The Animation Blog

Black Coffin Pt. 1 - A Scary Aniboom Animation by Paul Lada

2010-12-05T14:58:00.000-08:00

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	Black Coffin Pt. 1 - A Scary Aniboom Animation by Paul Lada Subscribe to get awesome new animations personally delivered - Be the first to watch!For anyone that wishes the next Halloween wasn't 11 months away - The first in a series of animated short films exploring the darker side of poetry. A spooky old crow tells a harrowing tale in a graveyard. Check out more at http://www.aniboom.com/animation/featuredanimations See Paul Lada's Aniboom Profile: http://www.aniboom.com/animator-account/cocovisualFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:4900 248ratings
	Time:03:35	More inEntertainment

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Go South Africa - A Moral Aniboom Animation by Renske Mijnheer

2010-12-05T14:13:00.000-08:00

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	Go South Africa - A Moral Aniboom Animation by Renske Mijnheer Subscribe to get awesome new animations personally delivered - Be the first to watch!A sweet little tale about soccer balls with a moral to the story, made as a stop motion animation. The video was made as a reaction to one of the more complex issues going on in the country that hosted this year's FIFA World Cup - South Africa.Check out more at http://www.aniboom.com/animation/featuredanimations See Renske Mijnheer's Aniboom Profile: http://www.aniboom.com/animator-account/RenskeRenske Mijnheer's website: http://www.sirmovingimages.comFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:3839 186ratings
	Time:02:14	More inEntertainment

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Diabetic Man - A Super Hero Aniboom Animation by Toonsmyth Productions

2010-12-05T13:04:00.000-08:00

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	Diabetic Man - A Super Hero Aniboom Animation by Toonsmyth Productions Subscribe to get awesome new animations personally delivered - Be the first to watch!Diabetic man is a super hero with, err... special powers... He does what he can to save the day. Made by a diabetic for diabetics to promote awareness and educate in an entertaining format. By Myk Friedman and Toonsmyth Productions 2010.Check out more at http://www.aniboom.com/animation/featuredanimations See Myk Friedman (of Toonsmyth Productions)'s Aniboom Profile: http://www.aniboom.com/animator-account/toonsmythToonsmyth's YouTube Channel: http://www.youtube.com/user/toonsmythFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:6179 191ratings
	Time:02:21	More inEntertainment

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The Girl On the Wall - A Graffiti Aniboom Animation by Gabriel Psaltakis

2010-12-05T11:44:00.000-08:00

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	The Girl On the Wall - A Graffiti Aniboom Animation by Gabriel Psaltakis Subscribe to get awesome new animations personally delivered - Be the first to watch!A bored man walks past the same graffiti every day. He doesn't take much notice of it until one day the character on the wall asks him for a light and professes his love for the graffiti girl on the wall across from him. The man decides to help his new friend out.Check out more at http://www.aniboom.com/animation/featuredanimations See Gabriel Psaltakis's Aniboom Profile: http://www.aniboom.com/animator-account/GabrielpsaFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:7099 447ratings
	Time:05:47	More inEntertainment

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Hate Mail - A Barking Aniboom Animation by Brad Trofin

2010-12-05T10:56:00.000-08:00

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	Hate Mail - A Barking Aniboom Animation by Brad Trofin Subscribe to get awesome new animations personally delivered - Be the first to watch!A grumpy dog refuses to let the mailman deliver a package, and a battle ensues...Check out more at http://www.aniboom.com/animation/featuredanimations See Brad Trofin's Aniboom Profile: http://www.aniboom.com/animator-account/bradleezFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:6298 201ratings
	Time:02:49	More inEntertainment

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Penguins: Clarity Kaufman - A Morning Aniboom Animation by Hanna Abi-Hanna

2010-12-05T09:52:00.000-08:00

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	Penguins: Clarity Kaufman - A Morning Aniboom Animation by Hanna Abi-Hanna Subscribe to get awesome new animations personally delivered - Be the first to watch!A mundane morning routine can be so much better when you have cute creatures to keep you company! A music video for Clarity Kaufmann's debut album, "Careless". Distributed by Stradivarius Records.Check out more at http://www.aniboom.com/animation/featuredanimations See Hanna Abi-Hanna's Aniboom Profile: http://www.aniboom.com/animator-account/habihannaHanna Abi-Hanna's website: http://www.habihanna.comFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:6976 234ratings
	Time:03:16	More inEntertainment

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Continue - A Video Game Aniboom Animation by Amit Tishler & Nir Panigel

2010-12-05T08:59:00.000-08:00

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	Continue - A Video Game Aniboom Animation by Amit Tishler & Nir Panigel Subscribe to get awesome new animations personally delivered - Be the first to watch!Just another day. Just another avarage job. Just another level to complete. A guy goes through his mundane day through the course of a video game.Check out more at http://www.aniboom.com/animation/featuredanimations See Amit Tishler's Aniboom Profile: http://www.aniboom.com/animator-account/kodinkenjiFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:7987 311ratings
	Time:10:52	More inEntertainment

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The 66th Floor - A Haunting Aniboom Animation by Saul Black

2010-12-05T07:39:00.000-08:00

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	The 66th Floor - A Haunting Aniboom Animation by Saul Black Subscribe to get awesome new animations personally delivered - Be the first to watch!~Halloween week on Aniboom~Two strangers take a spooky ride on the elevator to the 66th floor, where unexplicable things happen...Check out more at http://www.aniboom.com/animation/featuredanimations See Saul Black's Aniboom Profile: http://www.aniboom.com/animator-account/saulblackFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:17180 463ratings
	Time:04:08	More inEntertainment

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All Star Hollywood Thanksgiving - A Festive Aniboom Animation by Toonsmyth Productions

2010-12-05T06:29:00.000-08:00

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	All Star Hollywood Thanksgiving - A Festive Aniboom Animation by Toonsmyth Productions Subscribe to get awesome new animations personally delivered - Be the first to watch!Thanksgiving is a day to give thanks, as does this all star cast in this animation. Morgan Freeman, Christopher Walken, Seth Rogen, Samuel L. Jackson and Lindsay Lohan meet for a special dinner. This animation participated in the Fox-Aniboom Holiday Animation Challenge.Check out more at http://www.aniboom.com/animation/featuredanimations See Myk Friedman (of Toonsmyth Productions)'s Aniboom Profile: http://www.aniboom.com/animator-account/toonsmythToonsmyth YouTube Channel: http://www.youtube.com/user/toonsmyth?blend=2&ob=1Follow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:6405 143ratings
	Time:02:23	More inEntertainment

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Kill Devil Hills Pt. 4 Millenniums of Murder - A Lethal Aniboom Animation by MoreFrames

2010-12-05T05:36:00.000-08:00

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	Kill Devil Hills Pt. 4 Millenniums of Murder - A Lethal Aniboom Animation by MoreFrames Subscribe to get awesome new animations personally delivered - Be the first to watch!Everything has been leading up to this moment - The final episode of Kill Devil Hills is here. Questions are answered. New questions are left unanswered and the end result will most definitely leave you screaming.Check out more at http://www.aniboom.com/animation/featuredanimations See MoreFrames's Aniboom Profile: http://www.aniboom.com/animator-account/moreframesFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:3655 80ratings
	Time:04:11	More inEntertainment

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Pangom's Dilemma - An Adorable Aniboom Animation by WooToons

2010-12-05T04:19:00.000-08:00

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	Pangom's Dilemma - An Adorable Aniboom Animation by WooToons Subscribe to get awesome new animations personally delivered - Be the first to watch!In the third episode of 'Little Belly and Green Friends', we meet Pangom - a sweet and kind bear while wearing his panda suit, but when it's off, he is a mean grizzly machine who harms the trees. Little Belly asks Paddy to help stop Pangom, but he doesn't see the problem. When Paddy finally figures it out, he teams up with Little Belly to keep Pangom calm and cuddly.Check out more at http://www.aniboom.com/animation/featuredanimations See WooToons's Aniboom Profile: http://www.aniboom.com/animator-account/wootoonsWootoons website: http://www.iwootoons.com/Follow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:6002 117ratings
	Time:01:48	More inEntertainment

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Fat-tastico - A Magic Show Aniboom Animation by Yung-Jui 'Erik' Lee

2010-12-05T02:59:00.000-08:00

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	Fat-tastico - A Magic Show Aniboom Animation by Yung-Jui 'Erik' Lee Subscribe to get awesome new animations personally delivered - Be the first to watch!A sinister magician puts on a show with the help of his reluctant assistant. She fears participating in his tricks, but ends up being happy with the results. Oh yeah, and then it turns out she actually did have reason to be afraid...Check out more at http://www.aniboom.com/animation/featuredanimations See Yung-Jui "Erik" Lee's Aniboom Profile: http://www.aniboom.com/animator-account/erikleeFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:10748 383ratings
	Time:03:13	More inEntertainment

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Sleepless - A Sheepish Aniboom Animation by Laura Tryon

2010-12-05T01:53:00.000-08:00

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	Sleepless - A Sheepish Aniboom Animation by Laura Tryon Subscribe to get awesome new animations personally delivered - Be the first to watch!A black sheep is trying to jump over the wall, like his fellow sheep, to help a boy get to sleep. He is ridiculed for being different and unsuccessful, but is still determined to find a way. Remember to reach for your dreams and never stop trying!This animation was made as the animator's fourth year film at Sheridan College.Check out more at http://www.aniboom.com/animation/featuredanimations See Laura Tryon's Aniboom Profile: http://www.aniboom.com/animator-account/ZaraLTLaura Tryon's website: http://www.zaralt.blogspot.com/Follow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:5630 198ratings
	Time:02:06	More inEntertainment

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Why I Love Family Guy - A Wacky Aniboom Animation by Brush Limbaux

