Oren Jacob, Pixar’s former CTO, talks about the company’s keys to their success: Honesty about the quality of their films, a willingness to address problems quickly, looking at the source of problems, storyboarding out the issues, and hiring people that fit the company culture.
The story behind the overhaul of “Toy Story 2” was presented regarding the importance to: “Be honest with yourself. When the work isn’t great, say so. Then get to work making something you can believe in.”
Fast Company also points out the company’s hiring philosophy: “When Pixar is evaluating potential hires they look for three traits: humor, the ability to tell a story, and an example of excellence.”
And one of the more interesting lessons (applicable to a range of businesses): “Sketching storyboards and acting out scripts are the currency of ideas at Pixar. Try a variety of different media to find what works best for you and your organization.”
Netflix is reportedly negotiating for exclusive streaming rights to DreamWorks Animation films.
The deal would replace DreamWorks’ contract with HBO (which runs through 2014).
DreamWorks reportedly has permission to end its HBO contract early. If it does, it could provide content to Netflix by early 2013.
If the deal goes through, it would mark the first time a major studio has licensed content to subscription VOD at the same time (as opposed to after) its pay TV window.
In related news (see LA Times link), Netflix will not be including Facebook integration anytime soon in the U.S. (although it will be integrated in Canada and Latin America). This is based on the 1988 Video Privacy Protection Act that requires peoples’ video rental information be kept private. Netflix feels that the law is ambiguous as it relates to Netflix/Facebook, but they’re not taking any chances.
Japan-based SoftEther has developed a 3D motion-capture figure dubbed Quma, designed to create 3D computer graphics and animations.
Quma is essentially a doll with sensors on each of its joints that allows a 3D artist to articulate the motion of characters and capture the positioning in a more intuitive manner (hold up an arm, for example, and the 3D figure on your computer screen will mimic the action in real-time).
The figure simply plugs into a USB port (no drivers or external power required).
3D CG applications for Quma may include video games, robot applications, training and education simulations.
A release date and pricing has not yet been announced. The TechCrunch post features a video demo of the figure in action.
Nickelodeon is testing an interesting means of leveraging social networking this week by delivering SpongeBob SquarePants’ next adventure solely on Twitter.
SpongeBob will star in “The Ice Race Cometh: A Twitter-Tale,” a storyline that will unfold Tuesday through Friday in bites of 140 characters or less.
The tweeted project includes images to accompany the messages and will serve as a prequel to a new SpongeBob TV episode that premieres on Friday, July 15.
Twitter’s service terms do not allow children to have their own accounts, but Nickelodeon believes there is a significant overlap between tweeters and those who watch the series.
“SpongeBob’s fan base is so broad that about a third of its audience is adults, so we wanted to extend the show’s magic to new places like Twitter so those fans can experience it,” said Roland Poindexter, senior VP of animation and current series, Nickelodeon. “SpongeBob is already a big deal in the social media space, with 25 million Facebook fans, and we hope his Twitter debut will drum up some extra excitement for all the people who love him and the show.”
Rovio, creator of the game app “Angry Birds,” is planning the next step for its popular IP: a feature-length motion picture.
The expanding franchise has already proven successful with plush toys, iPhone cases, a Mattel board game, a cookbook, and an interesting tie-in with 20th Century Fox’s feature film, “RIO” (Rovio launched mobile game “Angry Birds Rio” to coincide with the film’s release).
In order to facilitate its next steps, Rovio has acquired Finnish animation studio Kombo and has attached former Marvel Studios chairman David Maisel as special advisor.
Based on the global popularity of the app and the “emotional connection” that gamers experience during play, Maisel sees continued success for “Angry Birds” as an entertainment brand.
Depth Analysis is getting high praise for the 3D motion-capture technology it used in rendering facial expressions for the new L.A. Noire video game. The Australia-based company is working to perfect a full-body system that will let film directors “drop” actors into their movies.
L.A. Noire is the latest game from the Rockstar Games label (Take-Two Interactive Software). Team Bondi and Depth Analysis have been earning positive reviews for the game’s highly stylized, immersive and cinematic production design (check out the trailer here).
Development on the MotionScan 3D motion-capture system, which uses 32 HD cameras positioned at different levels to capture and create a 3D model, began in 2004. The infrastructure, pipeline and capture rig were all developed from scratch.
Depth Analysis has found success in realistically recreating the detail of actors’ facial performances for its video game and plans to use it more for capturing full-body performances.
The company has also been demonstrating the work-in-progress system to filmmakers. L.A. Noire writer-director Brendan McNamara explains that the appeal of the Depth Analysis system is its ability to drop actors into virtually any setting.
For those interested in a visual demonstration, CNET has posted a 6-minute GameSpot interview with Oliver Bao, head of R&D for Depth Analysis.
According to Bao (in an AWN interview last week): “We’ve managed to reproduce lifelike performances of actors. Getting the data compressed to fit game discs and render back at decent speed and quality have been reasons why this was not possible before. We’ve demonstrated that what you see is what you get; actors have their performances reproduced faithfully to the point that you can lip read what they’re saying in L.A. Noire. This is the first time we’ve allowed gamers to be able to enjoy believable acting on a console.”
YouTube’s profit-sharing Partner Program enables animators to be their own bosses, reach out directly to potential audiences while enjoying a cut of the traffic.
So far, approximately 20,000 program participants have gained hundreds of thousands of subscribers and tens of millions of monthly views.
For the more successful, this has translated into incomes in the high six figures.
In addition to becoming a viable platform for earning, the program serves as a launching pad for emerging talent (companies are perusing the YouTube content as a means of recruiting).
“It’s been a huge game-changer,” says Aaron Simpson, VP of animation and business development for Mondo Media. “Profit sharing had been done a bit before on some websites, but not on the huge scale that YouTube allows.”
Oren Jacob, Pixar’s former CTO, talks about the company’s keys to their success: Honesty about the quality of their films, a willingness to address problems quickly, looking at the source of problems, storyboarding out the issues, and hiring people that fit the company culture.
