Age progression is the process of modifying a photograph to give the effect of ageing in appearance. It’s often used to aid the search of missing children. The artist scans the image of the child, and develops it using age-appropriate pictures of bloodline siblings and parents. Another way of adding family traits is using a drawing software.
These images compare the age progression of missing children with actual photographs of them after they’ve been found.
This just took me an hour to make and I don’t like it still, but Im posting it anyway. Inspiration: Januz Miralles, having an actual talk with Henrik Uldalen about his work, Penny Dreadful, New Aether Ghoul from Ghost, Purity Ring, Vacant, my mental health and, stuff.
That approximately 40,000 storyboard panels were drawn for the film. The film consists of 40 sequences with 1,518 scenes, and 7,500 feet of animation The longest drawing created by the layout department for the scene in “The Trek” sequence measured 17 feet high in length.
Tzekel-kan’s book of magic spells is a 3D object with actual artwork created on every page. A close-up of the book would reveal pages with a version of the DreamWorks logo and a Mayan-style animator hard at work. Below is the picture of the Dreamworks Logo from Tzek’s Codex:
There were two research trips taken to the Yucatán Peninsula, one for the writers of the film and one for the key members of the creative team. Nearly 1,000 photos were taken during these trips, which were used as visual reference in designing the film.
An Artist and expert on Mayan culture, John Pohl spent a year and a half on the film helping artists to create the Mayan influenced architecture seen in “The Road to El Dorado”.
Approximately 87,957 pencils and 37,806 erasers were used during the course of the production.
A team of layout artists built a model out of Lego’s before designing the alleyway set in the Bull Chase sequence.
Character models for the three main characters were sculpted in clay, then lit and photographed to help effects artists understand how light was cast on the characters. Then an additional ten character models were used in constructing crowd sequences.
Over 485 artists from more than 30 different countries worked together for 4 and a half years to create “The Road to El Dorado”.
To get realistic splashing effects of water, DreamWorks developed a program called “spryticles,” which allows hand-drawn animation to be multiplied 1,000 fold onto a particle system and thus creates the illusion of splashing.
The “Crashing the Gate” sequence has seventy 3D shots, which took six artists a year to complete.
Approximately 3 million sheets of paper were used throughout the course of the production, along with more than 8 million paper reinforcements.
DO YOU SEE HOW MUCH EFFORT WENT INTO THIS FILM AND YET IT GOES SO UNAPPRECIATED?
I’ve wanted to collaborate with Kendra @whereness for a long time. These photos
(Kendra’s on top, mine on bottom) are the result of a conversation she
and I had about the photographer Todd Hido and how much we both love his
style and technique. This is our first Hido-inspired photo set.
“To me it is no mystery that we can only photograph effectively what we
are truly interested in or—maybe more importantly—are grappling with.
- Todd Hido
Background image is from an alleyway I photographed in Brussels ;), This is a semi-quick photoshop edit of a previous edit
My birthday is coming up April 14th, I’m doing an SFS on IG if anyone follows there. If you’d like to give me fanart of my cosplays as a birthday gift I’d love that (but don’t feel the need too ^^, your support is enough)