2010-12-05T00:39:00.000-08:00

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	Why I Love Family Guy - A Wacky Aniboom Animation by Brush Limbaux Subscribe to get awesome new animations personally delivered - Be the first to watch!Brush Limbaux demonstrates how weird moments in life would fit perfectly into the TV show 'Family Guy'.Check out more at http://www.aniboom.com/animation/featuredanimations See Brush Limbaux's Aniboom Profile: http://www.aniboom.com/animator-account/BrushLimbauxFollow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:9631 486ratings
	Time:02:36	More inEntertainment

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Bittersweet - An Addictive Aniboom Animation by Tim Van Hussen

2010-12-04T23:25:00.000-08:00

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	Bittersweet - An Addictive Aniboom Animation by Tim Van Hussen Subscribe to get awesome new animations personally delivered - Be the first to watch!Bittersweet is a story about a wasp coping with with a self destructive lifestyle in the form of an unusual addiction.Check out more at http://www.aniboom.com/animation/featuredanimations See Tim Van Hussen's Aniboom Profile: http://www.aniboom.com/animator-account/TimvanhussenTim Van Hussen's YouTube Channel: http://www.youtube.com/user/Timvanhussen88Follow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:7281 342ratings
	Time:02:53	More inEntertainment

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Revolt - A Gleeful Aniboom Animation by Leisha-Marie Riddel

2010-12-04T22:30:00.000-08:00

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	Revolt - A Gleeful Aniboom Animation by Leisha-Marie Riddel Subscribe to get awesome new animations personally delivered - Be the first to watch!Revolt is the story of a girl who gets her heart broken, and gives the object of her affection a piece of her mind while bursting into song. She sings 'Don't rain on my parade' from the musical 'Funny Girl'. This song was also recently featured on the television series 'Glee'.This video shows different stages of the animation process.The animator wishes to clarify that she makes no claims to the music, and that it is owned by Fox Entertainment.Check out more at http://www.aniboom.com/animation/featuredanimations See Leisha-Marie Riddel's Aniboom Profile: http://www.aniboom.com/animator-account/leishamarieLeisha-Marie Riddel's website: http://leisha-riddel.blogspot.com/Follow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:8512 380ratings
	Time:02:18	More inEntertainment

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Wheels, Band-Aids & Lollipops - A First Love Aniboom Animation by Maria Medel Rodriguez

2010-12-04T21:36:00.000-08:00

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	Wheels, Band-Aids & Lollipops - A First Love Aniboom Animation by Maria Medel Rodriguez Subscribe to get awesome new animations personally delivered - Be the first to watch!A cute story about love in the playground. A boy falls in love with a pretty girl and is determined to win her affection, even though she ignores him in favor of another boy. The title has been translated from the original Spanish "Ruedas, Tiritas y Piruletas", given by the creator.Check out more at http://www.aniboom.com/animation/featuredanimations See Maria Medel Rodriguez's Aniboom Profile: http://www.aniboom.com/animator-account/panakeia82Maria Medel Rodriguez's blog: http://www.butterfingerselblogdemariamedel.blogspot.com/Follow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:5084 212ratings
	Time:07:59	More inEntertainment

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Slim Pickings - A Caveman Aniboom Animation by Lauren Scott and Max Aleksejevs

2010-12-04T20:28:00.000-08:00

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	Slim Pickings - A Caveman Aniboom Animation by Lauren Scott and Max Aleksejevs Subscribe to get awesome new animations personally delivered - Be the first to watch!A hungry caveman gets ready to eat his meaty meal, but a conniving vulture wants the food for himself. The two try to outsmart each other... Check out more at http://www.aniboom.com/animation/featuredanimations See Lauren Scott's Aniboom Profile: http://www.aniboom.com/animator-account/Scotty10Follow Aniboom: Facebook: http://www.facebook.com/AniboomTwitter: http://www.twitter.com/aniboomMySpace: http://www.myspace.com/aniboom Aniboom Blog: http://blog.aniboom.com/	From:aniBOOM Views:4557 133ratings
	Time:02:10	More inEntertainment

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Sonic X: Acrylic Key Chain - Rouge The Bat

2010-12-04T19:21:00.000-08:00

Cute Sonic X acrylic key chain of Rouge The Bat! Approx. 2" tall.

Price: $4.99

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Sonic Classic Tails Slippers GE-8826

2010-12-04T18:26:00.000-08:00

The Tails slippers are a one size fits all.

Price: $22.95

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Naruto: Chibi Rock Lee Running PVC Key Chain

2010-12-04T17:25:00.000-08:00

Licensed Naruto merchandise. Rock Lee Chibi-style key chain. Approx. 2" tall.

Price: $4.95

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Appleseed

2010-12-04T16:19:00.000-08:00

Price: $15.98

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Ghost in the Shell 2.0 [Blu-ray]

2010-12-04T15:33:00.000-08:00

GHOST IN THE SHELL 2.0 - Blu-Ray Movie

Price: $19.97

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Marvel Animation: 6 Film Set

2010-12-04T14:21:00.000-08:00

MARVEL ANIMATION 6 FILM SET - DVD Movie

Price: $34.98

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Ideas for the Animated Short: Finding and Building Stories

2010-12-04T13:18:00.000-08:00

Build your skills in the development of story ideas that will command an audience for your 2-5 minute animated short.

Packed with illustrated examples of idea generation, character and story development, acting, dialogue and storyboarding practice this is your conceptual toolkit proven to meet the challenges of this unique art form.

The companion DVD includes in-depth interviews with industry insiders, 18 short animations (many with accompanying animatics, character designs and environment designs) and an acting workshop to get your animated short off to a flying start!

With Ideas for the Animated Short you'll learn about: Story Background and Theory * Building Better Content * Acting: Exploring the Human Condition * Building Character and Location * Building Story * Dialogue * Storyboarding * Staging

* This unique creative toolkit for idea generation and refinement is short and to the point, focused on the basic principles you need to know
* The companion DVD contains professional and student animations (including preparatory sketches and storyboards) to demonstrate effective techniques and imaginative results
* Packed with inspirational interviews and behind-the-scenes work from top professionals from Sony, Pixar and Disney

Price: $29.95

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Computer Creativity Art Pad with Wireless Mouse and Pen

2010-12-04T12:20:00.000-08:00

The interactive Cool-iCam Art Pad offers complete wireless freedom and creativity,limited only by your own imagination. Draw or trace your favorite characters or photos on the art board using the mouse or pressure-sensitive mouse pen and color using the included Art DabblerTM software. Over 60 coloring templates are included to get you started. Audio and video tutorial included on the CD ROM software.

Price: $39.99

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Lupin the 3rd: Original Soundtrack

2010-12-04T11:01:00.000-08:00

Price: $14.98

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Character Animation Crash Course!

2010-12-04T10:14:00.000-08:00

Character Animation Crash Course! is a veritable Genie's lamp stuffed with everything the aspiring animator could wish for! Renowned animator Eric Goldberg's detailed text and drawings illuminate how to conceive characters "from the inside out" to create strong personalities. Classic animation techniques are analyzed and brought to life through this unique book and its accompanying CD that offers readers animated movie examples that show, in real time or frame-by-frame, the author's principles at work. Add to this Goldberg's discussions of classic cartoons and his witty, informative observations based on the wealth of knowledge he's gained during his 30-plus years in professional animation, and you have a tour-de-force guide to character animation with the classic touch.

Price: $35.00

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3D Animated Clipart 2

2010-12-04T08:58:00.000-08:00

Now you can easily include animated clipart, seaml

Price: $29.95

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Fullmetal Alchemist and the Broken Angel

2010-12-04T07:39:00.000-08:00

Full Metal Alchemist: The Broken Angel is based on the hit anime that's only recently arriving on American shores. Edwin and Alphonse are brothers with the unique power of 'alchemy' -- the power to transform one substance into another. When trying to save their dying parents with their powers, Edward lost two limbs and Alphonse lost his body. To keep Alphonse from dying, Edwin built him a suit of armor to hold his spirit. Edwin must master the ancient magic of the Philosopher's Stone to recover Alphonse's body.

Price: $29.99

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Inuyasha: Soundtrack Best Album Film Edition

2010-12-04T06:41:00.000-08:00

Price: $64.99

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The Sky Crawlers [Blu-ray]

2010-12-04T05:28:00.000-08:00

Mamoru Oshii's The Sky Crawlers (2008) plays like a mixture of Top Gun and Serial Experiments Lain. Although teenage fighter pilot Yuichi lacks Tom Cruise's good looks, he's the ace of his unit at the Rostock Corporation, performing elaborate maneuvers and bringing down enemy planes. Yuichi and his fellow pilots are mysterious beings known as "Kildren:" they never age, but remain teenagers their entire lives. When commander Suito learns that the Kildren are products of a mysterious genetic experiment, she begins to suspect that she and the pilots are used, discarded, and replaced, like so many spare parts. Yuichi doesn't just resemble Jinroh, the former pilot of his plane (and Suito's lover); he's the reincarnation of Jinroh. These revelations would pack more punch if the characters weren't such nonentities. Yuichi and the other pilots express so little emotion, they make Keanu Reeves seem like a dynamic presence. Oshii uses computer animation for the elaborate aerial dogfights, although the realistically rendered, three-dimensional aircraft never mesh with the flat, two-dimensional characters. Sky Crawlers had a decidedly mixed reaction in Japan, and its limited theatrical release in the U.S. failed to generate much excitement. It's a disappointing effort from the creator of the watershed Ghost in the Shell. (Rated PG-13: Violence, sexual situations, alcohol and tobacco use) --Charles Solomon

Price: $24.95

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Naruto: Anime Die Cut 3d Key Chain - Sd Neji

2010-12-04T04:12:00.000-08:00

Licensed Naruto merchandise. Neji Chibi-style key chain. Approx. 2" tall.

