#all television programs are cgi

[harrelltut]

Us Ancient [USA] SUPERCONSCIOUS [U.S.] ATLANTEANS [USA = LEMURIANS] of Subterranean [U.S.] MU... Discovered MOOR of Us [MU] GOLDEN 9 Ether [G.E.] 144,000 Occulted 2024 UFO Seraphim [U.S.] from Astronomical [USA] SATURN... since WE SEE Our GREAT GRAND MOTHERSHIP NIBIRU IMMORTAL U.S. MILITARY KING SOLOMON-MICHAEL HARRELL, JR.™

ommmmm

buckle up artificial 2023 america... it's scripted 2023-2030 war time

FOUND HER!!!

We SEE MOOR of Us [MU] GOLDEN 9 Ether [G.E.] 144,000 Occulted UFO Scientists [U.S.] from Astronomical [USA] SATURN... on NIBIRU

1968 Apple Vision Pro of 1921 QUANTUM HARRELL TECH [QHT] Eye [Qi] Patents from 2024

not saturn's 144,000 golden 9 ether [g.e.] occulted igigi sky illuminati?!?!?!

saturn's 144,000 golden 9 ether [g.e.] occulted igigi illuminati... already quantum leaped 2 anu golden 9 ether [age] 5000 earth [qi]

we see our great grand mothership nibiru high in our skies... but you still in church [preschool] waiting on jesus [isis] [insert evil evil laugh emoji]

worthless 2023 mainstream news america of the soulless 2023 hollywood clone writers guild of sunken place 2023 clone america [ca]... afraid to broadcast REAL NIBIRU NEWS

eye write my own ancient 9 ether futuristic aluhum sky anunnaqi stories since the soulless 2023 hollywood clone writers guild of sunken place 2023 clone america [ca] forgot how write original screenplays with soul [insert evil evil laugh emoji]

[disneytva]

The Disney Afternoon’s’ programming block launched 34 years ago, September 10, 1990.

The block will turn 35 years in 2025, wishful thinking for a crossover series with all characters like Jellystone! from MAX getting ordered.

The 2010s and 2020s saw new interations of some shows of The Disney Afternoon block with DuckTales as reboot for Disney XD , Chip 'n Dale: Rescue Rangers as a live action/cgi hybrid film for Disney+.

New interations of The Disney Afternoon shows are still being made with Darkwing Duck having a reboot in the works since 2020 and a TaleSpin reboot very early in development since 2023 both projects for Disney+ are being helm by Disney Television Animation, Seth Rogen, Evan Goldberg and Point Grey Pictures. (Nickelodeon Animation Studios "Tales Of The Teenage Mutant Ninja Turtles") In October 2023, it was announced that Gargoyles was getting a live action reboot handled by Atomic Monster and Blumhouse Television, Gary Dauberman (Warner Bros “Anabelle” franchise), acts as showrunner with James Wan and Michael Clear (Universal Pictures “M3GAN”) as Executive Producers alongside Jason Blum (Universal Pictures "Five Nights At Freddy's").

As of right now there's two major Disney Afternoon IPs still left to be rebooted:

-Adventures Of The Gummi Bears

-Goof Troop

Who's next? i guess the future knows however attempts by current Disney Television Animation artists where made:

"Goof Troop" by Becky Dreistadt and Frank Dreistad  (“Big City Greens”, “Big City Greens The Movie: Spacecation”, “Star Vs. The Forces Of Evil”, Cartoon Network Studios “Steven Universe The Movie”, “Steven Universe Future”)

"Adventures of The Gummi Bears" by Pedro Eboli and Mark Satterthwaite (Netflix “Cupcake and Dino: General Services”, Cartoon Network LATAM “Oswaldo”, Nickelodeon “Ollie’s Pack”, Discovery Kids LATAM “Bada Bean”, Amazon Prime Video "Gary and His Demons")

[tiktaalic]

Every time I watch season one of supernatural I want to force a kripke purist to sit down and explain to me how them vomiting up exposition every 3 sentences in between aughts sexism and the cgi Local Legend and a woman in a midriff top walking by. We’ll to explain how all that is an objectively good quality television program by metrics a show that could have had a home on a Real Network that at some point goes downhill and BECOMES silly (because it did not start out silly)

[miniherodesktales]

Day 9: Music

It was a quiet Tuesday evening and Lister was choosing to spend it in bed watching old episodes of the Clangers. Since the children's program was about musical space mice who lived on their own, little planet, it naturally meant that the Cat was watching with him.

"This is the Earth, our planet, our home..." said the narrator. "It sails serenely through the vast emptiness of space, through the silent nothingness between the stars. But how silent is it? Silent to our ears perhaps but if we had ears that could hear the sound of radio waves then the space between the stars would be far from silent, for all the radio waves in all the worlds are buzzing about in space waiting to be heard..."

'He was dead good, wasn't he, Oliver Postgate?' said Lister. 'It's like having Father Christmas read a bedtime story to you.'

'Yeah,' the Cat agreed. 'It's not half making me hungry, though.'

'He and Peter Firmin, they spent ages, you know, making each set and models and everything. All the planets, all the aliens, all their little space crafts - it's all handmade.'

'Sure it looks plastic,' said the Cat, 'but I prefer it to CGI.'

'And some people said it was too depressing for a kid's show. That the tone and mood was too lonely, too melancholy, for those poor mice all alone on their planet. That they only occasionally came across space rubbish, but I like it. It's weirdly comforting. Until the reboot when they had William Shatner narrating. That was a mistake.'

Of course, Rimmer had to interrupt them.

'Why are you slobbing around in bed this early? Why is the halfwit in my bed? Why are you watching that depressing British kids show from the 1970s? And why can't you hear that annoying whiny noise?'

'Keep telling you: stop talking and it'll go away.'

'But it's driving me crazy!'

'Then shut up, sit down, and watch TV with us.'

Rimmer tried, sitting up on Lister's bunk (the Cat refused to budge) and fixing his gaze on the television screen. But he kept twitching his head and bouncing his leg.

'Will you keep still?' Lister demanded.

'Can't help it, that strange noise will not go away! It's getting louder. How can you not hear?'

Lister held up a hand. 'Ok, Ok, we'll figure it out. Holly! What's going on?'

Holly appeared on the TV screen.

