Founded in 2007, CATCHPLAY quickly became a major player in movie entertainment business in Taiwan by providing a wide selection of films excelling in both quantity and quality. Over the years, CATCHPLAY has continued to distribute more than 30 films theatrically every year, an average of one movie every other week, and more than 100 titles for release on home videos, TV and digital platforms. Today, we are the largest independent distributor in Taiwan with a library of more than 2,000 titles, most of which CATCHPLAY owns all rights to exclusively.
In 2014, in addition to distributing the movies CATCHPLAY loves, we embarked in earnest co-production and investment projects, venturing into content creation. In the same year, we invested in the locally produced film, Paradise in Service and co-produced 20 Once Again with CJ Entertainment for the Chinese market. Both investments generated considerable box office performance in Taiwan and China respectively.
Today, CATCHPLAY Media Holdings Group owns two distinct companies: CATCHPLAY Incorporated, and AsiaPlay Incorporated, with involvement from production, theatrical distribution, linear movie channel and both content aggregation and platform operation for digital entertainment services.
It's the year 1999, the world we live in has Labors(human operated robot carriers) used for construction and giving mankind an easier living style. After The suicide of a mysterious man from the massive constructing Babylon Project a computer virus was created to infect the Labors. And make them cause havoc on their own free will. Which leads to Section 2 of the Patlabor team in investigating this incident. Before the Tokyo district faces it's destruction.I first saw this movie back in 2005, and it imminently got me into the franchise. Which I had no idea it existed before. Compared to the popular TV series. This movie has all the characters we all recognized and know. Only the theme to this movie is more serious than the theme of the TV show. In other words more seriousness and less comedy.But that didn't change the plot a bit. As the movie does have some great and believable moments in it, that make you forget it's animated. Plus it's directed by Masumo Oshii who was one of the dudes who made this franchise possible. And really knows how to make it the way it should.If you like a unique Sci-Fi anime or interested in seeing something new. Patlabor the Movie has been highly recommended by various websites. It's enjoyable even if you don't know the series.
Alex Parkinson (Visual Effects Supervisor, Cinesite): Often the difference between VFX supervisors in live-action and animation depends on the kind of VFX show you are talking about. Sometimes entire sequences in movies are CG with no live-action aspects at all. In that case, the workflow and the job would be very similar. But mostly the differences between the two jobs reflect the differences between the two mediums. In animation, you tend to have more creative ownership over the final product and way more freedom. Live-action VFX is a more technical and precise process. It is harder in a lot of ways, because you must match existing elements and every shot is put through more scrutiny.
R. Stirling Duguid: Spider-Man: Into the Spider-Verse was a pretty big splash for Imageworks as far as doing a whole movie like that. Then look at the evolution into The Mitchells vs the Machines, where we also took it to a really nice place. And, actually, it was quite different. You can clearly see the difference between Mitchells and Spider-Verse, but it was using a lot of the same technology.
As for those filmmakers who showed ingenuity and a unique perspective towards how to incorporate visual effects, two in particular stand out. To begin, director Jordan Peele is having a major impact on redefining the horror genre and having it be a mirror that reflects the beauty and ugliness of society. Nope addresses the issue of spectacle and elevates the UFOs of B-movies into an aerial creature wreaking havoc on the world below. Massive wind machines were needed, so a helicopter was brought in to generate practical dust for the shots. Day for night photography consisted of a 3D rig that synced a color film camera with an infrared digital camera under the guidance of innovative Cinematographer Hoyte van Hoytema and Production Visual Effects Supervisor Guillaume Rocheron. And for an added bonus, here is the rampaging monkey brought to life with performance capture legend Terry Notary.
What does the road ahead look like for the VFX and animation industries? The subjects that are most top of mind for those at the nexus of VFX and animation include: real-time, virtual production, LED volumes, AI, machine learning, AR, the Cloud, hybrid working, tangible effects of the pandemic, global expansion and the search for talent. With the world canvas now a bullet train of VFX-infused movies, via streaming and related platforms, a global cross-section of industry leaders meets in this VFX Voice virtual roundtable to discuss the outlook for the new year. 2b1af7f3a8