Price: $4.95

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Ghost In The Shell /Major Motoko Kusanagi

2010-12-04T03:13:00.000-08:00

Ghost In The Shell /Major Motoko Kusanagi

Price:

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eFrontier Anime Studio Pro (Win/Mac)

2010-12-04T02:27:00.000-08:00

Anime Studio Pro 5 is a complete animation program for creating movies, cartoons, anime, or cut animations. It is an ideal solution for first time animators and digital enthusiasts and includes everything aspiring artists need to create quality animation.

Price: $199.99

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Mega Man Maverick Hunter X

2010-12-04T01:17:00.000-08:00

Mega Man Maverick Hunter X is a remake of the original Mega Man X title that first appeared on the Super Nintendo Entertainment System. The game builds upon the original with new renderings of 3D character models, new environments and gameplay features that raise the bar for side-scrolling platformers. Mega Man Maverick Hunter X also includes an animated movie that provides real insight into the Mega Man X universe and even gives gamers a sneak peek at events that took place before the plot line of the first game. Plus to ensure that even the most veteran of gamers is given a real challenge, the level arrangements have been modified with item locations, map layouts and the strategies needed for completing levels all updated. The year is 21XX. A mysterious robot named X has become the model from which further Reploids were created to aid mankind. Unfortunately, some of the Reploids turned against the humans and were given the name Mavericks. In response to this, the Maverick Hunters, an elite squad of Reploids, were formed to combat these renegade Reploids and calm was restored until one of the Maverick Hunters, a powerful Reploid named Sigma, turned against the peacekeepers. Now X and his fellow Maverick Hunter friend, Zero, must prevent Sigma from executing his evil plans to destroy humanity.

Price: $19.99

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The Animation Book: A Complete Guide to Animated Filmmaking--From Flip-Books to Sound Cartoons to 3- D Animation

2010-12-04T00:03:00.000-08:00

The first edition of The Animation Book, published in 1979, became the authoritative guide to making animated movies. Now, as we enter the twenty-first century, the explosion in computer technology has created a corresponding boom in animation. Using desktop hardware and software, animators can easily produce high-quality, high-artistry animation and mix the aesthetics of traditional cel animation with dazzling 3-D effects. Kit Laybourne's digital revision to The Animation Book brings you to the cutting edge of animation technology. Richly illustrated with frame-grabs, production stills, and diagrams, this volume shares Kit's infectious enthusiasm for the limitless possibilities of today's hybrid techniques, and it provides beginning animators with all the information they need to jump in and start their own animation projects. More advanced animators will find The Animation Book to be an invaluable resource with detailed descriptions of filmmaking gear, computer hardware and software, art supplies, plus Internet and other resources.

Using an innovative case-study approach, Kit deconstructs how a range of digital projects were carried out at some of today's hottest animation studios, including Wildbrain, Blue Sky, Protozoa, Fantome, Broderbund, Nicktoons, and Klasky Csupo. These step-by-step studies show how desktop animators can follow the same creative process in their own films.

Price: $25.95

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Poser 7 3D Figure Design and Animation (Win/Mac) [OLD VERSION]

2010-12-03T22:51:00.000-08:00

Item #: K66478. Poser provides the easiest way to design with the human form in 3D. Using the rich collection of content included and powerful rendering to produce any style art, creative professionals, graphic artists and hobbyists can create stunning art, fine illustration and breathtaking animation for applications that integrate the diversity and spirit of human imagery.With Poser, you can design using the human form for art, illustration, comics, pre-viz/storyboarding, medical visualization, animation, architecture and education - essentially everywhere your creative mind may take you as you design for print, video, film, or web! Product Description: Poser ( v. 7 ) - complete package
Category: Creativity application
Subcategory: Creativity - animation, creativity - 3D modeling
Version: 7
License Type: Complete package
License Qty: 1 user
License Pricing: Standard
Platform: Windows, MacOS
Distribution Media: CD-ROM
Package Type: Retail
OS Required: Microsoft Windows 2000, Microsoft Windows XP, Apple MacOS X 10.4, Apple MacOS X 10.3.9
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Price: $199.99

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Brave Story: New Traveler

2010-12-03T22:06:00.000-08:00

Fantasy becomes reality in the course of changing one's destiny from worse to better. High quality Asian animation, rich with cultural mythology, takes you through series of adventures and battles. Your travels will bring new experiences as you emerge to a new realm of consciousness, reboen to an new world. On a day that starts like any other, a boy's life is changed forever. As the main character and his friend Miki pass a leisurely afternoon, Miki suddenly collapses from an unknown illness. When the girl shows no sign of waking, the main character grows distraught over not being a better friend and not having the means to save her. Suddenly, a strange voice offers him a second chance: Beyond the door you can change your destiny! He soon leaves the real world and journeys to the world of Vision, where, as a novice Traveler, he will surmount myriad ordeals in hopes of ultimately meeting with the Goddess of Fortune to have a single wish granted. No load time between battles. Beautifully rendered 3D graphics with a distinct visual style, highlighted by polished character and enemy movement, and a unique animation for each special ability. Collect special birds which you can use for mini-games or trade for rare items. Network with friends to trade your birds, or game-share a mini-game to have friends assist in capturing rare birds.

Price: $19.99

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Legend of Crystals: Final Fantasy 1 [VHS]

2010-12-03T20:54:00.000-08:00

Price: $19.95

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Smith Micro Anime Studio Pro 6 Software - Professional Animations, Motion Tracki

2010-12-03T19:59:00.000-08:00

Anime Studio Pro is perfect for professionals looking for a more efficient alternative to tedious frame-by-frame detailing when creating quality animations. With an intuitive interface, pre-loaded content and powerful features such as a bone rigging system, integrated lip-synching, 3D shape design, physics, motion tracking and more, Anime Studio Pro delivers advanced animation tools to speed up your workflow and combines cutting-edge features with powerful technology for the most unique animation program for digital artists. Resize your images with no loss in quality with Anime Studio's vector-based layer system, and easily add a skeleton to any image by simple point and click, then bring it to life.

Price: $29.99

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Naruto: Chibi Shikamaru Figure Key Chain

2010-12-03T19:04:00.000-08:00

Licensed Naruto merchandise. Shikamaru Chibi-style key chain. Approx. 1" tall.

Price: $4.95

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Sextoons: Erotic Animation Festival 1920-1975 [VHS]

2010-12-03T17:59:00.000-08:00

Price: $19.95

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Space Adventure Cobra [VHS]

2010-12-03T16:55:00.000-08:00

Price: $29.95

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Animals in Laboratories

2010-12-03T15:45:00.000-08:00

In toxicology tests non-human primates (NHPs) are selected as most suited to studies of neurology, behavior, reproduction, genetics and xenotransplantation (Wikipedia describes this as 'the transplantation of living cells, tissues or organs from one species to another'). They are also used in Aids tests. They are mainly purpose bred in USA, China and Europe but they are also caught in the wild or even gathered from zoos and circuses. There is great demand for them in laboratories as they are considered as being central to vaccine development and also Deep Brain Stimulation tests.

"Animal testing precedes human trials, but if we do not know whether the animal testing is relevant to the problem in humans, it will lose even minimal predictive value... the continued use of broad spectrum multi-strain /multi-species testing vividly shows that researchers do not actually know which laboratory results can be legitimately applied to humans". Hugh LaFollette and Niall Shanks, Brute Science (London: Routledge, 1996) p 27

We have been responsible for using animals in our enquiry into physiological function and for our experiments in seeking a cure for abnormalities. This has been since the earliest known test of the Romans and Greeks in the second and fourth century respectively. Those such as Galen were known not only for their herbal remedies and also for their early experiments on animals. There is little known of these activities in the following centuries when there were no doubt severe religious ethics in place to ban such work.

However, the use and abuse of animals in the name of science has continued to emerge as a regular and increasingly accepted medical necessity in the 19th and 20th centuries. We have suffered a certain indoctrination that the sacrifice of animals will result in our good health and freedom of disease. Unfortunately we are not guaranteed good health and still humanity suffers disease and even new diseases.

More people began to turn against the methods for ethical reasons. It was not until the early 19th century however that the first animal protection law was enacted - in the British parliament. About fifty years later the Cruelty to Animals Act was passed to regulate animal testing specifically. Charles Darwin promoted the law and his sentiments are obvious in a letter written to Ray Lankester in 1871... "You ask about my opinion on vivisection. I quite agree that it is justifiable for real investigations on physiology; but not for mere damnable and detestable curiosity. It is a subject which makes me sick with horror, so I will not say another word about it else I shall not sleep tonight."

Anti-vivisection posters in public places abounded before mid 1900's with many organizations attempting to awaken public opinion as to the cruelty associated with medical experimentation. Many including Rukminii Devi were influential in working to abolish the practice in Australia and in India. Many supporters now exist from those early efforts of philanthropists who believed in human dignity and the need to respect all living creatures. These activists urged scientists to explore other avenues to find the secrets of health and find natural remedies for disease.

The introductory statement of Lafollette and Shanks is shared by many prominent doctors, scientists and researchers who are not only voicing an opinion regarding a need for change, but presenting facts that demonstrate inefficient and even illogical animal testing really is.

Two strikes already are against those who continue this work, even when motivated by interest in health if methods prove to be unscientific. One being the extent of cruelty to helpless animals absconded against their will, to suffer in medical laboratories. Second, that the methods fail to prove sufficient results in curing disease and more importantly, improving the health of the people.

Animal lovers are dismayed and enraged to hear of the many thousands of animals that are shunted into the experimental channels, be it dogs, cats, horses, pigs or monkeys. Scientists argue that it is not cruel to do what they perform upon these animals used as 'guinea pigs', if it allows them the skill to relieve human disease. But animals are not volunteers.