'Alright, dudes? What's happening?'

'Rimmer's hearing things. A strange whiny noise.'

'Oh, that,' said Holly blandly. 'That's Radio 3.'

'What?'

'Yeah, that's right. Don't you like, Arn? You probably still need a little more time to fully tune in, but I'm loving Question Time right now. Nothing like the old "are Jaffa Cakes a biscuit or cake?" debate to keep your mind sharp."

'I'm hearing Radio 3...?' Rimmer asked slowly. 'But how?'

'Well, you're a hologram, Arnold.'

'Yes and?'

'Holograms are made of light. Part of the electromagnetic spectrum. Radio waves are also a form of electromagnetic radiation. It just makes sense that you can pick up on radio waves. Still though, it's early days for you, isn't it? Give your mind time to adjust and it'll soon make better sense of all that buzzing and whining. You'll be grooving out to the funky music playing in your head in no time.'

Rimmer stared blankly at Holly for a moment. Then he chewed his knuckles. Then he held his head in his hands and made a moaning noise.

'Not happy?' asked Holly.

'I hate being a hologram!' Rimmer growled.

'But it's so cool, dead-bud!' the Cat insisted. 'If we pull your nose can we tune into Channel 27?'

'Cat,' said Lister in a warning tone.

'It's not cool!' Rimmer insisted. He jumped down from the bunk. 'I can hear radio waves? I'm not human, am I? None of you understand how I feel, it's so unfair!'

He dashed out through the wall.

'Let's not tell him that he can also remotely control the microwave,' said Holly. 'Don't worry, lads, he'll be ok.'

'Are you sure?' Lister asked, worriedly. 'He's really upset.'

'It's ok, Dave. He's a young hologram. They all go through their existential crisis phase. However, if he gets a tattoo and starts hanging out with those vending machines in the south hold, then I think we should start worrying.'

Rimmer went to his favourite spot in the observation dome. Up there the signal from the hologram suite could patchy at the best of times and that evening Rimmer could see through his own hands.

He took a deep breath and closed his eyes and concentrated. The static in his mind buzzed and crackled and whined...but then it softened. It transformed into a perfect sympathy of human voices - the Io Philharmonic Choir - performing the Loki Patera Lament for Radio 3, three million years ago.

Rimmer wept.

Their voices, their music, were over three million years old, and yet they still existed in space - and he could hear them.

"We can imagine these serene stars as any shape or colour we like, but of course, we can't hear them. This star for instance, this serene orb, forever drifting through the night sky, does it ring with the music of the spheres or is it always silent?"

Note: Loki Patera is a volcanic depression on Io with a large larva lake. The Clangers was a beautiful, strange, poetic children's show about a race of mice called The Clangers. When I need inspiration I listen to Oliver Postgate narrating one of his shows.

[leroibobo]

nbc's flagship analog channel serving new york city, wnbc, signs off for good on june 26th, 2009 as a part of the american digital television transition.

like many analog channels signing off as a part of digital switchovers, the channel left with a special message; in this case, consisting of several old interstitials and music, including (in order of appearance):

the color test pattern from the late 1970s; before television stations were capable of operating around the clock, stations would "sign off" (say goodbye and show no programming) for the day and reserve the signal with a test pattern (which was also used to test how well the signal worked) until the morning. this test pattern originally said "wnbc-tv", but the "-tv" was artistically omitted.

the contemporaneous nbc logo, in use since 1986. a slightly adapted version is still in use today.

the opening music for nbc's nightly news program, in use from 1982 to 1985.

the nbc logo used between 1979 and 1986, referred to as the "proud n"; this is a combination of the company's two best-known logos at the time (the "trapezoid n" and the rainbow peacock).

the nbc logo in use between 1976 and 1979, referred to as the "trapezoid n".

an animation referred to as the "laramie peacock" (after the program before which it first aired), in use between 1962 and 1975. some of the first cgi, this animation would signify to viewers that the program they were watching was available in color at a time when both black and white and color tvs were in wide use in the united states. an earlier, more bombastic version of this animation, as well as a static peacock, were in use between 1956 and 1962. (you can watch a compilation of all of these here.)

the "snake logo", an animated station id interstitial used between 1959 and 1975. it features the "nbc chimes", nbc's callsign dating from when it was founded as a radio station in the late 1920s.

[ausetkmt]

Bamboozled is a 2000 American satirical black comedy-drama film written and directed by Spike Lee about a modern televised minstrel show featuring black actors donning blackface makeup and the resulting violent fallout from the show's success. It features an ensemble cast including Damon Wayans, Jada Pinkett Smith, Savion Glover, Tommy Davidson, and Michael Rapaport.

The film was given a limited release by New Line Cinema during the fall of 2000 and was released on DVD the following year.[2] Critical reception was mixed,[3][4] and the film was unsuccessful financially, becoming a box office bomb.[1] Despite its initial reception, Bamboozled later achieved cult film status for its satirical look at stereotypical depictions of black people in both historical and contemporary American film and television productions.[5][6][7][8][9]

In 2023, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[10]

Pierre Delacroix (real name Peerless Dothan) is an uptight, Harvard-educated African-American man in the employment of television network CNS. At work, he endures torment from his boss Thomas Dunwitty, a tactless, boorish white man. Not only does Dunwitty use African-American Vernacular English (AAVE) and the word "nigger" repeatedly in conversations, he also proudly proclaims that he is more black than Delacroix and that he can use "nigger" since he is married to a black woman and has two mixed-race children. Dunwitty frequently rejects Delacroix's scripts for series that portray black people in positive, intelligent scenarios, dismissing them as "Cosby clones".

In an effort to escape his contract through being fired, Delacroix develops a minstrel show with the help of his personal assistant Sloane Hopkins. Mantan: The New Millennium Minstrel Show features black actors in blackface, extremely racist jokes and puns, and offensively stereotyped CGI-animated cartoons. Delacroix and Hopkins recruit two impoverished homeless street performers, Manray and Womack, to star in the show. While Womack is horrified when Delacroix tells him details about the show, Manray sees it as his big chance to become rich and famous for his tap-dancing skills.

