Meet the robinsons bald guy
Posted on November 20, Updated on November 15, You know that part in The Little Mermaid when Ariel washes up on shore after getting her legs? She is naked from the b-shells down so Scuttle makes a dress out of rope and old sails to hide her clam. That dress is Meet the Robinsons.SEE VIDEO BY TOPIC: Coincidence? I think NOT!
SEE VIDEO BY TOPIC: 'Focus Group' Sketch - I Think You Should Leave w/ Tim Robinson - Netflix Is A JokeContent:
In the movie, Lewis, an orphaned boy and brilliant inventor, wants to find his birth mother. He hopes that his latest invention, a memory scanner, will help. But, a scoundrel wearing an evil bowler hat, named Doris , steals the invention. When Lewis nearly gives up hope, Wilbur Robinson appears out of nowhere, whisks him into the future to look for the Bowler Hat Guy, and introduces Lewis to the wacky Robinson family.
In the studio, the artists who created Chicken Little rolled from that film straight onto this one. When she joined the project, director Stephen J. Anderson had already boarded the entire movie and it was up on reels. The theme of letting go of the past and looking to the future came from my experiences. When Mark Hammel, technical supervisor for Meet the Robinsons, evaluated the future for the crew assigned to create the film, one thing stood out.
With no time to make big changes to the pipeline, which might have altered a familiar workflow, the technical team looked for other ways to improve efficiency. For Meet the Robinsons, the technical staff developed a proprietary 3D paint system. And then, they unified all three tools. For Robinsons, look development artists used XGen to grow hair and grass, sprinkle pebbles and dirt on a rooftop, stain sidewalks, and more. The crew even used it to sculpt topiaries and to plant trees.
Shader expressions, the second tool in the new unified look development system, allowed artists to create procedural expressions on their own without writing procedural shaders.
As a result, artists working in the 3D paint system could use the expressions, for example, to generate a texture map with a pattern and then, using the same language, create expressions in XGen to drive the twisting and drooping parameters for hair or leaves. There are three primary characters in the film—Lewis, Wilbur, and the Bowler Hat Guy—but there are dozens of secondary characters such as the Robinson family, the dinosaur, and Carl the robot, as well as crowds of schoolchildren and other background characters.
With many characters and little time, the crew developed techniques and tools to prepare the characters quickly for animation and rendering, starting with the models. All the characters, except for two who needed more facial detail, the Bowler Hat Guy and Grandpa, have the same topology—the same underlying geometry with the same number of points and the same ordering.
We could transfer blendshapes from character to character and weights for the facial setup, and lookdev could transfer weight maps and UV maps for texturing. For facial animation, Disney animators used a composite of blendshapes and deformers. The goal was never to have a dead spot on the face. We tried to push it as much as we could to make the characters more believable and fleshy.
With this tool, character riggers created a template that became a starting point for rigging different characters with similar characteristics. For this process, the cloth-animation team printed the characters in different poses, animators drew wrinkles onto those poses, and then riggers and modelers worked together to paint texture maps that defined the wrinkles. Thus, Shar-Pei made it possible for the animators to see the final wrinkled silhouette.
Disney had designed its Maya-based hair system primarily for furry characters, not for human characters. XGen handled the instancing—that is, grew the hair. So, sometimes we control color and density with texture maps, and sometimes we like to use expressions to get a look or hair behavior we like.
We hop back and forth. Fading the opacity at the hair tips and making every hair slightly transparent helped add a sense of depth, and the transparency enhanced the backlighting. Lewis moves back and forth between the present and the future, so the environments for each needed to be distinct and instantly recognizable, but not so dissimilar that it looked like he occupied two different films.
Modelers blocked out those virtual sets using simple shapes, working with layout artists to position the camera. Then, they added details in areas where the camera would spend the most time. Although the effects team created a sprinkler system and sent lava spurting out of a volcano in a science exhibit, most of the effects happen during the climax of the film.
To art-direct the pollution belched by thousands of fiery smokestacks, the team used sprites. The team also used RealFlow to simulate other fluids—water, jelly, peanut butter, and so forth. For the swarms of evil Doris hats, the VFX artists used Houdini, and relied on a combination of Maya and Houdini to create the time-travel effect for the spaceship.
The team often repeated elements and textures to help keep the kids in the same spatial, if not temporal, universe. Thus, to help distinguish the present from the past, the artists changed the lighting. In the future lab, the light from the blue sky pours through a giant dome-like window and reflects on the memory scanner.
The bedroom, by contrast, has only one light source and one window. The future is a happy place; the present—soon to be the past—is a place to leave behind.
Much of the film is raytraced, and the lighters used ambient occlusion throughout, finding efficient ways to do both. We also got good at off-screen reflections and at faking off-scene stuff. So, the lighters put something there—perhaps a painting on a card or a bit of animation from another scene.
It was murder. Now go away and figure out which ones will help you make the movie better. The animators were hardest hit by the story tweaks. For the rest of the crew, the impact was minimal—even helpful. We sat with the animators and technical directors and cleaned up any issues and problems with the rigs. That little window gave us a great opportunity to catch up.