Beyond medical purposes there are many other avenues where animals are 'used' or abused. Our technological age and creative inventions require testing in all areas where the effect upon human beings has to be determined. With the explosion of interest in chemical science and in all the areas of drugs as medication, along with totally new technologies that are employed in surgical procedures there is need for testing before release into the community.

Animals have been used and continue to be used in every branch of our curiosity and in our investigation into life and our perceived 'requirements' for living. Not only are tests seen as imperative in foods, food additives, cosmetics, medicine, surgery and transplants, radiation, genetics, X rays, chemistry, but also in animal husbandry, agriculture and industry. The newer branches of science such as xenotransplantation and cell science extend the sphere considerably.

The wide use and potential abuse of animals in the name of science has grown beyond any average person's imagination. Few facts are reported through our news channels as being serious issues deserving attention. All too frequently animal rights and the persistence of activists is seen as an embarrassment. Name calling is a tactic used to cast people who are concerned with animal cruelty to be 'fanatics', 'greenies' or grouped along with 'tree huggers' instead of just being truthfully seen as kind animal lovers.

It is a worldwide problem throughout many nations, each with differing applications and customs relating to treatment of animals in general, and laboratory animals in particular. There are signs of great improvement in international efforts to standardize practices and make some gesture towards 'humane' action. Under increasing public pressure it is hoped that we will see great changes in our attitude towards all animals in the coming decades.

Many statistics in various countries are unreliable or difficult to obtain but those that are available speak for themselves of the enormity of the problem worldwide.

The British Union for the Abolition of Vivisection and the Nuffield Council on Bioethics are in agreement of the fact that -100 million vertebrates are used in medical experiments throughout the world each year. The number of invertebrates is not known. About 10 million occur in the European Union.

U.S. Department of Agriculture (USDA) stated that in 2005 1.2 million animals were used. This excludes and unknown number of invertebrates, rats, mice and birds.The Laboratory Primate Advocacy Group uses the USDA's figures to estimate that 23-25 million vertebrate animals and primates are used in research each year in America.

In 1986, the U.S. Congress Office of Technology Assessment states that reports coming in are variable regarding the numbers of animals used in the U.S. Reports range from 10 million to over 100 million each year. Their own given estimate is closer to 17-22 million, excluding the rats and mice estimated at 15-20 million a year. Guinea pigs, hamsters and other animals are also used.

Regarding the choice of animals used... Cats are favoured in neurological research. According to the Human Society of the United States 25,000 cats in the year 2000 were used in tests that involved "pain and/or distress". Dogs such as beagles are selected in tests that are highly invasive because of their docility. The U.S. Department of Agriculture's Animal Welfare Report for 2004 states 65,000 dogs were used in their registered facilities that year.

The United Kingdom figures from the Home Office in 2004 offers comparative statistics and is similar in regard to animals but includes 20,000 rabbits, about 200,000 fish and 20,000 amphibians having been used in the UK in that single year.

It is generally believed that most animals are used in a single procedure that might be brief and last minutes, months or sometimes years. The fate of such animals is to die because of the experiment or to be deliberately euthanized following usefulness in that test. One animal dies in a laboratory in the USA every second, in Japan every two seconds and in the UK every twelve seconds. They are not generally referred to as animals but as 'products'.

Australian statistics taken from Australian Association for Humane Research tell us..that the total number of animals used for research and teaching in 2004 was a staggering 6,489,005 living creatures used in experimentation in laboratories.... a figure that represents..... 580,550 mice, 154,692 rats, 14,161 guinea pigs, 6,911 rabbits, 2,149 cats, 7,179 dogs, 316,271 sheep, 32,203 cows, 94,692 pigs, 6,576 horses and donkeys, 204,259 native mammals, 328 primates, with fowl, fish and reptiles and 'others' completing the numbers.

In Melbourne, Australia, Monash University offers an example of the 'services' available for obtaining laboratory animals through their Monash Animal Service. Procurement from local and international sources is all too easy whether it is cats, guinea pigs, cane toads, rabbits, sheep, non human primates and many exotic species of animal. They also possess their own Rodent Breeding Facility.

ALTERNATIVES TO ANIMAL SACRIFICE

There are alternative methods that do not require animal testing. Today, many cosmetic and household product companies have turned their backs on animal testing and begun taking advantage of the many sophisticated non-animal test methods available, which range from cell and tissue cultures to computerised "structure-activity relationship" models. Human cell culture tests have been found to predict toxicity in humans with much greater accuracy than animal tests.

In Australia, with the initiative of those dedicated to advancing science without being dependent upon the cruel acts inflicted upon animals in laboratory research methods, the Medical Advances Without Animals (MAWA) was founded in 2000 as a registered charity now based in Canberra. Cofounders are Ms Elizabeth Ahiston and Associate Professor Garry Scroop. Their policies offer a new direction for medical and general scientific research by discarding outworn and inefficient procedures and the employment of replacement techniques using cell science, human gene studies, analytical technology, micro-organisms, computer models, and every appropriate method within the ethics of classical science. The philosophy behind this organization is attracting wide interest as it does not limit its support but encourages a broad range of disciplines and invites co-operation from scientists who support the aims of the MAWA.

At last we witness that the many voices that cried out against vivisection are now heard. Darwin's response to degradation of science to mere curiosity is now a common one that has brought about deliberate efforts to create a new direction for a modern system of medicine that can be respected as a humane branch of the many healing systems that exist.

Successful alternatives to the use and abuse of animals will in time make the old and cruel customs obsolete and offer a happier future for our fellow creatures. We need to succeed in our effort to redress attitudes that have allowed many millions of animals' lives to have been sacrificed. And then, as humans we may be able to hold up our heads, knowing we are indeed becoming humane.

Aromatherapy or the science of Osmics is proving immensely popular when applied in self help or in professional healing. It is a delightful way to employ natural perfumes to assist mood and mind states and is particularly helpful as an adjunct to relaxation techniques and stress relief. Sally Wilson is an expert in aromatics and author of one of the earliest publications on the subject, directing its use in incense and in healing and has utilized the subtle benefits in her naturopathic practice over many years.
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There Is Something Different About Clay Animation

2010-12-03T14:50:00.000-08:00

When you consider all the many types of animation that are being used for advertising these days clay animation is the one that people seem to enjoy the most. It is the kind of creative stuff that people remember long after they have seen it. In the world of advertising where the general idea is to get people to remember the product you are advertising, clay animation can be a goldmine.

We all remember the California Raisins advertising campaign in the eighties where a lovable bunch of clay animated raisins danced their way into the hearts of Americans nationwide. The California raisin industry had been in a slump for some time until they decided to use clay animation with an aggressive advertising campaign that included a series of television commercials featuring a group of raisins dancing to the Marvin Gay hit I Heard it Through the Grapevine. These commercials just had a certain look to them that can only be classified as eye candy. The colorful, three dimensional clay figures and the way they moved on the television screen created a unique look that had people glued to their seats during these spots. They were an instant hit and they brought the California Raisin industry back in the money so to speak.

There have been a lot of technological advances made in the animation industry over the past few decades. Computers have made the process of creating animation much simpler these days. During the 20th Century all animation was done completely by hand, by human beings one frame at a time. Now there are computer programs that you can buy for about a hundred dollars that will literally animate for you. This has created a dramatic increase in people who are creating animation. This animation is showing up more and more these days in television commercials and promos.

While computer generated animation is showing up in television commercials and promos like never before, only a few clay animation spots are being seen. This is due mainly to the fact that clay animation is an extremely labor intensive form of animation. There is a huge amount of pre-production and production work involved with this type of project. There are many miniature sets and sculptures that must be made and every frame of animation must be planned out thoroughly before it is shot. Each figure must be manipulated into different positions and filmed one frame at a time using a hands on technique that involves moving the clay figures and replacing them with different ones. This effort creates the illusion that the sculptures are alive, and this is what gives it the unique attraction. These figures are three dimensional, made of clay and look as though they could almost exist in the real world.

With any advertising project that is undertaken more labor means higher production costs. With that in mind most advertisers opt for the cheaper and faster computer animation. The down side of these other types of animation that are fast and affordable is that repetition leads to a disinterested audience. This is the last thing any advertiser wants when they spend a bunch of time and money on a television commercial.

Clay animation may cost a little more to produce but the effect is well worth the money. Any product that is advertised with a commercial or promo of this type can often see great results from their efforts. In recent years Fox Sports used a clay animation promo campaign to advertise their NFL shows. They had Terry Bradshaw and the gang in clay running around doing crazy stuff and the results were magnificent. Today their NFL shows are some of the top rated sports shows on television.

There are many impressive computer programs available these days that will allow animators to produce top quality animation for television commercials and promos. But there is one inherent drawback to this wonderful technological revolution and that is the fact that animation created using these techniques all begins to blend together after a while. Too much of a good thing is never a good thing. Also, there are a lot of behind the scenes television shows these days that explain exactly how computer animation is produced and this can have a dulling affect when the viewer sees the animation later on. It is like someone is pulling back the curtain and exposing the mystery for all to understand. There is some loss of the suspension of disbelief from the viewers when they realize that computers are the wizards that produce the spectacular effects they see with most of the animation on television today.

When a clay animation promo or commercial comes along it usually captures the attention of television viewers. There is a certain mysterious attraction that keeps people watching whenever one comes on the screen. The California Raisins, Chicken Run, Wallace and Grommet and The Nightmare Before Christmas are all examples of eye candy clay animation that have garnered great critical and financial rewards. While these projects may have cost a little more than the average animation project to produce they proved to be well worth the effort. They are all animated classics that are household names.