To Delacroix's horror, not only does Dunwitty enthusiastically endorse the show, it also becomes hugely successful. As soon as it premieres, Manray and Womack become big stars, while Delacroix, contrary to his original stated intent, defends the show as satire. Delacroix quickly embraces the fame and recognition he receives while Hopkins becomes ashamed of her association with it. Meanwhile, an underground, militant rap group called the Mau Maus, led by Hopkins' older brother Julius, becomes increasingly angry at the show's content. Though they had earlier unsuccessfully auditioned for the program's live band position, the group plans to end the show using violence.

Womack quits, fed up with the show and Manray's increasing ego. Manray and Hopkins grow closer, despite Delacroix's attempts to sabotage their relationship. Delacroix confronts Hopkins, and when she lashes back at him, he fires her. She then shows him a videotaped montage she created of racist footage culled from assorted media to shame Delacroix into stopping production of the show, but he refuses to watch it. After an argument with Delacroix, Manray realizes he is being exploited and defiantly announces that he will no longer wear blackface. He appears in front of the studio audience, who are all in blackface, and does his dance number in his regular clothing. The network executives immediately turn against Manray, and Dunwitty fires him.

The Mau Maus kidnap Manray and announce his public execution via live webcast. The authorities work feverishly to track down the source of the internet feed, but Manray is nevertheless assassinated while doing his famous tap dancing. At his office, Delacroix (now in blackface himself, mourning Manray's death) fantasizes that the various black-themed antique collectibles in his office are staring him down and coming to life; in a rage, he destroys many of the items. The police kill all the members of the Mau Maus except for One-Sixteenth Blak, a white member who demands to die with the others.

Furious, Hopkins confronts Delacroix at gunpoint and demands that he play her tape. As he does so, Hopkins reminds him of the lives that were ruined because of his actions. During a struggle over the gun, Delacroix is shot in the stomach. Hopkins flees while proclaiming that it was Delacroix's own fault that he got shot. Delacroix, holding the gun in his hands to make his wound appear self-inflicted, watches the tape as he lies dying on the floor. The film concludes with a full reveal of the tape's contents; a long montage of racially insensitive and demeaning clips of African-American characters from Hollywood films of the first half of the 20th century.[11] Afterwards, Manray is shown doing his last Mantan sequence on stage.

Cast

Damon Wayans as Pierre "Peerless Dothan" Delacroix

Savion Glover as Manray "Mantan"

Jada Pinkett Smith as Sloan Hopkins

Tommy Davidson as Womack "Sleep 'n Eat"

Michael Rapaport as Thomas Dunwitty

Mos Def as Julius "Big Blak Afrika" Hopkins

Thomas Jefferson Byrd as Honeycutt

Paul Mooney as Junebug

Craig Grant as Hard Blak

Gano Grills as Double Blak

Canibus as Mo Blak

Charli Baltimore as Smooth Blak

MC Serch as One-Sixteenth Blak

Kim Director as Starlet

The Roots as The Alabama Porch Monkeys

Reverend Al Sharpton as Himself

Critical response

On Rotten Tomatoes, the film has an approval rating of 53% based on reviews from 106 critics. The site's consensus is: "Bamboozled is too over the top in its satire and comes across as more messy and overwrought than biting."[3] On Metacritic it has a score of 54% based on reviews from 39 critics, indicating "mixed or average reviews".[4]

Among those who gave positive reviews to the film were CNN correspondent Dennis Michael, who compared the film favorably to Mel Brooks' The Producers and praised Glover's performance in the lead role,[14] Kenneth Turan of the Los Angeles Times, who described the film as "savage, abrasive, audacious and confrontational" and "the work of a master provocateur",[15] and Stephen Holden of The New York Times, who described the film as "an almost oxymoronic entity, an important Hollywood movie."[16] It was not reviewed as favorably by the Chicago Sun-Times' Roger Ebert, who gave the film 2 stars out of a possible 4, writing that the film was "perplexing," raising important issues but handling them poorly. "The film is a satirical attack on the way TV uses and misuses African-American images, but many viewers will leave the theater thinking Lee has misused them himself."[17]

By the time of its twentieth anniversary, Bamboozled had been reappraised as an underappreciated work of Lee's.[18] Writing for Rolling Stone, David Fear noted that "the really scary thing is that, 20 years on, Bamboozled feels incredibly contemporary. It doesn’t look so extreme after all...and when you consider the content of this film, that’s a very troubling thing

[mi4011minadigajaweera]

Craig McCracken - further research

His Career and Work

In 1993, Craig was recruited by Hanna-Barbera Cartoons (now Cartoon Network Studios) to work as an art director on the series 2 Stupid Dogs, but as his first job in the animation industry, he was never really happy with how that show worked.

While McCracken was working at Hanna-Barbera, studio president Fred Seibert started a brand new project: an animation incubator with 48 brand new cartoons that are each about seven minutes long. What a Cartoon!, as it was known, inspired McCracken to continue working on his Whoopass Girls! idea from his work at CalArts. He recalled that the network could not market a show with the word "ass" in it, so two of his friends came up with name ‘The Powerpuff Girls’ as a substitute for the original title.

As a backstory note how it all started, in June 1991, McCracken was in his first year in the character animation program of CalArts and drew three girls with large eyes, visually inspired by the paintings of Margaret Keane on a small sheet of orange construction paper as a birthday card design for his brother.

His new work with a refined plot, "The Powerpuff Girls in: Meat Fuzzy Lumkins", premiered on February 20, 1995, on Cartoon Network's World Premiere Toons, along with its follow-up, "Crime 101", which aired on January 28, 1996. The first short to be picked up by the network was Tartakovsky's Dexter's Laboratory, which McCracken contributed to in the early seasons.

The fourth cartoon to greenlit a full series was McCracken's Powerpuff Girls. It premiered as a short in 1995 and debuted on November 18, 1998 as full half-hour episodes that was aired until its final episode on March 25, 2005. The Powerpuff Girls aired on Cartoon Network for six seasons, three specials, and a feature film, with the final episode airing on March 25, 2005. A total of 78 episodes were aired in addition to two shorts, a Christmas special, the film, a tenth anniversary special, and a special episode using CGI technology. Various spin-off media include an anime, three CD soundtracks, a home video collection, comic books, a series of video games, a 2016 reboot series, and an upcoming second reboot, as well as various licensed merchandise.

The series has been nominated for six Emmy Awards, nine Annie Awards, and a Kids' Choice Award during its run.

