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Lasse Gjertsen (born 19 July 1984) is a Norwegian animator, musician, and videographer. [1] He is best known for his short pieces "Hyperactive" and "Amateur", big hits in the early years of YouTube, which strung together short clips of video to create a unique form of video akin to stop-motion animation.
Employing a variety of tools, the creative process involved pen and paper for concept drawings, as well as the utilisation of software applications such as Adobe Photoshop for background creation and Toon Boom for animating sequences. [25] The video opens with a conversation between Rexha and Snoop Dogg in a "groovy" described indoor setting. [27]
Nina Carolyn Paley [1] (born May 3, 1968) is an American cartoonist, animator, and free culture activist. She was the artist and often the writer of the comic strips Nina's Adventures and Fluff, after which she worked primarily in animation. [2]
Bryan Hitch (born 22 April 1970) is a British comics artist and writer.Hitch began his career in the United Kingdom for Marvel UK, working on titles such as Action Force and Death's Head, before gaining prominence on American titles such as Wildstorm's Stormwatch and The Authority, DC Comics' JLA, and Marvel Comics' The Ultimates.
Ænima is Tool's first studio album with former Peach bassist Justin Chancellor.. The title Ænima is a combination of the words 'anima' (Latin for 'soul' and associated with the ideas of "life force", and a term often used by psychologist Carl Jung) and 'enema', the medical procedure involving the injection of fluids into the rectum.
The PbD paradigm is first attractive to the robotics industry due to the costs involved in the development and maintenance of robot programs. In this field, the operator often has implicit knowledge on the task to achieve (he/she knows how to do it), but does not have usually the programming skills (or the time) required to reconfigure the robot.
Instead, he taught himself programs such as Avisynth and Adobe After Effects as the project progressed, beginning with Photoshop skills that he had developed in college. [ 4 ] [ 12 ] To remove the post-1977 changes, Harmáček went through the film frame-by-frame, correcting colors and rotoscoping .