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Ghost in the Shell: Arise is an OVA consisting of four 50-minute episodes, being directed by Kazichiki Kase, who has been the Key Animator for the good majority of Production I.G’s works, including the original Ghost in The Shell movies and Ghost in the Shell: Stand Alone Complex. Tow Ubukata, of Fafner In The Azure Dead Aggressor and Mardock Scramble fame, is in charge of writing the scripts Kenji Kamiyama has confirmed that he is not involved in this project. The initial concept was approved and fleshed out by Shirow Masamune himself.

This is the best news you will read all day: Star Trek is coming back. The franchise will get a brand new series in January 2017, one year after it turns 50.

CBS made an announcement today, stating that Alex Kurtzman, who co-wrote the two latest Star Trek films will be the executive producer for the new series, which will be streamed over CBS’ on-demand online service, CBS All Access. You can watch the premiere on TV, but after that you’ll have to subscribe to the $5.99/month service in order to see more episodes. It’s a clever ploy to bring in subscribers, because, really, who doesn’t want to see the next Star Trek series?

A Star Trek television show hasn’t graced the airwaves since Enterprise ended its four season run in 2005. This news is likely utterly thrilling to fans of the series that have contented themselves with movies and binge-watching episodes from the original Star Trek series, The Next Generation, Deep Space 9, and Voyager.

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Post-Human is a scifi proof-of-concept short based on the bestselling series of novels by me, David Simpson. Amazingly, filmed over just three hours by a crew of three, the short depicts the opening of Post-Human, drawing back the curtain on the Post-Human world and letting viewers see the world and characters they’ve only been able to imagine previously. You’ll get a taste of a world where everyone is immortal, have onboard mental “mind’s eye” computers, nanotechnology can make your every dream a reality, and thanks to the magnetic targeted fusion implants every post-human has, everyone can fly (and yep, there’s flying in this short!) But there’s a dark side to this brave new world, including the fact that every post-human is monitored from the inside out, and the one artificial superintelligence running the show might be about to make its first big mistake. wink

The entire crew was only three people, including me, and I was behind the camera at all times. The talent is Madison Smith as James Keats, and Bridget Graham as his wife, Katherine. As a result of the expense of the spectacular location, the entire short had to be filmed in three hours, so we had to be lean and fast. What a rush! (Pun intended).

The concept was to try to replicate what a full-length feature would look and feel like by adapting the opening of Post-Human, right up to what would be the opening credits. Of course, as I was producing the movie myself, we only had a micro-budget, but after researching the indie films here on Vimeo over the last year, I became convinced that we could create a reasonable facsimile of what a big-budget production would look like and hopefully introduce this world to many more people who aren’t necessarily aficionados of scifi exclusively on the Kindle. While the series has been downloaded over a million times since 2012, I’ve always intended for it to be adapted for film, and I’m excited to have, in some small measure, finally succeeded.

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To many people, the introduction of the first Macintosh computer and its graphical user interface in 1984 is viewed as the dawn of creative computing. But if you ask Dr. Nick Montfort, a poet, computer scientist, and assistant professor of Digital Media at MIT, he’ll offer a different direction and definition for creative computing and its origins.

Defining Creative

Creative Computing was the name of a computer magazine that ran from 1974 through 1985. Even before micro-computing there was already this magazine extolling the capabilities of the computer to teach, to help people learn, help people explore and help them do different types of creative work, in literature, the arts, music and so on,” Montfort said.

“It was a time when people had a lot of hope that computing would enable people personally as artists and creators to do work. It was actually a different time than we’re in now. There are a few people working in those areas, but it’s not as widespread as hoped in the late 70’s or early 80s.”

These days, Montfort notes that many people use the term “artificial intelligence” interchangeably with creative computing. While there are some parallels, Montfort said what is classically called AI isn’t the same as computational creativity. The difference, he says, is in the results.

“A lot of the ways in which AI is understood is the ability to achieve a particular known objective,” Montfort said. “In computational creativity, you’re trying to develop a system that will surprise you. If it does something you already knew about then, by definition, it’s not creative.”

Given that, Montfort quickly pointed out that creative computing can still come from known objectives.

“A lot of good creative computer work comes from doing things we already know computers can do well,” he said. “As a simple example, the difference between a computer as a producer of poetic language and person as a producer of poetic language is, the computer can just do it forever. The computer can just keep reproducing and, (with) that capability to bring it together with images to produce a visual display, now you’re able to do something new. There’s no technical accomplishment, but it’s beautiful nonetheless.”