In 2002, McCracken also directed The Powerpuff Girls Movie, a prequel to his series. Although the film received generally positive reviews, unfortunately it was a box office failure.

Leaving The Powerpuff Girls after four seasons, McCracken focused on his next project; Foster's Home for Imaginary Friends. He created this series with his wife Lauren Faust and Mike Moon and it premiered on Cartoon Network with the 90-minute television special "House of Bloo's" on August 13, 2004. The show also won Emmy and Annie awards and ran for six seasons, all directed by McCracken, ending on May 3, 2009.

He became the executive producer of The Cartoonstitute; a brand-new Cartoon Network showcase project, in April 2008. He left Cartoon Network in 2009 after 17 years of employment when the network began to emphasize on live-action and reality shows. In August 2013, he created Wander Over Yonder for Disney Television Animation and Disney Channel. Following the cancellation of Wander Over Yonder, McCracken pitched Disney a new show based on his 2009 comic strip The Kid from Planet Earth. The concept was later dismissed by Disney, and in 2017 he finally departed the company. After presenting his idea to Netflix, Kid Cosmic was selected as the working title. On February 2, 2021, the show made its debut, and it aired till February 3, 2022.

It marks McCracken's return to the superhero genre after The Powerpuff Girls and the first of his original works to include a serialized style. He pitched Netflix with 10 proposals in August 2021, however due to Netflix Animation's huge layoffs, he eventually left in April 2022.

On July 18, 2022, it was revealed that McCracken will make two reboots at Hanna-Barbera Studios Europe of the Powerpuff Girls and Foster's Home for Imaginary Friends.

McCracken was also awarded the Winsor McCay Award in 2023 for his "unparalleled achievement and exceptional contributions to animation" at the Annie Awards ceremony.

[chasingillusionsstudio]

CGI Animation Studio in Delhi

What is CGI Animation Studio?

A CGI Animation Studio is a studio which is skilled to use advanced technology to deliver outstanding CGI visuals tailored to various industries, Medical, Real-Estate, Education, Cosmetics, Food, Personal care, and more.

What is CGI? CGI, or Computer-Generated Imagery, is a powerful tool used in film, gaming, advertising, and beyond. It’s responsible for bringing fantastic worlds, characters, and visual effects to life, all created within the virtual space of a computer. CGI animation can transform imagination into reality, and while the initial learning curve may seem steep, mastering CGI techniques opens up countless possibilities for creative expression.

How does Computer-Generated Imagery work?

CGI technology involves using specialized software and tools to create visual effects and images. Programs like Autodesk Maya, Blender, and Adobe After Effects allow artists to bring complex ideas to life through modeling, animation, and rendering.

Which Software is used to Create CGI Reel? Creating a quality CGI reel requires robust software. Industry favorites include:

Blender: Free and open-source, great for beginners and pros alike. Autodesk Maya: Known for its professional-grade animation capabilities. Cinema 4D: Excellent for motion graphics and 3D modeling.

Which is best CGI Animation studio?

Best CGI animation studio in Delhi, is Chasing Illusions Studio. It is Specialized in creating realistic and immersive 3D animations, this studio is known for crafting visually compelling CGI clips, including CGI product animations, CGI product marketing, and CGI architectural walkthroughs, etc.

What are types of CGI Showreel?

There are 7 types of CGI Showreel, let's grab them one by one and see how CGI Showreel has made a change in various field.

Product Animation Showreels: These showreels focus on animated representations of products, highlighting details, textures, and functions in a way that brings the product to life.

Character Animation Showreels: Here, animators showcase their skills in bringing characters to life, making them an ideal choice for roles in gaming, movies, or commercial advertisements.

Architectural Walkthrough Showreels: These include virtual tours of buildings, homes, or environments, used widely in real estate and urban development.

VFX (Visual Effects) Showreel: Combines CGI with live-action footage to demonstrate skills in effects like explosions, weather simulations, and other special effects commonly used in film and television.

Medical Animation Showreel: Specialized in showcasing anatomy, medical procedures, and molecular processes, often for educational purposes or healthcare presentations.

Motion Graphics Showreel: Focuses on animated text, icons, and graphics, typically used in infographics, explainer videos, and branded content.

Industrial Animation Showreel: Demonstrates complex machinery and manufacturing processes in action, used to explain technical workflows in industries like engineering and manufacturing.

What are Chasing Illusions Studio CGI services?

3D Modeling

3D Animation

Motion Graphics

Character Animation

Product Visualization

Architectural Visualization

Examples of Inspiring CGI Showreels

Studying successful showreels can give you inspiration. Look for CGI artists like Chasing Illusions Studio which excel in storytelling, high-quality visuals, and smooth editing to understand what makes an impact.

Why to choose Chasing Illusions Studio for CGI Animation studio? Chasing Illusions Studio offers unique CGI services tailored to various industries. Whether you need a product demo, a marketing campaign, or an architectural walkthrough, our team delivers high-quality, realistic CGI animation that enhances your brand.

Conclusion: CGI Animation studio If you’re looking for high-quality CGI animation services in Delhi, Chasing Illusions Studio is a top choice. Specializing in creating realistic and immersive 3D animations, this studio is known for crafting visually compelling CGI clips, CGI product animations, and CGI Cosmetic, CGI Real Estate, etc.

Whether for product marketing, architectural visualization, or virtual tours, Chasing Illusions Studio's innovative CGI techniques bring concepts to life with precision and creativity. The studio’s skilled team uses advanced technology to deliver outstanding 3D visuals tailored to various industries, including cosmetics, food, personal care, and more.

FAQs: CGI Animation studio

Which is the best CGI Animation Studio in Delhi?

Best CGI animation studio in Delhi, is Chasing Illusions Studio. It is Specialized in creating realistic and immersive 3D animations, this studio is known for crafting visually compelling CGI clips, including CGI product animations, CGI product marketing, and CGI architectural walkthroughs, etc.

Can Chasing Illusions Studio create custom CGI animations for product launches or brand promotions?

Yes, Chasing Illusions Studio specializes in custom CGI animations tailored for product launches, brand promotions, and marketing campaigns. The team collaborates closely with clients to understand their unique vision and creates animations that resonate with their brand identity and target audience.

