Morel vs AFP copyright verdict.
Just read an interesting article on copyright of photos http://www.pdnonline.com/news/Morel-v-AFP-Copyrig-9598.shtml
Essentially the key point is that although images uploaded to Twitter are freely available for re-distribution by other Twitter users under their terms of service. This does not make the image public domain and freely distributable. So Getty were break the Law by selling the images to other people outside of Twitter.
Whilst this relates to American Law I’d be interested to see if a similar case can be made in England.
Additionally reading through the comment thread. Alfonso Bresciani makes a good point.
You don’t have to put a watermark But if you do: Section 1202 of the U.S. Copyright Act makes it illegal for someone to remove the watermark from your photo so that it can disguise the infringement when used. The fines start at $2500 and go to $25,000 in addition to attorneys’ fees and any damages for the infringement.
You can read the copyright act yourself here: http://www.law.cornell.edu/uscode/text/17/1202
Watermark images to make copyright clear.
In this day and age publishing our work online is essential. If someone steals an image then we may have a fight on our hands to prove the image wasn’t public domain. However by watermarking each image the copyright becomes clear and it’s illegal for someone to remove it.
The art of budget animation is much like the art of budget live action movies. Can we create something compelling with a small cast of characters in a single location? The answer is of course ‘yes we can’ given a good idea and a good script.
With animation I find there are three categories of cost
- Cost to plan
- Cost per asset
- Cost per shot
Cost to plan
- mood boards and concept art.
- Management and scheduling
Cost per asset
(per character , per environment , per prop )
- Rigging ( connecting the model to a skeleton for animation
- texturing ( The colour of the surface )
- material shaders ( how the surface responds to light … is reflective, dusty, matte transparent etc… )
Cost per shot
- Animation time
- special FX expositions etc
- Lighting and rendering
- Compositing (layering different images and movies together to create the final shot )
- Sound design
For a fully CG animation literally every blade off grass must be made and placed in our virtual world, and every hair on a characters head must be combed into place. We must be virtual makeup artists, carpenters, hairdresser, tailors, photographers etc.. All the jobs of a liveaction movie are recreated virtually.
Photoreal CG is a lot of work. Costs will add up into thousands of pounds per character and per shot. With games costing many millions to create there are huge marketing budgets, and we have been wowed by many epic animations costing hundreds of thousands.
So the art of budget animation is to minimise the number of locations and the size of the cast. But With animation we also have the advantage of creating simplified styles (like southpark or monty pythons cutout animation ) and this can greatly reduce costs.
We have a range of styles to chose from. Here they are in order of cost
- Stills with sound and music ( like a moving comic )
- 2d Animated Cartoon Cutouts
- 3d Animation in a cartoon style
- 3d Characters composited into photographed environments
- 3d characters in fully 3d worlds
… good ideas with a good stories win
With a good script all of these styles can deliver a compelling story. We can blind our audience with stunning visual FX. But a good idea with a good story will do the job just as well, and we can get the message across for considerably less money.
On the flip side holes in the script only get worse as the production develops. Its very hard to fix a bad story in post…
A good production methodology helps.
The deeper into the production we get the longer everything takes. There’s no point polishing a shot if it’s not needed. Good story boards and previs will save time in the long run.
This process is beautiful described in this short The story of animation
These are our top tips for managing the post-production process. Essentially we’re trying to control these truisms.
- How do we check everyone imagines the same thing?
- Stuff never turns out quite the way we imagined it.
Recently I was listening to a radio show. A panel of profession artists were talking about there work.
Asked about the creative process. She described it as:
There is a natural pattern to the way we tease solid ideas out of feelings and concepts. Many people have written about this.
I like to summarize my process as.
Consume, Collate, Copy, Create, Compare.
It reflects my first inspiration because consuming copying, and comparing are all ways of observing.
- Observe / Consume
- Observe / Copy
- Observe / Compare.
First I consume the world around me. Actively collecting ideas from the books, galleys and Internet or passively noting things as I go around my daily life. My ideas germinate as I observe the world around me. I subconsciously absorb the information, and consciously seek out things that feel right.
Feeling right is the key here. Our Brains are pattern matching trying to find things that fit new concept. I don’t need to justify the choices with too much reason. That will just get in the way. I need to promote the right frame of mind to help the subconscious process the information.
Soon I’ll have a pile of images which are a mixture of mood, style, overall design and interesting details.
Whilst I may like the feel of the ideas I’ve created. Not all of them are compatible. This may lead to different strands of design being developed. However if these two strands cannot be integrated a choice must soon be made over which route to follow. So while consuming I’m also sorting and categorizing.
UFO … example industrial vs alien
Eventually I start trying things.
I wish I’d made this. I’m currently writing a very dry document to basically say the same thing.