Models of Creativity

As a poet himself, another area of creative computing that Montfort keeps an eye on is the study of models of creativity used to imitate human creativity. While the goal may be to replicate human creativity, Montfort has a greater appreciation for the end results that don’t necessarily appear human-like.

“Even if you’re using a model of human creativity the way it’s done in computational creativity, you don’t have to try to make something human-like, (even though) some people will try to make human-like poetry,” Montfort said. “I’d much rather have a system that is doing something radically different than human artistic practice and making these bizarre combinations than just seeing the results of imitative work.”

To further illustrate his point, Montfort cited a recent computer generated novel contest that yielded some extraordinary, and unusual, results. Those novels were nothing close to what a human might have written, he said, but depending on the eye of the beholder, it at least bodes well for the future.

“A lot of the future of creative computing is individual engagement with creative types of programs,” Montfort said. “That’s not just using drawing programs or other facilities to do work or using prepackaged apps that might assist creatively in the process of composition or creation, but it’s actually going and having people work to code themselves, which they can do with existing programs, modifying them, learning about code and developing their abilities in very informal ways.”

That future of creative computing lies not in industrial creativity or video games, but rather a sharing of information and revisioning of ideas in the multiple hands and minds of connected programmers, Montfort believes.

“One doesn’t have to get a computer science degree or even take a formal class. I think the perspective of free software and open source is very important to the future of creative programming,” Montfort said. “…If people take an academic project and provide their work as free software, that’s great for all sorts of reasons. It allows people to replicate your results, it allows people to build on your research, but also, people might take the work that you’ve done and inflect it in different types of artistic and creative ways.”

This means that BPG not only is way smaller than JPEG but also delivers a better quality. And that’s not all! It also supports animations!

And when I say animation, I actually say GIF-like movies with MP4 quality that are actually smaller than the mp4 it was built from.

Let’s see an example (I have not included a GIF example because the same quality size and frame rate means that the GIF will have exactly 33.8MB)

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http://creativecommons.org/licenses/by/3.0/
You are free: to Share — to copy, distribute and transmit the work to Remix — to adapt the work to make commercial use of the work.

Directed by Ian Hubert.
Produced by Ton Roosendaal.
Written by Ian Hubert.
Starring Derek de Lint,
Sergio Hasselbaink,
Rogier Schippers,
Vanja Rukavina,
Denise Rebergen,
Jody Bhe,
Chris Haley.
Music by Joram Letwory.
Cinematography Joris Kerbosch.
Distributed by Blender Foundation.
Release date(s) September 26th, 2012.
Running time 12 minutes 14 seconds.
Country Netherlands.
Language English.

Cyberpunk action short film with many aesthetic influences like matrix, classic roleplaying games like shadowrun, battle angel alita ( gunnm) and more.

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Watch this fantastic and breathtaking science fiction short film by the incredibly talented Richard Mans! See how a strange mechanical device lands on a desolate world and uses the planet to undergo a startling transformation, that has profound implications for an entire galaxy. For more information about this film, please see the details and links below:

http://www.abiogenesisfilm.com
http://www.facebook.com/abiogenesisfilm

SUBSCRIBE — to TheCGBros for more inspiring content!
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Interesting pilot. Too bad it was never picked up for a full run.


Cancelled TV pilot of the sci-fi series; REWIND (Series 01 — episode 01)

Cancelled TV Show/Film which revolves around a team of military field operatives and civilian scientists who must use untested technology to travel back in time to alter past events in order to change the future and avoid a devastating terrorist attack.

Fantastic short film… AND it’s aparently getting expanded to full feature film. Which is AWESOME.


For best viewing please watch in 1080 HD, Full Screen, on High Volume.

ENVOY is a science fiction, action adventure, short film to be used as a proof of concept for a larger full-length motion picture. A love-letter to many of the classic action-adventure and science fiction films of the ’80s & ’90s, Envoy is a passion-project created by Director DAVID WEINSTEIN and Visual Effects Supervisor ADAM COGGIN.

Envoy Official Site: www.envoyfilm.com
Envoy Facebook: www.facebook.com/EnvoyFilm
Follow Director David Weinstein: @dw78nov

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