The next time you see some clay animation on television record it and then play it back one frame at a time. As you are watching each frame you should realize that an actual human being had their hands on the figures moving them meticulously between each frame. There is a lot of effort involved in this process, and it really shows in the final product. Viewers take notice when they see it, and they remember it long afterwards. In the world of television advertising where most of the animation looks the same, clay animation is a breath of fresh air that stands out from the rest of them.

Michael P. Connelly is an Author, Artist and award-winning Filmmaker who writes on a variety of topics that effect people in their every day lives.

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No Animals Were Harmed - All About Animal Actors

2010-12-03T13:55:00.000-08:00

ANIMAL ACTORS: Interview with Sandi Buck, American Humane, Certified Animal Safety Representative

Q: What is the American Humane Film & TV Unit?

A: American Humane (AH) Film & TV Unit is based in Los Angeles and we monitor the use of animals in media. American Humane is a national organization with headquarters based in Denver, Colorado. I'm one of the Certified Animal Safety Representatives who go on set and monitor the use of animals in film and television. We award the "No Animals Were Harmed® in the Making of this Movie" disclaimer seen at the end of the credits in a movie.

Q: How did the American Film & TV Unit start?

A: Back in 1926, AH set up a committee to investigate abuses of animals in the movie industry. At that time, horses were the most at-risk animal actors. But, then, as now, animals have no inherent legal rights, so we couldn't mandate the safety of the animal actors. In 1939, for the film "Jesse James," a horse and rider were sent hurling over a 70-foot cliff into a raging river for an action shot. The stuntman was fine, but the horse's back was broken in the fall and it died. Outrage over this sparked a new relationship between AH and some motion picture directors and producers and caused the Hays Office to include humane treatment of animals in the Motion Picture Code. The following year, AH received authorization to monitor the production of movies using animals. We worked on set for quite a while after that until the Hays Office was disbanded in 1966, ending our jurisdiction and excluding us from sets. This was a pretty dismal time for animal actors who were being used in some brutal ways. Then, in the early 1980s, another incident caused another public outcry and American Humane was added to the agreement with SAG that mandated that union films contact us if they were using animals. This agreement now includes any filmed media form, including television, commercials, direct-to-video projects, and music videos. A more detailed history is on our website. Right now, we monitor about 900 films a year, maybe more. That's not counting commercials.

Q: Did you say animal actors no have legal rights?

A: That's correct. Animals have no "legal" rights in the sense that humans have. But because of our SAG agreement, animal actors in SAG films have "contractual" rights because the AH office must be contacted by productions using animals and an AH Film & TV Unit representative be on set during the filming.

Q: What about nonunion productions?

A: Nonunion productions are not contractually bound to contact us, but we find that a lot of people want us there anyway. I've worked with several productions that say - "We want you here. We want that rating at the end of our film and we want people to know what we had you on set."

Q: So people on set are happy to see you?

A: Generally yes, but sometimes no. Actors always love seeing us there. They look at the AH patches on my jacket and come up to me constantly on set and say - "Oh, you're here for the animals. That's so great, I'm so happy you're here." That's what we want. We want people to look for us, to know we're there, and why we're there. As for production, it depends on their perception of us and if they've worked with us in the past. People we've worked with before love having us there. The ones who haven't worked with us before sometimes think "oh, no, here comes the animal police to patrol us," like I'm going to stand there with my hands on my hips telling them what they can and can't do. It's not like that. We're not there to criticize. We're there to work with filmmakers, not against them. If we see a problem, we'll address it and work it out together. In Florida, for instance, one of the big concerns is heat. During one production, the producer wanted a dog to walk back and forth across the pavement. I told the director there was a problem with this. I already knew he didn't like having me on set, but I told him anyway, "You take off your shoes and walk across that street." He went out to the street, put his hand on the pavement, and said - "Yeah, you're right." He wasn't trying to harm the animal, he just wasn't thinking about the animal, the heat, and the pavement. That's part of the reason we're on set. We don't expect filmmakers to also be animal experts. Even producers who personally don't care about animals usually realize it makes sense for them to have us there. Many people say they won't watch a movie in which they think or have heard that an animal was injured or killed. People look for the AH disclaimer at the end of movies saying - "No Animals Were Harmed® in the Making of this Film."

Q: How do filmmakers get a "No Harm" disclaimer for their movies?

A: The process starts when production contacts our Los Angeles office to let us know that they plan to use animals. We direct them to our Guidelines which are available on the internet and we request their script. We review the script and arrange to come in and observe the animal action to ensure that the conditions in which the animals are working and kept is safe and comfortable. This doesn't cost the union production anything - that's part of the arrangement with the SAG office.

Q: What about nonunion productions? Can they get this "No Animals were Harmed®" disclaimer?

A: The process to get the disclaimer is the same, only there's a $30 an hour fee for the hours we're on set. The time we spend in pre-production script evaluation and then screening the films and writing up reviews is included in that $30 an hour on set fee.

Q: Can student and independent filmmakers get your disclaimer?

A: Definitely, if they meet the guidelines for it. If they have questions, all they need to do is call our LA office and ask. Our LA office is happy to help young and aspiring filmmakers with guidance and information on safely using animals in their films. If they're in the process of writing a script, they can call us and ask if certain scenes are feasible and for advice on how to get the scenes and action they want. Productions who can't get an AH representative on set because of cost or scheduling conflicts can write down what it is they plan to do, document the filming of the animal action with a little video, a behind the scenes - this is how we did it, kind of thing - and send it in. We review it and though we can't say we were actually there, we can say that through our review, it looks like the production followed the Guidelines. That rating is called: "Not Monitored: Production Compliant."

Q: How many ratings are there?

A: We have several ratings which range from our highest "Monitored: Outstanding" and receiving the "No Animals Were Harmed"® disclaimer which appears in the end credits of the film, to "Not Monitored," to our lowest rating which is "Monitored Unacceptable" - where our guidelines and animal safety were disregarded and or negligence caused the injury or death of an animal. Striving for a good rating helps ensure that the production will go well. If a production is half way through shooting and an animal that is key to the movie gets spooked and gets loose or injured, it's like losing a lead human actor. What's the producer going to do? Re-shoot the animal scenes with another animal actor? Rewrite the script? Scrap the movie? Professional trainers have several different dogs with different talents that look alike. One's a really good barking dog, one's a really good jumping dog, another does something else. That helps in the event one dog gets sick or injured, it won't halt filming. A lot of the worst scenarios can be avoided with planning. I look for potential problems and to keep everything as safe as possible for everyone. There can always be accidents, there's no way to prevent that. That happens in life. You can work to make things as safe as possible, but there can still be accidents. We understand that. The bottom line is at that any time filmmakers plan to use animals, even their own pets, they should contact our LA office.

Whether or not one of us comes out to your set, they should refer to our Guidelines For the Safe Use of Animals in Filmed Media so they know what they need to prepare for, to say to themselves - this is what I need to prepare for if I'm going to use an animal on my production. Am I prepared to do what I need to do to make sure that everything is safe for my animal? Having us involved benefits the production in that if there's ever any question as to how a stunt was done the filmmaker can say - call AH. Filmmakers with the reputation of abusing animals for the sake of producing a film or commercial won't get hired and people won't want to watch their movies. We are the only organization authorized to make and uphold these standards and people look for it. When people see animals in films, they look to see that no animals were harmed. If they have any questions on how things were done, they can go to our website and read about it. They can see that this stunt that looks absolutely horrible was actually done with computer graphics, a real animal wasn't even involved.

Q: Are personal pets allowed to be in movies?

A: Our Guidelines recommend that filmmakers use professional animal actors obtained through trainers, but we know that filmmakers, especially small independent and student filmmakers are going to use their own pets or the pets of friends and family in their movies. We understand that, that's a reality in this business. But even if it's no more than filming their own pet cat or dog sitting in a chair or walking across the room, filmmakers should get in the habit of contacting our office. When producers choose dogs, for instance, they should look for dogs with outgoing personalities, dogs that aren't afraid of people. Fear can cause a disaster. The dog can bite someone out of fear if they get in a situation in which they're not comfortable. If more than one dog is to be used on set, the dogs should be used to being around other dogs. If one dog shows aggression toward another dog on set, the aggressive dog must be removed. Dogs that live together and are accustomed to being with each other are good choices.

Q: You mentioned education as being part of the goal of AH. Would you talk some about that?

A: We'd like to work more with film schools developing programs where as part of the curriculum, students take a course or attend a seminar held by an AH representative about using animals in film. If the school can't put us into their program yet, just having our Guidelines available at the school or distributed to students will help educate them. The earlier we reach the students, the better. These filmmakers will grow in their careers and will eventually be involved in large productions where they might end up working on films with large animals. That's the point where you really worry about safety, so the earlier we can educate students, the better.

Q: What can you advise students or aspiring filmmakers wanting to use pets? Your Guidelines can look daunting.

A: If filmmakers choose to use a pet instead of trained animal, we have no control over that but we still recommend they review and adhere to our Guidelines. If the Guidelines seem overwhelming, call our LA office with questions, say - "All I want is for my dog to sit in a chair or walk across the room while we're doing our filming, what are the guidelines?" Most of it is just common sense. Know that the animal you're using is friendly and completely safe to be around people and other animals. You don't want an animal on set that's aggressive, skittish, or snaps. Think about what you're going to do with this animal while you're setting up shots. How many times do you actually need the real animal? Can you use a stuffed animal if there's any concern about using a real animal? You don't want a real dog sitting under hot lights while you're setting up. Go to a toy store and get a stuffie look-alike of whatever animal you're using. Make sure the animal won't be in the way of a moving dolly and that she won't be in area in which she can get stepped on. When she's not being used on set have a suitable place for her to hang out, that she's not running around loose. There needs to be a safe area like a crate or separate room for the animal. Make sure the pet has breaks and gets to lie down and rest or get something to eat and drink. If the pet isn't kept in a crate, make sure it's on a harness or leash so that should she get spooked by a loud noise or quick movement, she can't jump down and run away. Plan ahead and prepare for all possible scenarios. That's critical. If an animal won't do what you want, what are your options? Have back up plans. How far should you go to try to get an animal to do something? If the animal won't or can't do what you want him to do, forcing him is inviting disaster. Even if the animal normally does something, an animal is an animal. You can never predict what it's going to do or not do. It's like working with a child. The producer has to be prepared.

