ZeMarmot work in progress: from animatics to animation

While production on the animation is still going full-steam, we thought we could show what exactly this is about. How do you go from static images to animated ones? Well this is all like progress layers, one step after another.

The Storyboard, then the Animatics

We have already talked about these at length so we won’t do it again. Feel free to check out our previous blog posts on the topic. These are the first 2 layers: comics-like static images (storyboard), and static images displayed in video (animatics).

Key Framing

In the digital world, “keyframes” is used with different meaning. On video formats, it is usually used to distinguish a standalone image in the stream with partial images which cannot be displayed by themselves. On 3D or vector animation software nowadays, it is usually used as extreme points in smooth transition which are computed by algorithm (interpolation). This is more or less the definition given by Wikipedia: “A key frame in animation and filmmaking is a drawing that defines the starting and ending points of any smooth transition.

This definition is a little too “mechanic” and tied to modern way of animating with vector or 3D (actually it is not entirely true even in 3D and vector but this is what one might think when discovering interpolation magic). Key frames are actually simply “important images” as determined by the animator in a purely judgemental way. Keyframing is part of the art of the animator, more than a science. It is true that they are often starting/ending points of movements, but this is not a necessity. Also called sometimes “key poses”, these are what the animator feels make the movement good or not, in one’s guts as an artist.

Pose to Pose vs Straight Ahead animation

When animating, there are 2 main techniques. The first method is to decompose the movement in key poses (keyframes) as a first step. Then later, when it looks good, you complete with intermediate frames (inbetweens). This is the pose to pose method and demonstrated a bit in the above video.

When you are a big studio, keyframes would usually be drawn by the main animators, and the inbetweens would be left to the assistants (less experienced animators). This allows to share the work with more multitasking. In ZeMarmot‘s case unfortunately, Aryeom does everything, since we don’t have the funds to hire more artists as of yet.

The other method is called “Straight Ahead” and consists on doing all frames one after another without prior decomposition. Timing is much harder to plan with such a technique and you may end wasting more drawing. On the other hand, some animators prefer the freedom it gives and by making movements less perfect, you can also avoid them being too mechanical (in other words, perfect movement are not always what you are looking for when you want to represent living being in their whole perfect imperfection).

Observing Aryeom, she uses both methods, depending on the cuts, as is the case for many animators.

Conclusion

Hopefully you appreciate this insight on the work behind animating life, and this small video where we display the same pieces of a scene at different steps in the work-in-progress, first one after another, then side by side.

You will notice that we mostly show always pieces of the same scene since we really want to try and avoid any spoiler as much as possible. 🙂

Have fun!

ZeMarmot team

Reminder: if you want to support our animation film, made with Free
Software, for which we also contribute back a lot of code, and
released under Creative Commons by-sa 4.0 international, you can
support it in USD on Patreon or in EUR on Tipeee.

Spring is here!

This is spring, time of cherry blossoms and warmer weather (well for people in north hemiphere only!). So Aryeom drew a new header image for our blog (as usual drawn in GIMP under Creative Commons by-sa).

Very soon more news on GIMP and ZeMarmot!

ZeMarmot end-of-year report

Hi everyone!

How are going your last days of 2016 so far? It’s been a strange year? Well let’s not diverge, and focus on ZeMarmot, then, shall we? First be aware that our dear Director, Aryeom Han, is getting a lot better. She was also really happy to get a few “get well” messages and say thanks. Her hand is still aching sometimes, in particular on straining or long activities, but on the whole, she says she can draw fine now.

Reminding the project

I will discuss below what was done in the last months, but first — because it is customary to do so at end of year — I remind that ZeMarmot is a project relying on the funding by willing individuals and companies, with 2 sides: art and software.

I am a GIMP developer, the second biggest contributor in term of number of commits in the last 4 years and I also develop a plugin for digital 2D animation with GIMP, which Aryeom is using on ZeMarmot. I want to get my plugin to a releasable state by GIMP 2.10.

