Ice Age 3 - Scrat Collection + Bonus

Ice Age 3 : Dawn of the Dinosaurs
Scrat Collection + Bonus
AVI | 640x480 | 00:30:02 | 375 Mb

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| Part 1 |

| Part 2 |

| Part 3 |

| Part 4 |

| Part 5 |

The Adventures of Oswald the Lucky Rabbit

Walt Disney Treasures:
The Adventures of Oswald the Lucky Rabbit

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| Trolley_Troubles - 1927 |
A cow, a widely varying track, a goat, and hills all pose problems for Oswald and the trolley full of young passengers that he conducts.

| Oh_Teacher - 1927 |
This short depicts Oswald's bicycle ride to school and his recess time plot to win over a female classmate by getting revenge on a rival.

| Great_Guns - 1927 |
After enlisting and kissing his lover goodbye, Oswald finds himself in the midst of trench warfare. There, he does battle with a defenseless little mouse and a disapproving big bear.

| The_Mechanical_Cow - 1927 |
Oswald wakes up a mechanical cow and the two work together to serve milk to young animals. The cow becomes a rescue means when Oswald's lady friend is abducted by monstrous trigger-happy gangsters.

| The_Ocean_Hop - 1927 |
Oswald competes in an airplane race against the unscrupulous Pegleg Pete, who's not above dirty (or sticky) tricks.

| All_Wet - 1927 |
After a day of selling most unusual hot dogs, Oswald bribes his way into a lifeguard position. Just then, his gal pal needs rescuing.

| Rival_Romeos - 1928 |
Oswald rushes to get to his feline love interest before another animal suitor (a bear?). While there, Oswald's efforts to serenade the cat are thwarted by a hungry goat.

| Bright_Lights - 1928 |
Lacking the 50 cents needed for admission, Oswald sneaks into a shimmy dance show, resulting in quite the wild mayhem to eject him from the theater.

| Ozzie_of_the_Mounted - 1928 |
As a member of the mounted police, Oswald tries to catch wanted criminal pegleg pete, taking chase on a mechanical horse.

| Oh_What_a_Knight - 1928 |
Oswald's efforts to woo a lady in a tower lead to him having to duel with her armored protective father for her hand.

| Sky_Scrappers__1928 |
On a day of construction work, Oswald buys a box lunch from his love interest and then must defend her honor by standing up to a much larger co-worker.

| The_Fox_Chase - 1928 |
Oswald has some troubles as one of many participants in a bumpy fox hunt.

| Tall_Timber - 1928 |
Misadventures abound as Oswald's day of outdoor activities like canoeing and hunting is intruded upon by a bird, a bear, and some boulders.

| Alice_Gets_Stung - 1925 |
This short eventually lives up to its title, but not until young human girl Alice gets caught up in animal antics including Julius the cat chasing a rabbit and bottom-swapping bears.

| Alice_in_the_Wooly_West - 1926 |
Alice is primarily a spectator as cats and bears play rodeo and cowboy bandits.

| Alice_s_Balloon_Race - 1926 |
Alice participates in a hot air balloon race, as does Julius the cat who has all sorts of wacky ideas, most involving other animals, to overcome various obstacles.

| Plane_Crazy - 1928 |
As pilot of a small newly-built airplane, Mickey Mouse runs into some takeoff trouble (and Clarabelle Cow, then called Carolyn). Good thing Minnie is there to help steer him right!

| Steamboat_Willie - 1928 |
You're not a serious fan of Disney animation if the iconic image of Mickey Mouse whistling and steering a boat isn't already burnt into your consciousness. The rest of this milestone short isn't as apt to turn up in company retrospectives: Mickey helps a tardy Minnie board the ship, has some run-ins with bully boss Pete, and uses a variety of objects and animals to play "Turkey in the Straw."

Men In Black - Experiment Comic style animation

Men In Black

Vaibhav Kumaresh - Vaibhav Studios

Endearing characters roll off his fingers

Vaibhav Kumaresh is playing God - in less than a week, he'll be breathing life into characters he is moulding for an ad shoot, for Cartoon Network. Like any other kid, Vaibhav doodled his way through school and only realised much later, that he could turn it into a profession thanks to a Visual Communication and Animation Design course at the National Institute of Design, NID, at Ahmedabad.

Today, Kumaresh has an impressive body of work. After Poga of MTV which won gold for the best animation at the Promax Asia Awards 2003, he went on to set up his own studio and more awards came his way. Since then, he's done the Amaron claymation commercials and created that lovable Sardar teacher, Simpu on Channel V.

Today, this gifted animator is busy with a new project, every month or so. He takes up only one project a month, so he can give it his complete attention. He confesses to being very happy doing all kinds of animation because it allows him to work with different mediums.

But he also feels that comparisons between the Indian animation industry with Europe or the US is unfair because abroad, "animation is much older. Audiences have been exposed to it for a much longer time. People have been making films, learning from their mistakes, basically the process (abroad) is atleast 18 years old. And, its been around 15 years since animation has picked up as a profession in India. So, I think there is still a long way to go before we are as experienced in the medium as the West."

