- Administrative Information Technology Services (AITS)
- Applied Technologies for Learning in the Arts & Sciences (ATLAS)
- Beckman Institute
- Biotechnology Center
- Business Information Technology Services
- Business Research Lab
- Career Center
- Center for Computational Biotechnology and Genomic Medicine (CCBGM)
- Center for Informatics Research in Science and Scholarship
- Center for Innovation in Teaching & Learning
- Center for Innovation in Teaching & Learning (CITL)
- Center For Simulation of Advanced Rockets
- Champaign-Urbana Community Fab Lab
- College of Agricultural, Consumer and Environmental Sciences (ACES)
- College of Applied Health Sciences
- College of Business
- College of Education
- College of Engineering
- College of Liberal Arts & Sciences (LAS)
- College of Veterinary Medicine
- Computational Science and Engineering (CSE)
- Computer Science (CS)
- Coordinated Science Lab (CSL)
- Cyberinfrastructure and Geospatial Information Laboratory
- Department of Physics
- Department of Statistics
- Disability Resources and Educational Services (DRES)
- Engineering IT
- Extreme Science and Engineering Discovery Environment (XSEDE)
- Graduate College
- Health Care Engineering Systems Center (HCESC)
- High-Performance Biological Computing (HPCBIO)
- Illinois Data Science Initiative
- Illinois-Indiana Sea Grant
- Illinois Program for Research in Humanities (IPRH)
- Illinois State Geological Survey (ISGS)
- Information Trust Institute (ITI)
- Institute for Genomic Biology (IGB)
- Interdisciplinary Health Sciences Institute (IHSI)
- Life Sciences
- Materials Research Laboratory (MRL)
- Micro and Nanotechnology Laboratory (MNTL)
- Midwest Big Data Hub
- National Center for Supercomputing Applications (NCSA)
- National Center for Supercomputing Applications / PEcAN
- Parallel Computing Institute
- Prairie Research Institute
- Public Affairs Web Services
- Research IT
- School of Chemical Sciences (SCS)
- School of Information Sciences (The iSchool at Illinois)
- School of Literatures, Cultures, and Linguistics (SLCL)
- School of Molecular and Cellular Biology (MCB)
- School of Social Work
- Survey Research Laboratory (SRL)
- Systems On Nanoscale Information fabriCs (SONIC)
- Technology Services
- University Library
- University of Illinois Springfield (UIS)
Animation has evolved tremendously in the last century, but some principles always stay the same. This foundation will serve you for a lifelong career.
Moderated by the vice president and editorial director of Variety Peter Bart, these six directors speak to the pressures of being on the Oscar circuit and the need to get back to work as soon as possible. Unusual for a group of nominated films—with the exception of Toy Story 3 at an estimated $200 million—these are all relatively low-budget films, ranging from $1 million to a high of $14 million. The directors discussed how not having a big budget to work with forced them to be more creative and focused on the story.
This panel includes Darren Aronofsky (Black Swan), Charles Ferguson (Inside Job), Debra Granik (Winter's Bone), Tom Hooper (The King's Speech), David O. Russell (The Fighter), and Lee Unkrich (Toy Story 3).
Moderated by Patrick Goldstein from the Los Angeles Times, these six producers cover many topics not often discussed in the entertainment press. The struggle to get a picture funded, ratings battles with Motion Picture Association of America, where the lines are drawn making a dramatic film based on a real life event, and working with a difficult director. They offer amazing stories of perseverance and triumph.
This panel includes Darla K. Anderson (Toy Story 3), Iain Canning (The King’s Speech), Alix Madigan (Winter’s Bone), Todd Lieberman (The Fighter), Mike Deluca (The Social Network), and Jamie Patricof (Blue Valentine).
Moderated by Madelyn Hammond from Madelyn Hammond & Associates, the Creative Forces: Women in the Business panel features five talented women filmmakers whose talents range from visual effects and animation to documentary films. The women speak eloquently about how they each got their start, their mentors and inspirations, and the positive effect that they feel women have on the creative arts. We hear stories from the making of Toy Story 3, doing costume design with director Tim Burton on Alice in Wonderland, and working with George Lucas at Skywalker Sound.
This panel includes Darla K. Anderson (Producer, Toy Story 3), Colleen Atwood (Costume Designer, Alice in Wonderland), Gloria Borders (Executive Visual Effects Producer at Digital Domain on TRON: Legacy), Lesley Chilcott (Producer, Waiting for Superman), and Alix Madigan (Producer, Winter's Bone).
Moderated by Anne Thompson from indieWIRE, the It Starts with the Script panelists talk about the development of their films, their research before sitting down at the keyboard, the evolution of the script, and finally, getting it to the screen. What's clear is that there's no formula, no easy path, and no shortcuts. The writers candidly reveal the obstacles each overcame on the way to seeing their vision realized. The anecdotes range from stories of triumph over adversity to remarkable collaborative efforts to just plain luck. Panelists are Aaron Sorkin (The Social Network), Scott Silver (The Fighter), David Seidler (The King's Speech), Charlie Mitchell (Get Low), Lisa Cholodenko (The Kids Are All Right) and Michael Arndt (Toy Story 3).