Aryeom is using the software to fully animate, draw and paint a movie, based on an original story which I wrote a few years ago, about a marmot who travels the world for reasons you will know when the film will be released. 🙂 Oh and the movie will be Creative Commons by-SA of course!

Up to now, our initial crowdfunding (~ 14 000 €) has allowed to pay several months of salary to Aryeom. I have chosen to not earn anything for the time being (not because I don’t like being paid but because we cannot afford it with current funding). Some of it is remaining but is kept to pay the musicians.

Now we are mostly relying on the monthly crowdfunding through the Patreon (USD funding) and Tipeee (EUR funding) platforms. But all combined, that’s about 180 € a month, which amounts to barely more than a day of salary (and with non-wage labour costs, that’s not all of it for Aryeom). 1 day per month to make a movie, that’s far from enough, right?

My dream? I wish we could some day consider ourselves a real studio, with many paid artists, producing cool Libre Art movies going to the cinema (yes in my crazy dream, Creative Commons by-sa films are on the big screen!), and developers paid to improve Free Software so that our media-making ecosystem gets even better and for everybody to use!
But right now, that’s no more than an experiment mostly done voluntarily.

Do you like my dream? Do you want to help us make it real? You can by helping the project financially! It can be the symbolic coin as the bigger donation, any push is actually helping us to make things happen!

Click here to fund ZeMarmot in USD on Patreon »
Click here to fund ZeMarmot in EUR on Tipeee »

Not sure yet? Feel free to read more below and to pitch in at any time later on!

Note that not only the money but also the number of supporters is of great help since it shows supports to bigger funders; and for us that’s good for morale too! A good monthly crowdfunding can also help us find producers without having to abandon any of the social and idealistic aspects of the project (note that we have already been contacted by a production who were interested by the film after the crowdfunding but we refuse to compromise too much on the ideal).

The animation

We illustrated Aryeom’s work by 2 videos presenting extracts of her work-in-progress. In this first video, she shows different steps in animating a few cuts of the main character:

In this second video, we examine some cuts of another character, the Golden Eagle, main predator of the marmot:

There are a lot which can be said on these few minutes shown about the work of “animator”. Many pages of books on the art of animating life could be filled from such examples! We will probably detail these steps in longer blog posts but I will still explain the basics here.

Animating = giving life

Aryeom says it in the first video and you can see it in several examples in both videos. When your character moves from A to B, you are not just “moving” it. You have to give the impression that the character is acting on oneself, that it is alive, inhabited, in other words: animated.

This is no surprise one of the most famous book on animation is called “The illusion of life” (by Frank Thomas and Ollie Johnston), also the bedside book of Aryeom. Going this way has a lot of ramifications on the animator job.

Believable, not realistic

Before we continue, I have to make sure I am understood. Even though realistic animation is also a thing (Disney comes to mind), making a good animation is otherwise not necessarily about making it “realistic”, but instead about making it “believable”.

It is very common to exaggerate some movements for various reasons (often because it is funnier, but also sometimes because exaggerating it may sometimes look even more believable than the realistic version!), or the opposite (bypassing anatomically-correct movements). There are no bad reasons, only choices to achieve what you want.

Now that this thing is clear, let’s continue.

You can’t just “move an arm”

The very classical example beginners will be given is often: “lift your right arm up”. That’s it? Did you only move your arm and the rest of the body stayed unchanged? Of course not. To stay in balance, your body shifted to the left as a counterweight; the right shoulder lifted whereas the left shoulder lowered; and so on.
A lot of things will change in your body with this simple action. Even your feet and legs may move to compensate the shift of the center of gravity. As a consequence, you don’t “move your arm”, you “move your whole body” (in a configuration where your arm is up).

This is one of the first reason why to just move a single part in a body, you cannot reuse previous drawings and change just this part. No, you will properly redraw the whole body because if you are to fake life, you may as well do it well.