But is the quality of the animation coming out of India today, matching up to international standards, or are we putting out slipshod stuff? He says, "We haven't applied ourselves enought to long format storytelling and we haven't done it sincerely or consistently enough. So, it works both ways, we need to put in better effort and the infrastructure has got to improve."

Keeping this in mind, what kind of work is being outsourced by Italian and French studios to India? He explains, "There are different structures of studios operating in India. Currently, the more lucrative kind is the type that is totally running on outsourced work."

After the awards and the recognition, he set up his own studio and he calls it the most happy moment in his life, well, possibly after his marriage though! He says, "It's definitely better, it's more independent. You are handling your own money and not someone else's money. In all aspects, creatively and financially, you get to work with the best people. Your planning projects that you really want to do and like to do."

The most important factor in any man's success is support from his family. His father pointed him in the right direction by telling him about the course at NID and even enrolling him in. Also, Kumaresh readily acknowledges his wife, Suranjana's role in giving him the space and the encouragement. She is also an NID alumni and she doubles up as partner and co-director in her husband's studio.

When they aren't working, the two attempt to cook a meal together, though Kumaresh might just find animation that much easier! Animated movies are something else he likes to unwind with, and his favourite is ofcourse, the adorable 'Lion King'. He says this movie has got all the ingredients - style, characters and storytelling - just perfect.

Manali Rohinesh

Source: Money Control

Animation Fields and Field Sizes

Animation Fields and Field Sizes

In 2D animation, centimetres and inches are used to specify distances and lengths, but there is another measurement system used unique to animation: fields.

A field is a measurement of area rather than length; think of a field as being the shape of a TV screen. A drawing that is 1 field in size will be a small rectangle that is one inch across and about .75 inches high. A 6 field drawing will be 6 inches across, and so on.

Let's start by looking at how the size and framing of animation drawings are specified. It is important that everyone working on an animated production knows this. There are standard ways of achieving this very easily.

To create 2D drawn animation, you use punched paper which sits on a pegbar for registration.


In the UK, “Acme” pegs are used – these are the familiar two slot shaped holes and one round hole as shown in the illustration below. In the examples to follow, the peg holes are at the bottom of the paper so are called "bottom pegged”.

Let us suppose that you are ready to animate. You have a pile of punched paper and a lightbox on which to work complete with a pegbar.

Each sheet of paper will look something like this:

Where is the actual drawing area? The animation paper is blank, so there is no initial clue as to where the edges of the drawing should be.


[For the time being, assume you are going to produce animation in the normal TV screen shape and not the letterbox (widescreen) shape.This will be dealt with later].



Below, the illustration indicates a normal drawing area together with some dimensions in inches.



There are three things you need in order to accurately describe the size and position of an animation drawing:

its shape
its size
the location of its centre

The shape of the example shown above is 4 x 3 which means it is 4 units across by 3 high. (4 x 3 = four by three).

Size: animation drawings are made to certain fixed field sizes, usually between 3 and 12 inches.
The size of the drawing above is 12 field (written as 12F) – this means it is 12 inches wide and roughly 8.85 inches high (roughly 4 x 3). A 6Fdrawing would be 6 inches across, and so on.

The actual size you make your drawings when you animate is a matter of personal choice. The 12F size is commonly used in the UK for TV production so is a sort of default size; you may feel more comfortable working at, say an 8F instead. There are also larger standard field sizes in animation, mostly used for cinema work where greater accuracy of drawing is needed. The largest commonly used field size is probably 16F, (mostly used in the USA). The shape, on the other hand is entirely dependent on the final means of transmission; if it's a piece of animation for the Internet, the shape is arbitary, but for television or cinema use, you must work to the shape of the screen that the animation will be seen on.

Its centre is located 5.75 inches immediately above the centre of the round peg hole.
In the illustration below, the cross marks the centre of the drawing area - and that is the same as the centre of the animation when it is seen by the viewer.
You can also think of the cross as representing the middle point of the viewfinder of the camera that will be used to film your animation. Nowadays, of course, a real camera may never be used to film the animation, but you will find that almost all professional animation programs will continue to use the term "camera" as it makes life a lot easier.

The cross is the centre of your drawing area and it is also the centre of the camera's viewfinder. It is therefore the centre of the final image as it will appear when it is broadcast or projected.

ALWAYS specify the centre of all artwork, preferably with a drawing, unless it is at the default centre as seen above; in this instance you can specify it by writing on the dopesheet that the size is :

This stands for "12 field centre", the crossed "C" signifying the Academy centre. (The crossed C can be used with any field size, not just 12, of course).

The easiest way to produce your work at a standard size (and of knowing where the centre is) is by getting your hands on an animation graticule (also called a field chart). Normally these show all the field sizes from 1F to 12F

A typical 12F Academy Field Chart:

Hopefully, the above should now be obvious as to its design and use. Field charts printed on acetate are available from animation supply companies.