What industries does Chasing Illusions Studio specialize in?

Chasing Illusions Studio serves various industries, including cosmetics, food and beverage, personal care, healthcare, and Animation, Medical, Education, and more. The studio specializes in creating industry-specific CGI animations that help brands communicate effectively with their target audience.

What services does Chasing Illusions Studio offer as a CGI animation studio in Delhi?

Chasing Illusions Studio provides a range of CGI animation services, including 3D product animation, architectural walkthroughs, CGI clips, design animation, and 2D demos, etc. These services cater to industries such as cosmetics, food and beverage, personal care, and more.

Where is Chasing Illusions Studio located in Delhi?

Chasing Illusions Studio is based in Delhi, making it easily accessible for businesses in the area. For clients outside Delhi, virtual consultations and project updates are available to ensure seamless collaboration, no matter the location.

CONATCT US

Transform your product vision into stunning reality with OUR high-quality CGI services!

VISIT: CHASINGILLUSIONS.IN

[maacsatara]

Fundamentals of Digital Compositing

Digital compositing is a cornerstone of visual effects (VFX) in film, television, and video production. It involves combining visual elements from various sources into a single, cohesive image or sequence. This process can seamlessly blend live-action footage with computer-generated imagery (CGI), matte paintings, and other visual elements, creating stunning and believable scenes that captivate audiences. Understanding the fundamentals of digital compositing is essential for anyone looking to enter the world of VFX, and institutions like MAAC Academy offer comprehensive training programs to help aspiring artists master these skills.

#### The Basics of Digital Compositing

At its core, digital compositing is about layering different visual elements to create a unified whole. Each element, or "layer," can come from a variety of sources, including live-action footage, CGI, still images, and effects like smoke or fire. These layers are stacked in a compositing software, where they are manipulated and adjusted to blend seamlessly.

The primary goal of compositing is to make the final image look as natural and realistic as possible. This requires careful attention to detail and a deep understanding of various compositing techniques and principles.

#### Key Techniques in Digital Compositing

1. **Masking and Rotoscoping**

   Masking involves isolating a specific part of an image to apply effects or adjustments only to that area. This is often done using masks, which can be created manually or automatically in compositing software. Rotoscoping is a more advanced form of masking where an animator traces over live-action footage frame by frame to create a matte or mask. This technique is crucial for isolating characters or objects from their backgrounds, especially when working with green screen footage.

2. **Keying**

   Keying is the process of removing a background from an image, typically using a green or blue screen. This technique involves selecting a specific color range (the "key") and making it transparent, allowing another image to be placed behind the subject. Keying is widely used in news broadcasts, weather reports, and, most importantly, in film and television production to composite actors into virtual environments.

3. **Color Correction and Grading**

   To ensure that all visual elements blend seamlessly, color correction and grading are essential. Color correction involves adjusting the colors of each layer to match the overall scene. This can include tweaking brightness, contrast, saturation, and color balance. Color grading goes a step further by creating a specific mood or tone for the scene, often using color palettes and stylistic adjustments.

4. **Tracking and Match Moving**

   When compositing CGI into live-action footage, it's crucial that the digital elements move realistically with the live-action camera. Tracking involves analyzing the movement of the camera and objects within the scene to apply the same movement to the CGI elements. Match moving is a similar technique but focuses specifically on matching the movement of CGI objects with live-action footage, ensuring they appear naturally integrated.

5. **Blending Modes and Opacity**

   Blending modes control how different layers interact with each other. Common blending modes include "multiply," "screen," "overlay," and "add," each producing different effects. Adjusting the opacity of layers allows compositors to control the transparency of elements, which is particularly useful for creating effects like shadows, reflections, and glows.

6. **Depth of Field and Motion Blur**

   To enhance realism, compositors often add depth of field and motion blur effects. Depth of field simulates the focus range of a camera lens, blurring elements that are out of focus. Motion blur mimics the blurring that occurs when objects move quickly in front of the camera. Both effects help to integrate CGI elements more naturally with live-action footage.

#### Tools of the Trade

Digital compositing is performed using specialized software designed to handle complex visual effects tasks. Some of the most popular compositing software includes:

- **Adobe After Effects:** Widely used in both professional and amateur VFX work, After Effects offers a broad range of tools for compositing, motion graphics, and animation.

- **Nuke:** A high-end compositing software favored by the film industry, Nuke provides powerful node-based compositing capabilities and is used for major Hollywood productions.

- **Fusion:** Originally developed by eyeon Software and now owned by Blackmagic Design, Fusion is another node-based compositing tool known for its robust features and integration with other VFX software.

#### Practical Applications

Digital compositing is used in a wide array of applications, from blockbuster films to television shows, commercials, and online content. Some common uses include:

- **Scene Extension and Set Replacement:** Compositing allows filmmakers to extend sets digitally, creating expansive environments without the need for costly physical sets.

- **Virtual Characters and Creatures:** CGI characters and creatures are often composited into live-action scenes, interacting seamlessly with real actors and environments.

- **Visual Effects and Simulations:** Effects like explosions, weather phenomena, and magical elements are created and composited into live-action footage to enhance storytelling.

- **Matte Painting Integration:** Digital matte paintings are composited with live-action footage to create detailed backgrounds and environments that would be impractical to build physically.

#### Conclusion

Digital compositing is an essential skill in the VFX industry, enabling the creation of visually stunning and immersive experiences. By mastering techniques such as masking, keying, color correction, tracking, and blending, compositors can seamlessly integrate various visual elements into cohesive scenes. As technology continues to advance, the possibilities for digital compositing are expanding, offering even greater opportunities for creativity and innovation in visual storytelling. Whether aspiring to work in film, television, or any other visual medium, a solid understanding of digital compositing fundamentals is crucial for success in the dynamic field of VFX.

[ethanfernandez]

Week 5: Reality TV

Reality television is one of the most fascinating and controversial genres on the great spread of television. From the earliest seasons of "Survivor" and "Big Brother" to the glamorous drama of "Keeping Up with the Kardashians" and the sexual antics on "The Bachelor," reality television has become deeply ingrained in the minds of all of us. However, what is it about this genre that appeals to millions of people, and what outcomes result from our shared fixation?