Q: Who is responsible for the safety of a pet during filming?

A: The ultimate responsibility lies with the owners as they will suffer the anguish and grief if something happens to their pet. I recommend that pets not be passed around to people on set to play with. That can be overstimulating to animals, and if they're all excited, they may not be able to perform the action you want them to perform. Many trainers make a general announcement on set - don't touch animals while they're working. Obviously, with the exotics, people are pretty good about asking before touching them but a lot of times, with dogs and cats, people just walk up and pet them without asking.

Q: Does AH have a problem with certain action shots?

A: If filmmakers wonder if a certain action shot can be obtained safely, call and ask us. If a filmmaker wants a dog to run off the end of the dock and jump into a lake to get an exciting shot, they should make the obvious choice. Pick a Labrador Retriever who loves to swim and run and jump off the dock and has actually practiced this. They shouldn't choose a little Chihuahua that's never been in the water.

Q: How did you get into the field?

A: I grew up in Michigan in a very animal-oriented family. We had the house with the invisible sucker sign hanging on the front of it - animals could see the sign, but we couldn't. Animals constantly showed up at our door and people dumped their puppies and kittens off in our barn. We had dogs, cats, horses, guinea pigs, and hamsters, and just about everything else. As a teenager, I raised and trained a working Seeing Eye dog. After that, I raised a wonderful Doberman for obedience. After college, I tried a few careers, but didn't really care for any of them. In the early 1990s, I moved to Key West, Florida. That was about the time the series "Key West" with Fisher Stevens and Jennifer Tilly was being filmed as a pilot. I accidentally met the medic on set and we started talking. He learned that I was a dive master with dive master medical training and said they'd been looking for someone else to work on set when they went to series. He asked if I was interested and I was. So, I went and got EMT certification and worked on that series as the medic when the other medic wasn't available. After the series ended, I worked fulltime as an EMT paramedic and part time as paramedic in film. I also volunteered with my dog in the education department at the Humane Society of Broward County. We went around to schools and taught pet education to the kids. Through that, I began working as a surgical assistant for the shelter. I was basically done the same things for animals that I was doing for humans. It was hard working for the shelter, for obvious reasons, but it was also very rewarding and I loved it. One day I was watching a movie through the credits and saw the "No Animals Were Harmed® in the Making of this Film" disclaimer and that a representative was on set to monitor all animal action. A light went off in my head - "Hey, that's a job. If somebody was on set that means it's an actual job." I sent my resume to the recruiting office in LA and got an interview. My background with horses and dogs, and dog training, and medical and film experience worked well together for the position. I then went through the AH training which basically teaches film and set etiquette, which I already knew from my experience on set, and learning report writing and the Guidelines. Right now, I live in Virginia. As my husband is in the military, we move around a bit, but as my job requires a lot of travel, I can do it from wherever we're based. Though most of my work is in this area, I've traveled all over the country. I've been to Mexico, Canada, Wyoming.

Q: What films have you worked on locally?

A: Susan Jackson, our representative based in Richmond, and I have worked independently and, in the case of large films such as "Dreamer," we've worked together. During the filming of "Dreamer," producers wanted something that looked like ointment to slather on an animal and they didn't know what to use. Susan suggested a solution of milk and water. So they mixed the milk and water and said - "oh, that's looks really good." Another instance on "Dreamer" was a barn scene. The crew needed the barn cats out before they could start filming. Susan came up with and organized a plan to catch the cats and send them off to be spayed and neutered. By the time filming was done, the cats could come back. It helped everybody. These are simple solutions that have helped producers get the scenes they want. We don't expect filmmakers to be animal experts; that's why we're there. We've been in this business a long time and have a lot of training behind us. A lot can be done with camera tricks, computer graphics, stuffie stunt and photo doubles and some creative solutions. Most recently I was one of the Safety Reps on "Evan Almighty." "Birds and Animals," a huge animal company for the film business supplied the animal talent. They have offices in Florida, California, New York, overseas and have all kinds of animals and I've worked with them for years since I started at AH seven years ago. They're great to work with and have excellent trainers who very concerned about the safety and welfare of their animals. Another huge part of our job is perception. It's often the perception of actors who aren't familiar with animal training. For example, when I was on "Evan Almighty" there was a scene with all these different small animals. One way to lure small animals like skunks, rats, and porcupines from point A to point B is with a buzzer. These little animals can't be trained to come like dog or even a cat. These little animals are taught that when they walk across the room to the buzzer, they get a food reward. One of the actors watching this came over and asked - "Are these animals being shocked?" I said, no, and explained the whole buzzer thing. Without someone like myself being there to ask, this actor could have walked off set thinking that the animals on set were being shocked. It was amazing to watch the whole process on "Evan Almighty." A huge ark was built in Charlottesville, VA, and they had a special camera that exactly replicated every single move of the animals. Animal were brought in one at a time, so if there were forty animals in a scene, they did that take forty different times at least, each time with each different animal. Sometimes there were pairs of animals, sometimes there was only one - the same animal walked across the room twice. It was all put together by computer to look like all these pairs of animals were in the same room, even though they weren't. That was a lot of fun to work on.

I also do the "Puppy Bowl" in Silver Spring, Maryland, at the Discovery Channel which airs on the Animal Planet at the same time as the Super Bowl. A little stage is built that looks like a football field and puppies go out there and play. They have "Kitty Half Time" and a "Tail Gate Party" for the dogs that didn't get into the game. It's hilarious. Initially, they were a little wary of me, but now we have a great relationship. It's nice when you walk off the set and the people you met when you first came in were looking at you like - "here she comes," then say - "thank you so much for being here, we want you back next year."

American Humane was founded in 1877. It is the oldest national organization dedicated to protecting both children and animals. Through a network of child and animal protection agencies and individuals, the American Humane Association develops policies, legislation, curricula and training programs to protect children and animals from abuse, neglect and exploitation. The nonprofit membership organization, headquartered in Denver, raises awareness about The Link® between animal abuse and other forms of violence, as well as the benefits derived from the human-animal bond. American Humane's regional office in Los Angeles is the authority behind the "No Animals Were Harmed"® End Credit Disclaimer on film and TV productions, and American Humane's office in Washington is an advocate for child and animal protection at the federal and state levels. American Humane is endorsed by the Better Business Bureau's Wise Giving Alliance and has been awarded the Independent Charities Seal of Excellence.

Animal actor "Angus," Actor Ken Kline's black Labrador Retriever was cast as "Dog with Man" in "Capitol Law," an ABC Pilot filmed in Washington, D.C., and also on "Shooter" as a quadedestrian in Baltimore's Federal Hill. Ken met American Humane Film & TV Unit representative Sandi Buck on the set of "Evan Almighty" in Richmond, Virginia, where she was overseeing the use of wild animals like bears, wolves, and mountain lions on set. Angus decided stay to home for that particular film.

Mary Ann Sust

For further information go to the American Humane Website (http://www.americanhumane.org) and click on Film & TV Unit. You can also call the Film Unit at 1-888-301-3541.

Also on the website is an archive of films and their ratings - union and nonunion, no budget, low budget, student and independent films, the actors, producers, crew, and trainers, and a brief description of the film and how the animal action shots were obtained. (http://www.ahafilm.info/movies/search.phtml)

What Anime is and is Not

2010-12-03T12:50:00.000-08:00

Do you watch cartoons? I do. Not bugs bunny; I'm talking about anime. Do you know what that is?

Anime is, simply put, animation that's made in Japan. I'll give you some examples of anime that you might know. Speed Racer, Hello Kitty, Pokemon, RoboTech, Sailor Moon, Dragon Ball Z, and a lot of the cartoons you find on Cartoon Network qualify as well, particularly Adult Swim.

Thankfully our country has gotten the rights to translate the stories from Japanese to English, because the storylines in anime are really good. Often they're better than what Hollywood shovels into your brain.

That's basically what anime is. Now let's talk about what it's not.

Anime is not a genre; it's an art form; a medium. From now on I want you to think of anime as being equated with movies, books, music, etc; all the entertainment media. Just like you have movies for kids, movies for teens, adults, so it is with anime.

All your entertainment comes in 31 flavors, right? Comedy, horror, drama, suspense, action, etc. You file similar movies on the same shelf in the store, don't you? But you shouldn't be putting all anime on the same shelf because anime is not a genre. It's a medium, like movies are a medium, like books are a medium. A medium can have any genre of entertainment in it; well so can anime. Anime is not all sex and violence as some people will tell you. When I hear someone say that anime is sex and violence, that immediately tells me that they watched probably one particular anime show that had that and then they go "Oh well that's how it all is."

Now granted, some anime has that. Just like some movies have that. Just like some books have that. Does that make all books bad? No. So why should it for anime? Again, anime is an art form, not a genre. Anime can have comedy, it can have horror, drama, suspense, action, hey it can even have porn or blood-and-gut, but that doesn't mean it all has it! I'm not going to lie to you and say that anime is all happy goodness and none of it has anything you don't want to see. There is good stuff, and there is bad stuff, and there is everything in between, just like any other form of entertainment. If somebody came up to you and said "Hey man, we should really be censoring these 'movies' that people are talking about. They're all sex and violence. I mean every movie has that in it, and I don't think we should let our kids be watching movies." Would you believe that? No, you'd go "Excuse me, but that doesn't apply to all movies leave me alone."