Moderated by Peter Bart (vice president and editorial director from Variety) the Directors on Directing panel features a who's who of Oscar®-nominated directors on their way to the Kodak Theatre on February 26, 2012. With a dynamic range of films, from feature animation to comedy to silent films, this panel offers a diverse group of opinions and stories from the set. Gore Verbinski (Rango) was shocked that voice actors were recorded one at time, so he arranged for his ensemble cast to be recorded at the same time to take full advantage of the actors' comedic interactions. Michel Hazanavicius (The Artist) talks about the challenge of getting a black-and-white silent film made in the 21st century. Terry George (The Shore) tells how he found humor in the serious subject of the conflict in Northern Ireland. Chris Miller (Puss in Boots) leaves room for improvisation in his script with his three main characters, two cats and an egg. Jennifer Yuh Nelson (Kung Fu Panda 2) shares her darker moments during production, assuring a nervous studio (a year into production) that everything will work out—despite having nothing to show them. Paul Feig (Bridesmaids), discovering the brilliant performance of actress Melissa McCarthy in rehearsals, rewrote parts of the script to take better advantage of her comedic genius.
All of the directors speak candidly about the importance of great casting, a strong story, and the ability to listen to their audience through prerelease testing.
Moderated by Patrick Goldstein (Los Angeles Times columnist for "The Big Picture"), the festival lit up the marquee with a panel of Oscar®-nominated producers you'll certainly see on the red carpet on February 26, 2012. These professionals cover a wide range of films, from huge-budget effects movies to smaller, ensemble-casted dramas. Graham King (Hugo), who marks his fourth film with director Martin Scorsese, tells how they worked together to shoot their first 3D film—and their first with kids and animals. Mike De Luca (Moneyball) needed to develop a working relationship with Major League Baseball, who had final cut on his film. Bill Pohlad (The Tree of Life) talks about the 10 years it took to green light his film and the obstacles along the way. Jim Burke (The Descendants) worked with director Alexander Payne to put every dollar on the screen while shooting in Hawaii, known to be an expensive location. Letty Aronson (Midnight in Paris) shares the unique working relationship she has with director (and brother) Woody Allen.
Despite the impressive resumes of all of these producers, getting every one of these feature films to the screen presented new challenges.
Moderated by Anne Thompson from indieWIRE, the It Starts with the Script panelists share their stories of script development, writer's block, book adaptation, and, most of all, tenacity, on the way to getting their movies to the screen. Mike Mills (Beginners) tells us about turning his own story about his father into a screenplay. Will Reiser (50/50) also turned a life experience, his personal battle with cancer, into a comedy starring his best friend Seth Rogen. Jim Rash (The Descendants) walks us through his process as he turned the book by Kaui Hart Hemmings into a film nominated for five Academy Awards®. Tate Taylor (The Help) was roommates with author Kathryn Stockett, who wrote the best-selling book; he finished the screenplay (and owned the rights) before the book was even published. Writer J. C. Chandor (Margin Call) wrote about the financial markets, having grown up with his father immersed in that world.
With all of these brilliant writers, "write what you know" became their life's mantra while they worked on their screenplays. They share funny and poignant anecdotes about their experiences and processes on the way to the big screen.
Moderated by Madelyn Hammond from Madelyn Hammond & Associates, the Creative Forces: Women in the Business panel features five talented producers whose films have been nominated for multiple awards—from drama and comedy to animation and independent short film. Julia Louis-Dreyfus (Picture Paris) talks about her short film written by husband/writer Brad Hall. A multi-award winning actress, Louis-Dreyfus describes her journey to the other side of the camera as producer. Dede Gardner (Tree of Life) tells us why Fox Searchlight Pictures chose not to include images of star Brad Pitt while promoting the film. Melissa Cobb (Kung Fu Panda 2) talks to the organic process of producing an animated feature that allows an ongoing evolution of the story during production. Denise Ream (Cars 2) also shares her journey in feature animation though the creative juggernaut that is Pixar Animation. And Leslie Urdang (Beginners) talks about the experiences of working with legendary actor Christopher Plummer, who was presented with the Modern Master Award at this year's festival.
These powerful forces in feature filmmaking offer an inside look at why women are no longer excluded from any role in production they choose. All it takes is desire and a lot of hard work.
Please join us for presentations from the 2017-2018 NCSA Faculty Fellows and learn more about the work they have been conducting over the past year. Lunch will be provided.
The Sixth Annual NCSA Blue Waters Symposium will bring together leaders in petascale computational science and engineering and will be a tremendous opportunity for sharing successes and challenges in large-scale heterogeneous computing. Along with presentations from Blue Waters science teams, the symposium will feature keynotes from innovative thinkers in science and will provide opportunities to share and discuss specific topics of interest. Be sure to follow @NCSAatIllinois on Twitter for Symposium updates and coverage during the event. You can contribute to the conversation by using the hashtag #BlueWaters.
If you are a Linux system administrator new to HPC, this is the workshop for you! In just five days you will:Learn HPC system administration concepts and technologies and how to apply themGet hands-on skills building a small test cluster in lab sessionsHear real-life stories and get to ask experts questions in panel discussionsRegister today!
Von will assign you a drawing challenge for each day. Take the time you need to finish each challenge, and then watch the video where Von shares his own hand-drawn solution. There are no right answers here; his solutions should serve as inspiration! For more encouragement, look no further than the chapter on inspiring drawers. Each movie profiles a different artist, including people like Kate Bingaman Burt and Mattias Adolfsson. So, step up to the plate. You're just 21 days from a new creative habit. And don't forget to share your drawings via Twitter and Facebook! Use the hashtag #draw21days.
First, he reviews the poses—contact, down, passing, and high point—and the creative decisions you have to make about timing, frame rates, and placement. (Traditionally, walk cycles can be animated in place or across the screen.) In the following chapters, Dermot animates a character walking in profile and also from a front view. These two projects give you opportunities to see animation techniques, such as creating poses and in-betweens and troubleshooting arcing and timing issues, in action.