Note: when you say “animation” to computer people, their brain usually immediately wires to “interpolation“, which is the mathematics to compute (among other things) intermediate positions. Because of what I said above, in reality, this mathematical technique is barely used in traditional (even when digital) animation. It is used a lot more in vector and 3D animation, but its role should definitely be minimized compared to the animator work even on these fields. In vector/3D, I would say that interpolation only replaced the inbetweener role (some kind of “assistant” who draw non-keyframe images) from the traditional animation world.

Timing, silence and acceleration

You often hear it from actors, poets, writers, singers, anyone who gives some kind of life: the silence is as important as the noise for their art. Well I would also add the acceleration and the symmetrical deceleration.

You can see this well on this first example of the video 1 (at 0’41). Aryeom was unhappy with her running marmot which was nearly of linear speed. Marmot arrived too fast on the flower. Well he slowed down, but barely. Her finale version, Marmot would arrive much faster with a much more visible slowdown, making the movement more “believable” (we get to the bases!).

The eagle flight in video 2 (at 1’09) is another good example of a difficult timing as Aryeom went through 2 stages before finding the right movements. With the wrong timing, her flying eagle feels heavy, like it has difficulty to lift itself into the air (what she called her “sick” eagle in the video); then she got the opposite with an eagle she felt more sparrow-like, too light and easy-lifted. She was quite happy with the last version (obtained after 8 attempts) though, and in particular of this very last bit in the cut, when the eagle gets in glider mode. Can you spot it? This is the kind of difference which just lasts for a few hundredth of seconds, barely noticed, yet on which an animator can spend a significant amount of time.

Living still images (aka “line boil”)

A common and interesting effects you find in a lot of animation is about a shaking still image. You can see it in the second video (at 0’33), first cut presenting the proud eagle still on his mountain. Sometimes you want to show a non-moving situation, but just sticking to a still image feels too weird because in real life, there is no perfect stillness. Even if you make all efforts to stay still for a few seconds, you will imperceptibly move, right? So how do you reproduce this? The attempt to stay perfectly still while this being impossible? Well commonly animators will just redraw the same image several times because as much as you can’t stay still, you can’t draw perfectly identical images twice either (you can get very close by trying hard though) and you loop them.

You usually don’t do this for everything. Typically, elements of the background, you accept them to be still much more easily. But this is common for your living character or sometimes to pull main elements which you want to tick out of the background.

Avoiding cycles

Now, loops are very usual in animation. But the higher quality you aim for, the less you have loops. Same as stillness does not exist in life, you never repeat exactly the same movement twice. So even though loops seems to be the first thing many animators will teach (the famous “walking cycles”), you don’t actually use these in your most beautiful animations. When your main character walks, you will likely re-animate every step.

Of course, it is up to you to decide where to stops. Maybe for this flock of birds in the background, far away, just looping (and even copy-pasting the birds to multiply them!) may be enough. Though this is all a matter of taste, time, and money ready to spent on animator-time obviously.

Camera work

This part has not really started yet, even though it has already been planned (from the storyboard step). But since Aryeom started (first video at 1’06), let’s give some more infos.

Panning and tilting

In animation, where the movement is by essence 2D as well, these refers to respectively a horizontal and vertical camera movement. Why do I need to say “in 2D animation”? Because in more traditional cinema, these will rather correspond to a tracking shot done on rails, whereas panning and tilting refer to angle movements of a static camera. Different definitions for different references. Note that even though 3D animation could be using one or the others, they mostly kept the animation vocabulary.

This gives you a good hint on how characters and background are separately managed. If you have a character walking, you will usually create a single image of the background, much bigger than the screen size, and your camera will move on it, along with the character layers. With fully digital animation, this usually means working on image files of much higher sizes than the expected display size; in traditional physically-drawn animations, it means using very large papers (or often even sticking papers together). As an example, at a Ghibli exhibition, they would display the background for a flying cut of “Kiki’s delivery service” and it would take a full wall in a very large room.

Animation is a lot of drawing

I will conclude the section on animation by saying: that’s a bloody lot of drawing!