You've got a rating system in the movies, right? G, PG, PG-13, R, NC-17. Anyway, think about the movies. Just because Lord of the Rings was PG-13, did that mean it was necessarily bad for kids to watch? That's opinionated. Okay, think of a movie you like but your kids don't like it because they don't understand it. The themes are over their heads and they don't go for all that characterization. In our movie rating system what would we rate a movie like that? It doesn't have anything the kids shouldn't be seeing, it's just that they don't understand. What do you think MPAA would rate it?

Now with anime it's the companies who distribute the anime who rate the anime. Their rating system is a little different from the movies: They'll take all factors, not just sex, violence, nudity, language, etc. but also factor in if younger audiences will be able to understand it. So on the back of an anime the rating could be OT for Older Teens, but really all they did that for was because the story is difficult to understand. Now granted OT can be for the other stuff too, but you have to realize that they think of everything when they rate.

You could have a G movie that's for little kids, and a PG movie that they completely don't understand. The rating system didn't help in this case; you need to read up on the movie so you know what's in it, and that really goes for all entertainment, including anime. You need to read up on something you want to watch, read, listen to. It may be okay; it may not. You can't expect the rating system to do it all for you, because it won't.

Another reason why people may be against anime is that certain companies make only anime that a lot of us don't want to watch; then when people get introduced to anime, they unfortunately see it from these companies, which is like taking an Amish person to a shoot-em-up movie. That Amish guy is not going to think well of movies after that!

So understand that just as certain publishers publish certain books, and certain movie companies put out certain movies, so certain companies put out certain anime.

So as of now, unfortunately, all anime is grouped together like it's a genre, and it's not. You could have a porn right next to Hello Kitty and who knows the difference because "Oh it's all the same." Watch Hello Kitty and watch that porn! You'll see a difference! Those are two extremes, by the way. Like I said, not all anime is porn; in fact most of it isn't; just like movies. And not all anime is for little kids, but I would expect more of it's for them than is for porn-seeking people.

So that's one extremist viewpoint of anime: that it's all sex and violence. Another view that people take on it is that anime is just like cartoons: it's for little kids, and it has nothing bad in it. Don't take that approach either. I just went over anime, so you know now that it's just like movies, books, and music: it can be good or bad, for little kids, for teens, for adults, could contain this or that. Just like we wouldn't believe the stereotypes that all blondes are stupid, that bodybuilders have no feelings, and that life is always a happy ending, so we shouldn't be casting anime as cartoons gone bad.

But I don't want to lead you into the thinking that an anime that has something like nudity is necessarily a bad show to watch. You have to take into consideration that anime comes from Japan, and just like other countries that come into contact with each other, you'll find that Japan has different thinking than we do. Is that to say that nudity has no effect on them? No. Something that you may find objectionable, they may not. For example, Japan has public baths, therefore their stories may include that. You may see in an anime a public bath scene in which the characters are talking while they are in the bath. Public baths are part of Japanese culture; the nudity is not sexual in any way, but some people find that offensive.

And anime often has sexual humor in it. Not anime for little kids, just for us older people. You may also see a person naked or partially so, but it doesn't have to be sexual. What I'm getting at is that the Japanese are willing to talk about a lot more in their cartoons than we ever will in ours. They are a lot freer; depends on you to decide whether that's a good or a bad thing.

So when people say that "Oh this anime has nudity in it," you have to ask them "What kind?" Then they'll give you a look. (Make a look) "What do you mean 'What kind?'?" Well there are several kinds! There's the making out kind, there's the public bath kind, then--and I don't even know that I would put this in here--the short skirt kind. Japanese girls wear short skirts to school, and since a lot of the anime stories are going to center around Japan, since that's where it came from, you're most likely going to see short skirts. The kind that if there was a big gust of wind--you might get a big gust of view. And some people might find this offensive. You know, you're watching the show, and there's a gust of wind, and you get a panty shot. Now granted, you could take that as sexual, but it was the wind's fault, not anyone else's!

But you might see a skirt that you think is too short, and oh! That's bad! It depends on you. It's what you're comfortable with. Just like movies; you watch what you're comfortable with, but again, many people think of anime as cartoons, therefore they're for little kids. Not always the case. You have to understand that we as a culture have accepted other culture's stuff like languages, customs...we really are the melting pot, and you can't think of cartoons as being for kids anymore.

To sum it up, there is anime that is porn. There is anime that is for little kids. There is anime that has wonderful stories and that really makes you think, all without objectionable stuff. And there is everything between those. And the reason that anime can be so varied is because the Japanese view anime as an art form; a medium. They've got it figured out; a lot of people here in America think that cartoons are for little kids, and anime as some screwed up cartoon. But that's not the case. Anime can be and often is deeper, richer, and more thought-provoking in its stories, but what I really want to stress to you is that anime, and all other types of cartoons, are a form of entertainment, not a genre.

Kevin Bond writes on Japanese animation related issues. You can learn more by visiting my blog, Free Anime http://anime-shows-for-free.blogspot.com

Forensic Animations - Are They Right For Your Case?

2010-12-03T11:46:00.000-08:00

There are many situations where a forensic animation plays an important role in the communication of complicated concepts or events in the courtroom. In some cases, they can be instrumental in providing a pivotal piece of information that would otherwise be very difficult to explain in words alone.

There are certain times when a forensic animation is most applicable in the courtroom and trying to use an animation for the "wow" factor isn't always the right thing to do. So, how do you know if a forensic animation fits your case? Will you get the best return on your investment? How do you get the most effective transfer of information to the jurors? These are excellent questions that any attorney should ask before embarking on a forensic animation.

The following are a list of considerations that should help you understand if a forensic animation is right for you.

1. Hard to Visualize?

Does the issue at hand surround perspective, timing, relative distances or a process/mechanism?

The reason you would want to provide a visual explanation of how something happened or how something works is because it would be difficult to explain in words alone and it is important for the jury to understand and retain this information.

Trying to explain to a jury how something may have appeared to a witness is a lot more difficult than showing an animation and then having the witness say that "the animation is a good representation of what I saw". Timing and distances are often difficult for people to imagine and may not appear as expected. For example, when a jury is told that two vehicles were involved in a head on collision and one driver was traveling at 60 kilometers per hour, they have a preconceived notion about how fast the driver was traveling. However, when one considers that the other vehicle may have been traveling at 80 kilometers per hour, the resultant speed of the impact becomes apparent only when viewed by through an animation. Many times, people reconsider their preconceived notions to better align with your arguments.

Also, if the case surrounds an industrial process, chemical reaction or even a business process, a forensic animation might assist in educating the jury in a clear and simple manner. This is especially true if the process is complex and not easily understood by the lay person.

2. Are you comfortable explaining the topic?

When attorneys get in over their heads trying to explain a topic that is beyond their understanding a couple of things occur. The jury will most likely see that the attorney is struggling with a topic and are uncomfortable. Then, the jury may begin to question the attorney's credibility. Even worse, the attorney may stumble on his/her own words and confuse the jury on a key issue that could be pivotal to the understanding and outcome of the trial.

In these cases, it is best to have a prepared animation to go through and educate the jury. Often, in a complicated subject, it might be wise to get the expert witness to work through the animation step by step to enhance the juror's learning.

3. Will an animation speed up the trial process?

At one time, this would never be a consideration and even today, it is less of a factor. However, more and more judges are appreciative of tools that help speed up the trial process. A forensic animation should be something that answers more questions than it brings up and keep to the points of issue. Normally forensic animations are a compact, concise and an efficient use of time that is appreciated by judges and jurors alike.

4. Would you like to look at different scenarios?

One of the greatest benefits of forensic animations is not actually for the jury, but for the attorney. This is the possibility of running different scenarios and being able to visualize the potential outcome of each. One can easily "experiment" with different assumptions, evidence and variables and subsequently present these to the jury.

Forensic animations provide a visual set of scenarios where a case has its strengths and weaknesses. Analyzing the plausible scenarios when they have been summarized in a visual recreation means an effective and less time consuming way to understand one's case. Areas of strength can be emphasized and areas of weakness can be avoided. Depending on the type of case, having the benefit of running different scenarios might be invaluable to your side.

5. Has the other side prepared a forensic animation?

This is often something that many attorneys feel they need to counter with an opposing animation. In some cases, it is wise to respond. Due to what many have coined the "CSI factor", many jurors have come to expect that high tech animations will be used in the courtroom. When the other side has used a forensic animation and you have not, it can have a psychological impact on how the jurors perceive your preparedness for the case. On the other hand, if the other side has not prepared an animation, it may be advantageous to one's case to do so.

6. Costs & Timing

There are many factors to consider when it comes to the cost of an animation since these vary greatly depending on the length and complexity of the animation. There are also the varying rates among forensic animators based on their abilities and experience. However, one must weigh the cost of the animation relative the potential settlement costs of the case. Get an experienced forensic animator to provide you an estimate up front for what the costs of a particular animation might be. Normally, most forensic animators will review the materials and provide a quotation at no cost. This will better assist you in evaluating the cost benefit of an animation.

Ensure that you have time in your case to allow for adequate disclosure to the other side. Forensic animations take a considerable amount of effort in some cases and even when all the information is available at once, they may take up to several weeks to complete.

7. Admissibility

One must consider the type of animation being created and whether or not it will be admissible in court. It makes no sense spending the time and money and not being able to present a professional animation in court. There are several articles written on the admissibility of forensic animations and demonstrative evidence in general. The key concepts are centered on:

o How is the forensic animation relevant to the case?

o Who actually prepared the forensic animation? Is the evidence produced from a reliable source?

o Does the forensic animations' probative value outweigh the risk of prejudice? Does it aid the trier of fact in the search for truth?

o What was used as the basis of the animation and how can it be verified for accuracy? Did someone check the data? Was the data entered correctly?