In addition, the technical wizards at Disney and Pixar began exchanging ideas. His earlier involvement in this project resulted in new ideas for enhancing stories with stereo. Rather than arriving at the tail end of the process and converting a completed film into a stereo 3D version, McNally began working with Anderson to pick scenes and shots best suited for stereo. The red zones—the big chase scenes and other exciting shots—were targets for stereo 3D.
The green zones gave the audience a chance to relax. McNally and a team of eight at Disney used three methods to set up the stereoscopic camera and control the appearance of objects in stereo: depth how far back or forward the object appears , position in front or behind the screen , and framing. The two most common techniques are depth and position. Positioning the zero parallax point determines whether characters are in front or behind the screen. The unique technique implemented for this film is an optical floating stereoscopic window frame.
Although it goes unnoticed, a black edge always frames the stereoscopic window—that is, the hole through which you look deeply into space, or from which something flies out at you. The frame, typically placed into the image, makes it look like the screen moves. By moving the frame separately, they were able to use stereo for shots that otherwise would have been more difficult, and they were able to increase excitement and tension.
For example, rather than move the Bowler Hat Guy from a great distance toward the camera, they moved the frame away from the camera. Once the Disney team completed setting up the camera for the stereoscopic work, they sent RIB files for the mono movie the left eye to Digital Domain, where a crew rendered and composited the final image for the right eye and applied the floating window.
With each film, the potential audience has grown. The goal for Meet the Robinsons is theaters. The potential for using stereo 3D to help tell stories is growing as well. Look for Meet the Robinsons to open some eyes.
Doris , the villainous hat, had one of the most complex rigs. At top: A new Studio Rigger tool devised by the model development team helped the riggers quickly set up multiple characters with similar characteristics from one template. At bottom: The rig for Doris, the villain, handled the complexities of a character that is shaped like a hat but walked on six legs and discharged a variety of clever tools. In addition to environments, modelers also built a flying car, a time machine, and several props.
Much of the fi lm used ambient occlusion for soft lighting and shadows. Selective raytracing added realism by giving such elements as the toaster the off-screen refl ections. The rectangular present day at top uses warm, autumnal colors; the future world of new beginnings at, below is spherical splashed with the colors of spring.
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He is a funny person. He likes to wear his clothes backwards. His eccentricity is shown when he has a painted smiley face on the back of his head. He has problems keeping his teeth inside his head. Bud is first seen in the future in the year , having been startled by Lewis , who accidentally bumped into him.
Michael "Goob" Yagoobian
C-Monster via LAist Featured Photos A county-wide sweep conducted by Los Angeles County Sheriff's in partnership with several local police agencies has been underway since early this morning in the hopes of netting "graffiti offenders on probation," reports the Star-News. They expect the sweep to wrap up Photo courtesy of Jeffrey Tambor For most people reading this, Jeffrey Tambor has always been a part of your consciousness. My first exposure was way back in the day when I -- then a huge fan of Three's Company -- religiously tuned into The Ropers for every episode of its short run. Tambor went from frequent guest-star to for me cultural icon when he He wasn't shopping at the Americana, mind you, but rather was showing up for his first anger management class. Brown, who turned himself in after allegedly making criminal threats against his girlfriend, Rihanna, is not required to take the class, but his team think it's a good idea, according to the New York Daily News. The accused is David Elms, who has been called a "as a sex-industry mogul," in the Daily Breeze, and the alleged female target a Long Last Halloween, USC track star Bryshon Nellum, hailed as "the fastest kid in the world," was shot multiple times as he was heading to his vehicle.
Kuru Reviews: Meet The Robinsons
Three years ago, a Disney fan hoping for updates about a supposed all-villains theme park that Disney would nestle alongside its other properties in Central Florida posted that inquiry to Reddit. In response, someone linked to an equally vague post on the WDW Info webpage about Disney parks that were never built. More posts popped up in , fueling the mystery. Earlier this year, another Reddit user linked to a post on the Berlin-based news-and-rumor site MoviePilot, and just this June, the tourism site Travel Whip revved up the rumor. Again and again the concept of a Dark Kingdom park was reiterated, and again and again the response attracted believers and skeptics alike.
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In , one of the unlikeliest of places — a downtown municipal night court for petty crimes — became the setting for a TV show, and it turned into a hit. The irreverent sitcom Night Court ran for nine seasons on NBC, starting as a mid-season replacement right after Cheers, and culminating with its final episode which aired May 31, Ahead, find out what the cast has been up to in the 25 years since. Anderson, who got his start as a comedian and magician on Saturday Night Live and Cheers, presided over the antics of Night Court with a good-natured grin. Aside from the occasional film role or appearance as a stand-up comedian, Anderson tried his hand opening a magic shop and comedy club of his own in New Orleans since closed , and now lives in Asheville, NC.
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It's called "Meet The Robinsons". Without further ado. Lewis is an orphan who dreams of finding a family. There, he meets an incredible assortment of characters and a family beyond his wildest imagination, The Robinsons, who help lead him on an amazing and hilarious adventure with heartfelt results. It all started by a young scientist 12 year old boy called Lewis. He's curious about her REAL mother.
Director: Stephen J. MPAA Rating:. Running Time: Buy Related Products. Buy the DVD.
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The film was distributed by Buena Vista Pictures Distribution , premiered on February 10, and released theatrically in the United States on February 16, The film also serves as the show's season five finale. An unidentified group of criminals break into a U.
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