document Foundation seem to have revived the project as 'Libre Office.'
Libre Office seems to have all the same apps as Open Office had, and it's still just as good value too. (I.e. it's free to download).
Version 3.4 is available from The Document Foundation website here.
So 'Writer' is still my Word Processor of choice for FREE storyboard layout software.
Libre Office seems to have all the same apps as Open Office had, and it's still just as good value too. (I.e. it's free to download).
Version 3.4 is available from The Document Foundation website here.
So 'Writer' is still my Word Processor of choice for FREE storyboard layout software.
Thursday, August 25, 2011
Pictures Of Turkey
Here are a few 'artsy' photos from our recent family holiday in Cirali on the South Coast of Turkey. All of these were taken with my Canon 600D camera, some with the 18-55mm kit lens and many with my new Tokina 11-16mm wide angle zoom ... Keen-eyed readers should be able to spot these ones.