Every case has a different set of circumstances that may allow or disallow an animation. Therefore, special consideration should be given to the risks associated with admissibility of any forensic animations.

8. What does your expert witness suggest?

In the case where an expert witness is retained, it is often wise to get their opinion on whether or not a forensic animation would be beneficial to their testimony or to the arguments being presented. Often the expert witness may have a recommendation as to what the animation should show and whether or not there is value in a forensic animation.

Ensuring that a forensic animation is right for your case is the best means of ensuring that he money spent will return favorable results. For further information on forensic animations and any of these topics above, please visit the AI2-3D Forensic Animations links page.

Eugene Liscio is the owner of AI2- 3D Animations which specializes in forensic animations for litigation support. AI2 actively promotes the use of Forensic Animations, 3D Virtual Models, photogrammetry and other visual strategies for the courtroom. Eugene is a registered engineer in the province of Ontario, Canada.

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Common Misconceptions About Forensic Animations

2010-12-03T10:36:00.001-08:00

There seems to be many preconceived notions about forensic animations and their overall use in litigation. Many times, lawyers or accident reconstructionists will say that "An animation can show whatever the animator wants" or "Animations are difficult to admit in a court of law". However, to a forensic animator, this is also like saying, that your accountant can "fix your books". In reality, it is far from the truth.

Misconception #1 - "An animation can show whatever the animator wants"

Perhaps it is the fact that so much of what we see on television and in films is altered with lifelike special effects that we tend to associate anything with 3D visualization with more than a hint of skepticism. Ironically, much of the same software used to animate films such as "Spiderman" or "Lord of the rings" is also less known to be used in scientific visualization, research and forensic animations. People may associate the fact that an experienced special effects animator is capable of creating surreal, yet realistic looking effects. Therefore, it must not be accurate.

The greatest difference between a forensic animation and just any other type of animation is the "forensic" part. This implies that there is a large effort in understanding the details of what is being animated and that there is a large emphasis ensuring a high level of accuracy. An animator can spend more than 70% of his time on activities related to the verification of data and ensuring accuracy in the animation.

An experienced and qualified forensic animator would tell you that a large effort goes into building and checking each step of the animation process to the correct and accurate dimensions. In fact, very little is left to the imagination since most recreations are based on accurate data typically provided by the expert witness. A simple example is the terrain data of a particular scene. This can be obtained by means of a total station along with the positions of important features such as signs, traffic lights, debris or tire marks on the roadway.

Even the animation and motion of objects in a 3D recreation is typically based on information or data provided by the expert witness. This data is often obtained through careful calculations or through the use of simulation software. In the case of simulation software, the data can be directly converted or imported directly into the 3D animation software, leaving little room for error.

There may be cases where the forensic animator is provided with less than ideal information, however, even in these rare instances, an experienced forensic animator will have enough knowledge to ensure that the basic rules of geometry and physics (i.e. motion) are applied and adhered to.

Misconception #2 - "Animations are difficult to admit in a court of law"

Somewhere along the way, there have been animations which were so poorly constructed or erroneous they simply could not have been allowed in court. It would seem that these cases tend to stick in the minds of litigators and cause reluctance for future use of what is a perfectly acceptable and effective use of technology.

Normally, it is an inexperienced animator or lawyer which does not follow some of the basic rules of demonstrative evidence.

Some key points to consider when considering a forensic animation are:

1. The animation needs to support the testimony of the expert witness and should be considered an extension of the witness' report. The expert witness should be directly involved in authenticating and reviewing the animation.

2. Disclose the animation well in advance of the trial date. Evidence needs to be disclosed in a timely manner and the opponent requires time to cross examine the evidence.

3. The animation fairly and accurately conveys the data or matter that it purports to convey or depict. The animation should not be prejudicial in that it outweighs the probative value.

4. The animation should be relevant.

5. The forensic animator should be prepared to testify that the works created are based on sound technology, process and algorithms such that the final works are a reflection of the expert witness' opinion.

There are, of course, many other factors to consider which may be case dependant. Further materials and references are available for review including a paper entitled "The Admissibility of Demonstrative Evidence in Jury Trials:" Written by Barbara Legate of Legate and Associates and available at the AI2 forums (www.ai2-3d.com/Forums).

Today, most forensic animations are admitted into court since there are greater considerations and groundwork taken into account to ensure the accuracy, validity and quality of the animations. By choosing an experienced forensic animator and by adhering to the rules of demonstrative evidence, the risks associated with inadmissibility are greatly reduced.

Misconception #3 - "Animation and Simulation are the same thing"

There are two distinct ways to develop an animation and although the end result may try to achieve the same thing, they are fundamentally different in the means by which they are created.

A simulation is typically the output of a program which is operated by a qualified accident reconstructionist. The program has a set of key behaviours (i.e. mathematical equations) which define the movement of objects when given a set of known parameters. It is up to the accident reconstructionist to define all the input variables and ensure they are accurate. Once this is complete, the program is initiated to calculate all the positions of objects through some specific time.

The simulation software may also output the motion of objects in the form of exportable tabularized data and/or animation. However, most manufacturers of simulation based software programs have not been able to achieve the same level of realism as most animators are able to do with 3D visualization software. There may be a number of reasons to this which deal with further complicating already complex software or that perhaps the time spent on development is in the mathematics behind the simulation software and not primarily in the visualization or presentation of the data.

Another important issue which is common with simulation software is the validity of the data available. The old saying "garbage in, garbage out" is applicable. Since a simulation would typically be used as substantive evidence, it can get difficult to prove something is accurate without having solid data to back the animation up.

Animation

Demonstrative Evidence - illustrates how something works or how something happened based on the testimony of the expert or eye witness. The animator, not the software is responsible for accurately moving and positioning objects over time.

Does not try to prove anything, but just facilitates the account or testimony of a witness.

Simulation

Substantive Evidence - Takes actual dynamics and physics into account. The objects are not animated by "hand", but by software based on calculated inputs or data.

Tries to prove that something may have occurred a certain way.

Visually, an animation is more eye catching and realistic.

Simulations are improving in their presentation, but are still lacking realism.

On the other hand, an animation may be based on an eye witness testimony, calculations of the accident reconstructionist or from data output by a simulation package. All the events of an animation in a typical 3D visualization package are calculated and setup by the animator. Animations are almost always disclosed as demonstrative evidence and they do not try to "prove" anything. They are merely another form of expressing the opinion of the expert witness and are always presented as demonstrative evidence.

Misconception #4 - "We need it yesterday".

There have been many advances in the technology that forensic animators use which has improved the speed and efficiency of their work. Computer processing speeds have grown exponentially and the advances in software have allowed animators to do things which were simply not possible several years ago. There are even tools provided to animators which allow them to write custom scripts for repetitive tasks and specialized functions.

These advances in speed and ability would make one think that the time to complete an animation should also have been greatly reduced; however, this is not the case.

Part of this reason is simply the nature of the animation process. Much work needs to go into the understanding of the case, reading reports, taking measurements and verifying accuracy. This part alone can take a large part of the man-hours to create the animation.

Also, creating the 3D models ("scene assets") necessary to populate the animation is still a time consuming process. There are some advantages when a "library" of standard models is used (i.e. stop signs, light poles, traffic signs), however since each case is different and the specific details need to be reflected in the animation (such as the scene topography or specific damage to the vehicle), time must be spent to customize or create models from scratch.

Technology has effectively brought many more options to the realm of visualization which means that more work is being done in a similar amount of time. If one were to compare the time to produce an animation which was done 15 years ago to the same animation done today, there would be a noticeable decrease in the time to complete. However, the overall quality of presentation would certainly not be as appealing to the eye.

Due to media such as television and film and video games, people have become accustomed to a higher level of realism. The same animation which was used 15 years ago in a court of law, may not be as appealing or credible to an audience today.

It is important to leave as much time as possible to get a high quality animation and to allow time for the opponents to cross examine the animation. On average, a typical animation from a reputable forensic animator requires anywhere from a few weeks to months to complete depending on the availability of information, number of scenarios/views requested, level of realism and complexity of the animation. Unfortunately, there are still no "magic buttons" to do the manual work of a forensic animator.

Misconception #5 - "It's much too expensive"

Perhaps the most important piece of advice is to use a reputable and experienced forensic animator. There are some animation houses which specialize in advertizing or graphics which like to take on forensic work, but without a qualified and experienced forensic animator, there is a higher risk that the entire animation may be inadmissible.

A qualified forensic animator will bring to light all the options available, provide sound advice and set clear objectives up front. Setting clear objectives is possibly one of the most overlooked points. Without knowing the expectations, the goals of the animation are often missed or not well communicated resulting in last minute changes and edits which further increase the cost.

It is important the lawyers and accident reconstructionists understand the animation process and where the amount of man-hours are typically invested. Most forensic animators estimate or charge based on an hourly rate; however there are some which still prefer to quote by the case/project.

The general rule of thumb is that as the level of realism, complexity, number of scenarios and camera views increases, then so does the cost. This is why it is important to understand what is being requested of an animator. For example, changing a camera view slightly has a smaller impact on cost than does adding different animation scenarios with objects in different locations.

By taking a second look at forensic animations and their misconceptions, it is clear that there needs to be some understanding of the animating process by the client. Having an up front and open discussion about the objectives of the animation are imperative to having a positive impact on the case.

Drawing on the experience of a professional forensic animator who can explain the options available to a client and can discuss their associated costs removes the risk of falling short of the goals and ensures animations will be admissible in court.

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