As you can see, Aryeom spends time redrawing the same cuts so many times to get the perfect movement that sometimes she becomes crazy and thinks that she is just drawing the wrong animal. The story about the pigeon is a true story and I am the one who told her to add it to the video because that was so funny. Some day, she comes to me and show me her cut she has been working on for days. Then she asks me: “doesn’t it look like a pigeon?”
Hadn’t I stopped her, she was ready to start over.

This is an art where you even draw again when you want to show stillness, and you forbid yourself from using too much shortcuts like using loops. So what do you want: you probably have to be a little crazy from the start, no? 😉

There are actually several “schools”, and some of them would go for simplicity, shortcut and reusage. Japan is well known for the studio Ghibli which goes the hard way as we do, but this is quite a contradiction in the country industry. The whole rest of Japan’s animation industry is based on animating as little as possible. Haven’t they proved so many times that it is possible to show a single still image for 30 seconds, add sounds and voices, then call it an animation?

Sometimes it is just a choice or a focus. Some animation films focus on design rather than believable movements, or scenario rather than wonderful images. For instance, I don’t think you can say that The Simpsons has a wonderful graphics appeal and realistic animation (they even regularly makes meta-jokes inside episodes about the quality of their animation!), but they have the most fantastic scripts, and that’s what makes their success.
So in the end, there is no right choice. Every one should just go the way they wish for a given project.

And this is the way we are going for ZeMarmot!

Music

Just a very short note on music. We have started working with the musicians, remotely and on a physical meeting on December 1st.  We have a few extracts of “first ideas” but they won’t do justice to the quality of the work.

I think this will have to wait for much later.

Software

I went so long about animation that I hope I have not lost half of the readers already! If you are still reading, I’ll say what I worked on these last months.

GIMP

I am trying to do my share on GIMP, to improve it globally, speed up the release of 2.10 and because I love GIMP. So I count 259 commit authorship in 2016 (60 in the last 3 months) + 48 as committers only (i.e. I am not the author, but the main reviewer of a patch which I pushed into our codebase). I commented on 352 bug reports in 2016, making it a habit to review patches when possible.

I have a lot of projects for GIMP, some of the grander being for instance a plugin management system (to install, uninstall and update them easily from within GIMP, and a backend side for plugin developpers to propose extensions), but also a lot of ideas about the evolution of the GUI (this should be discussed topic-per-topic on later blog posts).

Also I have been starting to experiment with Flatpak so that GIMP can provide an official release for GIMP.  For years, our official stance has always been to provide a Windows installer, a OSX package, and GNU/Linux… yeah grab the source and compile or use the outdated version from your package manager! I think this situation can be considerably improved with Flatpak and similar technologies which were born these years.

Animation in GIMP

As explained already, I took the path of writing it as a plugin rather than a core feature. Anyway GIMP is only missing a single feature which would make it nearly as powerful: bi-directional notification (basically currently plugins don’t get notified when pixels are updated, layers are renamed, moved or deleted, images closed…). That’s actually something I’d like to work on (I already have a stash somewhere with WIP code for this).

The animation plugin currently has 2 views:

Storyboard view

GIMP's animation plug-in: storyboard view
GIMP’s animation plug-in: storyboard view

This actually corresponds to the very basic animation logic of 1 layer = 1 frame, which is very common by people making animated GIF (or MNG/WebP now), except with a nice UI to set each image duration (instead of tagging the layer names, a very nasty user experience, feature hidden and found only on some forums or old tutorials), do basic compositing and even comments on vignettes if-need-be. All this with a nice preview in real-time!

Cel-Animation view

GIMP Animation plug-in: Cel-animation view
GIMP’s Animation plug-in: cel-animation view

This is the more powerful view where you can compose a frame from several images, often at least a background and a character. In the above example, the cut is made from 3 elements composed together: the background, the eagle and the marmot.

You may usually know more of the “timeline” style of view, which is basically the same thing except that frames are displayed as horizontal tracks. I tried this too, but quickly shifted to this much more traditional view in the animation world, which is usually called an x-sheet (eXposure sheet). I found it much more practical, allowing commenting more easily too, easy scroll, and especially more organized. There is a lot you don’t see in this screenshot, but this view is really targetting a professional and organized workflow. In particular with layers properly named, you can create animation loops and line tests of dozens of images, with various timings,  in a few clicks.