The main attraction of reality TV is the unscripted, real-life drama it promises to deliver. The authenticity, however curated, of witnessing actual people deal with problems, form bonds with one another, and go about their daily lives draws in viewers. A cast of different people whose interactions were real and unscripted provided viewers with a sharp contrast to the polished perfection of scripted dramas and sitcoms. Shows like "The Real World" pioneered this approach.

People who are on Teen Mom OG don't act like the camera isn't there. The camera is front and centre, challenging both the norms that control how meaning is made and visual culture, as well as the traditional idea of what is public and private, especially when it comes to the consumer (Salibian, 2020).

In addition, reality TV is a spectacle of the current era. Television programmes such as "America's Got Talent" and "The Voice" provide viewers with a glimpse into the outstanding abilities of regular individuals, turning them into superstars overnight. The competitive aspect heightens the suspense and makes the audience obsess about the results.

Moreover, it's a mixed type of television programming that is based on factual entertainment through the experiences and performances of nonprofessional actors has gradually become more and more popular over the past 20 years, raising concerns among the public about basic moral values like, respect for human dignity and integrity, honesty, and truth (Mast 2016).

In conclusion, reality TV is still very popular and has a complex role in both reflecting and moulding society ideals, even in the face of controversy. It provides a glimpse into human nature, presenting the positive and negative aspects of humanity. It's important for us as viewers to observe reality TV critically, enjoying its entertainment value but also considering the larger repercussions for both ourselves and the people on television.

Reality TV is ultimately just a mirror, reflecting back to us as much about our interests and aspirations as it does about the people we watch with such fervour.

References:

Salibian, T 2020, “Reading Reality Television: Publicizing, Promoting, and Commodifying the Self ,” scholarship.claremont.edu, accessed May 14, 2024, <https://scholarship.claremont.edu/cgi/viewcontent.cgi?article=1283&context=cgu_etd>.

Papacharissi, Z & Mendelson, A 2007, “An Exploratory Study of Reality Appeal: Uses and Gratifications of Reality TV Shows,” Journal of Broadcasting & Electronic Media, pp. 355–370, accessed <https://zizi.people.uic.edu/Site/Research_files/JobemRealityTV.pdf>.

Mast, J 2016, “The Dark Side of Reality TV: Professional Ethics and the Treatment of Reality Show Participants,” International Journal of Communication 10, pp. 2179–2200, accessed <https://ijoc.org/index.php/ijoc/article/viewFile/2444/1646>.

[tripp-pants-sora]

Of course!

PBS is an USAmerican public television channel that's free-to-air, and funded by donations from the public. It airs a wide range of educational programs, and has a popular after-school block of programming called PBS Kids.

Fetch! With Ruff Ruffman is a partially scripted game show where 6 contestants (all younger kids) are given various tasks to broaden their understanding of various educational topics. The show is hosted by an animated dog, the titular Ruff Ruffman!

Maya and Miguel is an animated show focusing on Maya and Miguel Santos, two twins of Mexican and Puerto Rican descent. I haven't watched this one personally, but from my understanding, it focuses on multiculturalism and the importance of community.

Dragon Tales is an animated series about another set of twins, Emmy and Max, who find a magical dragon scale that lets them teleport to a world full of dragons. It mostly focuses on how to approach challenges, handle anxiety, seek out new experiences, and process emotions. Also, there's core educational stuff- colors, shapes, words, etc.

Martha Speaks is an animated series about a dog named Martha, who eats a bowl of alphabet soup, causing her to suddenly gain the ability to speak English. It's mainly speech-focused, hitting on phonics, vocabulary, and synonyms.

Word World is a CGI-animated series that ALSO focuses on phonics, but with a slightly more surreal bent. In WordWorld, every single creature and object is made out of letters, and episodes usually revolve around using these letters to "build a word." Also worth mentioning that everything in this world is visually both the word, and what the word represents.

Sid the Science Kid is a CGI-animated show that focuses on basic scientific principles and 'why' questions about the world. It uses motion capture for the characters, and is also produced by the Jim Henson Company! It focuses on Sid and his gaggle of classmates/friends as they try to answer questions about many different scientific areas of study.

Jay Jay the Jet Plane is a terrible vision combination CGI and live action series about a group of planes with human faces. One of them is a helicopter and his name is Herky. Live actors play the human staff at the airport where these planes reside, and they get into all manner of shenanigans and such. Basic focus is moral lessons, pretty standard here.

Other shows being mentioned in the notes include Liberty's Kids (American Revolutionary War history, through the eyes of a group of kids,) Cyberchase (math-focused adventure show,) Wordgirl (lexical development show noted for its humor,) Zoom (live action educational variety show,) Wild Kratts (animal education show featuring the Kratt brothers,) and Zaboomafoo (animal education show featuring the Kratt Brothers and a lemur)

Please reblog for a bigger sample size!

[thecinemacanimators]

Best VFX Course in Delhi with affordable fees .

VFX is an acronym for Visual Effects and it is used to describe the process of creating computer-generated imagery (CGI) or live-action footage that cannot be easily achieved by traditional methods. A VFX course is an educational program that teaches students how to create these effects using computer software and hardware.

VFX courses allow students to learn the skills and techniques needed to create high-quality visual effects for film, television, video games, and other forms of media. These courses typically cover a wide range of topics, including 3D modeling, texturing, animation, compositing, special effects, and more.

One of the primary goals of a VFX course is to teach students how to use industry-standard software such as Maya, Nuke, Houdini, and Adobe After Effects. These tools are used by professionals in the VFX industry to create high-quality visual effects that are realistic and impressive. By learning how to use these tools, students are able to develop the skills they need to succeed as VFX artists.

Another important aspect of a VFX course is the development of a strong artistic and technical foundation. Students learn how to create convincing digital environments, characters, and special effects using a combination of traditional art skills, math, and computer science. These foundations are critical for creating high-quality visual effects that are both aesthetically pleasing and technically sound.

VFX courses also typically include a focus on collaboration and teamwork. Students work together on projects and learn how to communicate effectively, delegate tasks, and work with others to achieve a common goal. This is an essential skill for success in the VFX industry where projects are often complex and require input from multiple team members.

In order to ensure that students are prepared for the demands of the industry, most VFX courses include real-world projects that simulate the types of challenges that students will face in the workplace. These projects may involve creating visual effects for a short film or a music video, or creating complex simulations of natural phenomena such as fire or water.