There are also field charts available for larger field sizes. Unfortunately, if you are working in 4 x 3 shape, the centre cannot stay the same for larger field sizes as you would find that the pegbar would have to be placed within the artwork area. There are therefore different standard centres for larger field sizes.

An added complication nowadays is the need to produce animation for widescreen (also called "letterbox") shape. In fact, if you work on a 15F widescreen, you can keep to the standard 12F centre.

The simplest way to avoid all possible confusion is: draw a camera guide!

The basic widescreen shape is 16 x 9 and when you animate for that shape, you should act as though your field chart is the shape below:

I am not aware of these being available commercially; however, if you have a look at the notes on this site about designing for widescreen, it should be obvious how to deal with the matter. The real problem is in making sure that animation will work in 4 x 3 shape and 16 x 9 shape and sometimes also the compromise 14 x 9 shape and these notes will explain how to cope.

Note: whether you are working in 16 x 9 shape or 4 x 3, if the distance between the chart centre to the pegs is the standard distance 5.75 inches, you can use the crossed C to indicate it is centred; if you place the centre anywhere else, specify where the centre is with a drawing (a camera guide) and do not use the crossed C symbol

A basic camera guide should look something like this:

Principles of Physical Animation

Principles of Physical Animation

THE 12 BASIC PRINCIPLES OF ANIMATION Paraphrased by Nataha Lightfoot from the "Illusion Of Life" by Frank Thomas & Ollie Johnston.(pp.47-69) Look these up and read the original version for a complete understanding.

1. Squash and stretch
2. Anticipation
3. Staging
4. Straight Ahead Action and Pose to Pose
5. Follow Through and Overlapping Action
6. Slow In and Slow Out
7. Arcs
8. Secondary Action
9. Timing
10. Exaggeration
11. Solid Drawing (same or different as Weight)
12. Appeal

#1 SQUASH AND STRETCH

This action gives the illusion of weight and volume to a character as it moves. Also squash and stretch is useful in animating dialogue and doing facial expressions. How extreme the use of squash and stretch is, depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature. It is used in all forms of character animation from a bouncing ball to the body weight of a person walking. This is the most important element you will be required to master and will be used often.

#2 ANTICIPATION

This movement prepares the audience for a major action the character is about to perform, such as, starting to run, jump or change expression. A dancer does not just leap off the floor. A backwards motion occurs before the forward action is executed. The backward motion is the anticipation. A comic effect can be done by not using anticipation after a series of gags that used anticipation. Almost all real action has major or minor anticipation such as a pitcher's wind-up or a golfers' back swing. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.

#3 STAGING

A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line. The effective use of long, medium, or close up shots, as well as camera angles also helps in telling the story. There is a limited amount of time in a film, so each sequence, scene and frame of film must relate to the overall story. Do not confuse the audience with too many actions at once. Use one action clearly stated to get the idea across, unless you are animating a scene that is to depict clutter and confusion. Staging directs the audience's attention to the story or idea being told. Care must be taken in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation. Background and animation should work together as a pictorial unit in a scene.

#4 STRAIGHT AHEAD AND POSE TO POSE ANIMATION

Straight ahead animation starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.

#5 FOLLOW THROUGH AND OVERLAPPING ACTION

When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action.

#6 SLOW-OUT AND SLOW-IN

As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.

#7 ARCS

All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.

#8 SECONDARY ACTION

This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.

#9 TIMING

Expertise in timing comes best with experience and personal experimentation, using the trial and error method in refining technique. The basics are: more drawings between poses slow and smooth the action. Fewer drawings make the action faster and crisper. A variety of slow and fast timing within a scene adds texture and interest to the movement. Most animation is done on twos (one drawing photographed on two frames of film) or on ones (one drawing photographed on each frame of film). Twos are used most of the time, and ones are used during camera moves such as trucks, pans and occasionally for subtle and quick dialogue animation. Also, there is timing in the acting of a character to establish mood, emotion, and reaction to another character or to a situation. Studying movement of actors and performers on stage and in films is useful when animating human or animal characters. This frame by frame examination of film footage will aid you in understanding timing for animation. This is a great way to learn from the others.

#10 EXAGGERATION

Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. It¹s like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated

#11 SOLID DRAWING

The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.

#12 APPEAL

A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience¹s interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.

Persepolis - 2007

01:30:53
Video Bitrate: 955 kb/s
Framerate: 25
576x304
mp3, 126 kbit/s
700 MB

"Persepolis" is the poignant story of a young girl coming-of-age in Iran during the Islamic Revolution. It is through the eyes of precocious and outspoken nine-year-old Marjane that we see a people's hopes dashed as fundamentalists take power - forcing the veil on women and imprisoning thousands. Clever and fearless, she outsmarts the "social guardians" and discovers punk, ABBA and Iron Maiden.Yet when her uncle is senselessly executed and as bombs fall around Tehran in the Iran/Iraq war the daily fear that permeates life in Iran is palpable.

File Size: 700 Mb

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