I am also working on keyframing for effects (using animated GEGL operations) and camera movements.

Well there is a lot done but definitely a lot more I am planning to do there, which takes time. I will post more detailed blog posts and will push the code on a branch very soon (probably before Libre Graphics Meeting this year).

That’s all, folks!

And so that’s it for this end-of year report from ZeMarmot team! I hope you appreciate the project. And if so and can spare the dime (or haven’t done so yet), I remind the project accepts any amount on the links given above. Some people just give 1 Euro, others 15 Euro per month. In the end, you are all giving life to ZeMarmot!

Thanks and have a great year 2017!

ZeMarmot monthly report for September 2016

The past month report will be short. Indeed Aryeom sprained the thumb from her drawing hand, as we already told a month ago. What we did not plan is that it would take that long to get better (the doctor initially said it should be better within 2 weeks… well she was wrong!). Aryeom actually tried to work again after 2-week rest (i.e. following doctor advice), but after a few days of work, the pain was pretty bad and she had to stop.

Later Aryeom has started working from the left hand. Below is her first drawing with her left hand:

Left-hand drawing by Aryeom for Simwoool magazine
Left-hand drawing by Aryeom for Simwoool magazine

I personally think it is very cool but she says it is not enough for professional work. Also she is a few times slower with this hand for the moment. Yet for ZeMarmot, she started animating again with the left hand (wouhou!), but not doing finale painting/render. She is waiting the right hand to get better for this.
In the meantime, she has regular sessions with a physiotherapist and Friday, she’ll do a radiograph of the hand to make sure everything is OK (since pain lasted longer than expected).

Because of this, the month was slow. We also decided to refuse a few conferences, and in particular the upcoming Capitole du Libre, quite a big event in France in November, because we wanted to focus on ZeMarmot instead, especially because of the lateness which this sprain generated on the schedule. We will likely participate to no public event until next year.

Probably now is a time when your support will matter more than ever because it has been pretty hard, on Aryeom in particular, as you can guess. When your hand is your main work tool, you can imagine how it feels to have such an issue. :-/
Do not hesitate to send her a few nice words through comments!
Next month, hopefully the news will be a lot better.

ZeMarmot monthly report for August 2016

So what happened in August for ZeMarmot?

GUADEC

We went to the GUADEC conference, which was our first time there. Have a look to our reports in English and in Korean.

If you haven’t already, we can recommend to have a look at the record of our talk. We showed pieces of the animation work in progress.

Excerpt from ZeMarmot work-in-progress at GUADEC
Excerpt from ZeMarmot work-in-progress at GUADEC

Also the development being done on the animation software.

Animation software ­— work in progress
Animation software ­— work in progress

… and some numbers on what we did in GIMP (we already posted some info on our implication in GIMP earlier, if you remember), and more… Anyway rather than repeating ourselves, just check out the video. 🙂

Production

This month has been very active, both for the drawing, animating and coloring of several cuts of the pilot, as well as for the plugin development.

Just as we came back from GUADEC though, the graphics tablet of Aryeom — a Wacom Intuos 5 M — failed to work. This is bad news since these are pretty expensive. We were seeing it coming since the connection was having regular issues, but Aryeom is extra cautious with her material, so we hoped it would last longer. It did not. For a week, Aryeom had been drawing on a very old Wacom Bamboo (MTE-450, nearly 10 year old model, which Aryeom was using during her university years). Finally we found a solution saving us from having to buy a whole new tablet!

But as a bad news does Aryeom sprained her right hand’s thumb (i.e. her drawing hand) just around the end of the month! :-/ Probably she worked too much.
So that’s a bad news which requires her to rest her hand a bit now. Send her all the love you can, everyone!

That’s it for now. We’ll send more news soon, hopefully better ones.