One of the benefits of a VFX course is that it provides students with access to experienced instructors who can give them feedback on their work and help them develop their skills. In addition, many VFX courses offer opportunities for students to network with professionals in the industry, attend industry events, and participate in internships or work placements.

There are a variety of VFX courses available to students at all levels of experience. Some courses are offered as part of a broader curriculum in an art or multimedia program, while others are designed specifically for students who want to pursue a career in VFX.

Ultimately, a VFX course provides students with the knowledge and skills they need to succeed in the fast-paced and dynamic world of visual effects. Whether you are an aspiring VFX artist or a seasoned professional looking to improve your skills, a VFX course can help you achieve your goals and develop the skills you need to succeed.

[buzzdixonwriter]

Form Fitting

Recently I gained an insight on what I’ll refer to as comic book storytelling, though the insights cleaned also apply to a wide variety of genres -- sci-fi / fantasy / action / etc. -- and forms of media -- pulps / comics / television / video games / etc.

The insights were the result of watching -- or rather, attempting to watch -- a recent genre film that for the purposes of this discussion we will say is based on a comic book.

I’m being deliberately obscure here because the filmmakers -- creators / cast / crew -- labored under honest intent:  They were genuinely trying to make the best film they possibly could.

Knowing how difficult it is to get any project off the ground, I don’t want them or their film to feel slagged upon; they tried their best and it just didn’t gel, but they should be lauded for making a genuine effort, not taking the easy way out of so many amateur / semi-pro / no budget / low budget filmmakers who knowingly crank out crap they try to pass off as satires or -- even worse -- homages to crappy old B-movies.

Creator, if you aren’t swinging for the fence every at bat, why even suit up?

The film was heavily CGI dependent and almost everything was shot against a greenscreen, but the effects ranged from adequate to good and there was nothing there so jarring that it detracted from the story.

The greenscreening felt more problematic, primarily because not all actors know how to perform for greenscreen, and despite clever CGI tricks, the characters never seemed to really inhabit the locations they appeared in but rather seemed superimposed over them.

Irritating, but not a deal breaker.

The real problem lay in the story itself, how it unfolded, how it followed formula, and how the performers never managed to breathe life into it.

This is because in the end, the filmmakers weren’t making a film.

They were making a live action comic book (or whatever actual media it was).

Here’s the thing about comic strips and comic books and stage plays and musicals and animated cartoons and video games vs films and TV shows:  We tolerate a lack of realism we never accept in live action films.

This is not to say there aren’t stylized live action movies and TV productions, but by and large they’re either rarities or, in the case of TV comedy and variety programs, viewed as more akin to theater than film.

From its very inception, filmmakers vied over The Illusion Of Reality versus The Reality Of Illusion, but in truth both points of view were easily dominated by the default style of filmmaking around the world:  Naturalism.    

From the very beginning, film documented what happened in front of the camera lens.

True, with editing and various visual tricks one could make the audience believe the hero’s reaction in one shot was in reaction to a shot of a tiger made months earlier and in a different location, or that an image painted on glass so that actors could walk behind it represented an actual building and not an optical illusion.

As a result, even the most fanciful films strove to convince us that what we saw unspooling before our eyes actually was happening!

The stage expects us to play along with the actors, and pretend their highly stylized settings / costumes / behaviors represents the real world.

Comic strips and books are just lines on paper, folks, as mi amigo Scott Shaw! likes to point out.  Superman and Mighty Mouse in the same work is wholly acceptable because the audience understands what they are looking at is pure artifice and not reality.

Ditto animated cartoons and video games.  Despite many of them attempting to look as lifelike as possible, the audience understands they are not real.

As a result, those media allow their makers to get away with creative murder.

Drop an actual anvil on an actual mouse from the top of an actual skyscraper and you end up with a smear of gore and fur.

Drop a cartoon anvil on a cartoon mouse from a cartoon skyscraper, and not only do you bypass the issue of what it takes to physically lug 150lbs of metal up to the roof of the building, but the result is a funny sound effect followed by the cartoon mouse being mashed as flat as paper only to pop back to normal a second later.

As a result, the aforementioned stage plays / cartoons / video games / etc. are allowed a lot of leeway in how they tell their stories.

And for the purpose of this discussion, that means lots of short cuts and shorthand.

You’re allowed in comic book storytelling to have characters say and do things that would never pass muster in a naturalistic story.

Villains can be more villainous, dialog can either be lengthy exposition while swinging a fist or a terse outcry that encapsulates what would require careful character development in a film or TV show.

Audiences recognize that as part of the unique style of comic book storytelling and while they might get a chuckle over it, they nonetheless accept it for the sake of the story.

The film I watched felt like a comic book being enacted literally onscreen, not a film story in and of itself.

As a result it range false despite otherwise acceptable levels of technical quality.

The deficiencies leapt out at me more so than other movies I’d call in the comic book style of storytelling only because they were so markedly apparent.

Most films that we call comic book movies (and again, I’m talking about a storytelling style, not the literal source material) are wholly slavish to the wrong medium throughout.

They just feature gaps and weaknesses that should be plugged and strengthened in adapting the material to film.

I feel sorry for the makers of this particular film.  They tried and failed, but better that than not trying at all.

    © Buzz Dixon

[maacwanowrie]

Are VFX and animation the same thing?

Vfx classes in Pune teach students how to manipulate visuals on the screen to produce effects that cannot be shot in real life. Vfx courses teach you the trade. Visual effects, or VFX, produce unbelievable images.

Although the terms animation and visual effects are frequently used interchangeably, there is a difference between the two. , ,,,,,,,,,,,,, In actuality, combines the two terms into a single procedure or uses 1 for the other. But this is untrue. There are no small but important differences between the two.

 Animation

Animation is merely a photography technique, to put it simply. A series of images/pictures that have been captured or visually depicted is truly animated. In the animation studio, this is how the images are transformed into virtual reality. The primary instrument used by the television and cartoon industries is animation software. There are countless animation software programs available nowadays. But the question is, are they all worthwhile?