We hope that you appreciate our project, and if this is the case, don’t forget that you can always support us either through Patreon (USD) or Tipeee (EUR).

Can you save a Wacom tablet with broken USB port?

You may have already read on ZeMarmot’s Twitter a few days ago but I thought a short post may be worth it. Lately Aryeom’s Wacom tablet (Intuos 5 M) had been acting up until finally the USB port was not working at all (not the cable — of course we checked! 😛 — but the port side on the tablet).

Apparently quite a common problem with Wacom Intuos tablets (like very common; I could find many reports on the web about such problem) and the after-sales of Wacom is quite expensive unfortunately. Some people would open and solder the USB back themselves successfully. On the other hands, I could read at least one comment by someone who failed and bricked the tablet this way. Also I have not soldered anything for years and I don’t have a good soldering iron anymore.

We also had the wireless kit, so we wondered if this could not be our solution: why plug the tablet at all? But it still requires the tablet to work on battery and this one is charged… by the same USB plug! Back to case 1. But then I checked the battery, realized it looked like a very common phone battery (comparing to a Galaxy S2 battery we had there, it was the same voltage, just a slightly different form factor). So yes the solution was simply to buy a 8€ universal charger, and a second Wacom battery so that we can use one in the tablet while the other is charging.

Wacom battery charged on universal charger…
Wacom battery charged on universal charger…

And tadaaa! Wacom tablet fixed for just a few bucks! 🙂

I’m just letting this small trick out there as a possible alternative to soldering yourself your graphics tablet, in case this happens to you too.

P.S.: yes it is written on the battery to only use the specified charger. But what do you want? We do what we can. 😉

 

 

Reminder: was it helpful? If you like our posts, you can
always support our animation film project, "ZeMarmot"
(Creative Commons by-sa), made with Free Software, for
which we also contribute back free software code, open data,
articles…
Fund us in USD on Patreon or in EUR on Tipeee! :-)

Report of GUADEC 2016

Hi all!

So this year was our first GUADEC, for both Aryeom (have a look at Aryeom’s report, in Korean) and I. GUADEC stands for “GNOME Users And Developers European Conference”, so as expected we met a lot of both users and developers of GNOME, the Desktop Environment we have been happily using lately (for a little more than a year now). It took place at the Karlsruhe Institute of Technology in Germany.

Apart from some people we knew from Libre Graphics Meeting events over the years, we met a lot of new faces, and that’s very cool. We have to spread ZeMarmot love, right?! 🙂

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My first impression is the remarkable organization of GUADEC. They planned social events every day (barbecue, picnic with football, beer nights, dinners… even an ice cream truck at free price!), very well planned schedules, efficient sponsorship, workshops and hackfests, a cake for the 19th birthday… They know their geeks and we nearly never ran out of coffee (well, excepted during the hackfests ;-()!

GUADEC opens with a huge barbecue!
GUADEC opens with a huge barbecue!
GUADEC picnic
GUADEC picnic

Of course, we were not here just for the beer, there were a lot of very cool talks. I was quite interested into Endless and their OS based on GNOME. It was interesting to see the design experiment around GNOME maps too. There were also a bunch of discussion relative to security, and definitely the project on everyone’s mouth was Flatpak. This is clearly a technology that a lot of people have been waiting for, and the center of many discussions.

But also the small feedback that we got on how the GNOME Foundation works was quite insightful. Obviously this is only a small piece of it, but being able to participate and view some of the decision process, discuss about the money that the foundation had been able to raise, how it should be used, about new events around GNOME (like LAS GNOME). This all felt like an exciting time and a cool community to be part of.