 Let's look at several well-known animation programs:

 1.3D max

2. Maya

3.3D light waves

4. Z-Brush

5. Mudbox

6.VRay

7. Blender

 There are several types of animation, including: 

1. Traditional Animation

2. Complete Animation

3. Restricted Anime

 4. 3D Animation

5. 2D Animation,

6. Animation in stop-motion

Visual effects, sometimes known as VFX or VFX, refers to the process of fusing animated visuals with real-world photography. CGI is another name for it (Computer Generated Imagery). Bringing real-world filming and animated graphics into actual live-action is the task at hand. This is what takes place in the media and entertainment sectors, especially in the game and movie sectors. The job of VFX is to specifically create robotic content for games or movies. Any digital content may only be converted to live action through visual effects (VFX).

 The two most popular software programs used in the VFX industry are After Effects and Nuke. In addition to these 2 well-known VFX programs, there is Fusion.

2. Mocha

3. Silhouette

4. Smoke

5. Houdini

 Techniques for creating visual effects include:

1. Matte painting

2. tracking

3. Green screening

4. Compositing

5. Rotoscopy

6. Stereo

One essential talent for becoming an Animation and VFX artist is graphic design. This viewpoint can also be used to argue that some graphic design software serves as the primary tool for the animation and visual effects industries.

[maacwan]

Are VFX and animation the same thing?

Vfx classes in Pune teach students how to manipulate visuals on the screen to produce effects that cannot be shot in real life. Vfx courses teach you the trade. Visual effects, or VFX, produce unbelievable images.

Although the terms animation and visual effects are frequently used interchangeably, there is a difference between the two. , ,,,,,,,,,,,,, In actuality, combines the two terms into a single procedure or uses 1 for the other. But this is untrue. There are no small but important differences between the two.

Animation

Animation is merely a photography technique, to put it simply. A series of images/pictures that have been captured or visually depicted is truly animated. In the animation studio, this is how the images are transformed into virtual reality. The primary instrument used by the television and cartoon industries is animation software. There are countless animation software programs available nowadays. But the question is, are they all worthwhile?

Let's look at several well-known animation programs:

 1.3D max

2. Maya

3.3D light waves

4. Z-Brush

5. Mudbox

6.VRay

7. Blender

There are several types of animation, including: 

1. Traditional Animation

2. Complete Animation

3. Restricted Anime

 4. 3D Animation

5. 2D Animation,

6. Animation in stop-motion

Visual effects, sometimes known as VFX or VFX, refers to the process of fusing animated visuals with real-world photography. CGI is another name for it (Computer Generated Imagery). Bringing real-world filming and animated graphics into actual live-action is the task at hand. This is what takes place in the media and entertainment sectors, especially in the game and movie sectors. The job of VFX is to specifically create robotic content for games or movies. Any digital content may only be converted to live action through visual effects (VFX).

The two most popular software programs used in the VFX industry are After Effects and Nuke. In addition to these 2 well-known VFX programs, there is Fusion.

2. Mocha

3. Silhouette

4. Smoke

5. Houdini

Techniques for creating visual effects include:

 1. Matte painting

 2. tracking

3. Green screening

4. Compositing

5. Rotoscopy

6. Stereo

One essential talent for becoming an Animation and VFX artist is graphic design. This viewpoint can also be used to argue that some graphic design software serves as the primary tool for the animation and visual effects industries.

[binxdoesgaming]

All of y'all should see this silly little man. His name is Moxy. He's from the Moxy Show— Cartoon Network's first original programming. Airing in December 1993, it's considered lost media. I think that for an early example of CGI in television, his design aged very well! Like, compared to a lot from that decade his honestly doesn't look that bad, ESPECIALLY with the floating eyes/ears. He's so ingrained with that 90s cartoon look where it's cheesy, but not so much where it dates him. Also, I'm pretty sure he's one of the first if not the first use of CGI technology in TV animation.

There's also a whole video on YouTube that's basically a sneak peek as to how they created him and how they did it. It's genuinely amazing to look at if you're interested in animation history since this was huge for the time. Especially for an at the time small network with a niche idea that was barely a year old (not accounting for production time). And that's not even accounting for the fact he made his TV debut in the "International Toon-In" with live animation years before a show like the Simpson did the same thing. The fact that after 2002— where he made a split second cameo in this bumper here (cw//flashing images), Cartoon Network forgot about this guy for 17 fucking years is genuinely heartbreaking. Outside of an appearance in a 1995(?) PC game and a cancelled comic in 2001, he was all but forgotten from the network. Thank God for lost media archivists for preserving media regarding him, and the crew on OK KO for giving him a pretty blatent cameo in Crossover Nexus where they gave him a genuinely nice look in 2d I might say! It's like he never left!

Seriously, look at this silly little guy. Bro's just happy to be here! Also here's another from the same special where he's about to commit an act of violence.

Please do not the Moxy.

Also if you decided to click read more, congrats— You've come to the " Personal Fun Fact" section of this post! At this point it kinda deviates off Moxy and his general history and just a fun fact of how he influenced my artwork for a very particular character (hint hint, she's in my profile pic). So if you really don't care about this, or Fortnite, or whatever it may be— y'all don't gotta read. :)

For those who've been following me long enough. Y'all know my main girl of this account is this silly gal right here.

Well, when I first drew her back in 2021— her main influence was Moxy. At the time I was struggling to come up with a fun design for her since I didn't want it to be just CTL but bear, and it just so happened I had been watching Crossover Nexus again and videos around it. I got intrigued by Moxy and found some videos about him and just kinda fell in love with the little guy. He had a charm to him I thought was amazing for a 3d character in the 90s to have. A few sketches later, I ended up drawing something for Clover that was subconsciously inspired by some elements they both had. They were both goofy dogs, a bit off looking (in a good way ofc), and idk why but I'd think she'd probably have a similar personality as him. It's evolved over the years, but the influence is still there and has grown. He's such a good fit that I genuinely can't imagine her any other way without this guy existing.

But yeah, down below is the first drawing made in 2021, 2nd major one made for St. Patrick's Day 2022, the newest one for a collab with other artists, and finally a sketch from said newest one that I never posted publicly outside the GC the Collab talked in where she has a bit more influence with the floating whiskers (removed them since the creator asked for art for the collab to not be too off from the original design and I don't want to push it).

But yeah. That's that! Idk what to call these kinda posts. Maybe BinxDoesRambling? Makes sense lmao.

he‘s a silly little thing