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Another of my activities was trying to get designers interested into GIMP. For people who have followed my work a little, you know I have been really involved into getting GIMP a design revival (taking over the GUI wiki, creating an official GIMP GUI mailing list, trying to make other developers interested into this topic again and proposing some ideas here and there…), yet with very limited success so far (well I had some, but would really love if things could go forward at a better pace). I think GIMP is clearly a great software, both historically and technically. Historically because it is the root of several awesome technologies, like GTK+ (no GNOME without, right?) or lately GEGL, and because many people would call it a “flagship” for Free Software. But great technically as well: I am very amazed how good the code is. It has its zones of darkness (every software has, especially after more than 20 years of existence), because it is still well organized, clean, following clear coding standards with quality code. There is obviously a good technical maintainership. Now the GUI is less than perfect. Not because it is flawed, but because it follows here too 20-year-old design standards. Any software this age has this kind of problem, especially with design paradigms evolving faster and faster. Yet I believe a software that great deserves a chance to get a new face. So what’s the link to GUADEC? Well I have tried to approach various GNOME designers and getting them interested to GIMP again. If you are one of these designers I approached, hopefully I convinced you to give it a try. If I didn’t approach you, I may just not have known who you are, and do not hesitate to come to me. I am not saying that any complete huge redesign will happen overnight. But you definitely have open ears and we, at GIMP, are willing to discuss how to make a better user experience! We can start small.

Another reason for our presence was obviously to present our project: ZeMarmot. We were quite pleased to discover that some people knew about us. I was clearly going there thinking we would be like total strangers. But not only did some people recognize us, but we even had someone telling us his daughter was a huge fan. What? We got our first fan girl?

By the way, they had this badge machine, so while we were there, we printed and created our first hand-made badges of ZeMarmot. About 3 dozens of them. They are therefore quite exclusive so if you got some of them while being there, don’t throw them away!
Oh and by the way, that’s Creative Commons by-sa badges, like our movie! 😉

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For people interested into our talk, here it is! You’ll see some quite exclusive contents with a few seconds of some cuts of the pilote. Enjoy!

And so here we are, ready to leave Germany. This was a very interesting event. We may come back next year, who knows? Only regret I have is that I was really hoping to participate to a workshop, but since our hotel was already booked, it was not made possible. Well next year maybe…

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So thank you GNOME for the event and also for sponsoring our travel there! 🙂

ZeMarmot sponsored by GNOME

ZeMarmot talk livestream (GUADEC)

A small reminder that we are currently at GUADEC!

ZeMarmot's director at GUADEC 2016
ZeMarmot’s director at GUADEC 2016

As we said in our last post, tomorrow at 11:45 AM (Central European Time), we’ll have a talk about the status of ZeMarmot with some contents (i.e. few seconds of animation in progress) and our view on using GNOME and Free Software for media creation.

So if you are around Karlsruhe (Germany), do not hesitate to come by (GUADEC is a free GNOME event) at the Karlsruhe Institute of Technology. Otherwise, you can see us on the live streaming of the event (direct link for live streaming) and the recording will remain viewable afterwards from the CCC streaming website.

See you there!

ZeMarmot at GUADEC 2016

Hello everyone!

Just a quick post to tell everyone that ZeMarmot project will be present at GUADEC 2016.

ZeMarmot is speaking at GUADEC 2016!
ZeMarmot is speaking at GUADEC 2016!

GUADEC is “the main conference for GNOME users, developers, foundation leaders, individuals, governments and businesses worldwide” and this year, it will be held in Karlsruhe, Germany from August 12 – 14.

ZeMarmot sponsored by GNOME

We are all happy users of GNOME here, and this is the first time we will be in GUADEC, so this is pretty exciting. Both Aryeom, the film director, and myself, Jehan, are sponsored by the GNOME Foundation to present our film, produced with FLOSS, in room 1, on Sunday, August 14. We will talk about the movie, its current status, about our work on GIMP too, how GNOME and Free Software works in a media creation workflow, and so on. So we hope you will be many to check this out if you are around!
There are a lot of other very cool talks for the whole 3 days of conference, so if you come by, I have the feeling you won’t regret it. 🙂

Of course, if you happen to come across us in between talks, or during the hackfest days, don’t hesitate to come and say hi! Here is what we look like so you can recognize us:

Aryeom & Jehan by Patrick David
Aryeom & Jehan by Patrick David.

Have fun everyone, and maybe see you at GUADEC! 🙂