STELLARIS EDQ ANIMATION
The Next Generation in State-of-the-Art Animation
ABOUT STELLARIS EDQ
Imagine animated blockbusters such as Tangled, Shrek, Up, Toy Story, or Cars, each of which cost over $190 million to produce, now costing in the neighborhood of $16 to $20 million. Imagine further that instead of taking 2.5 to 4 years to complete,this type of quality film could be completed in less than 18 months! Now, imagine further still that those same films, made at a fraction of the typical cost and in some cases, in less than half the time, still achieved their respective box office returns which ranged between $500 to $700 million dollars!
This isn’t imaginary. This isn’t a dream. It’s real, and it is what Stellaris EDQ Animation can do.
Stellaris EDQ has entered the high tech market of animation as a leader in state-of-the-art technology, which allows EDQ to achieve the aforementioned cost and time savings without sacrificing the quality of the end product.
Stellaris EDQ Animation, LLC (“EDQ”) is comprised of a unique group of proven and accomplished professionals in Animation, Music Composition, Technology Development, and Management, who have established a revolutionary method for creating high quality Animated Feature Films.
This method, utilizing our EDQ formula for production and technology, not only saves substantial amounts of time and money, but also produces an animation product unlike any other in the industry.
For example, currently, all animation films being produced utilize 3D rigged figures against a matted or 2D background, so that when you watch the movie Shrek, for instance, you will notice nothing moves in the background. With EDQ’s software and innovative production techniques, EDQ can produce that same 3D figure moving against a detailed and dynamic 3D background: birds flying, branches swaying in the wind, etc. In short, EDQ is doing what is unprecedented in the animation industry.
WHY?
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EDQ'S ANIMATION
Why We're Unique
Whether it’s animation for live production or an animated feature film, the end product produced by EDQ is of the highest quality and meets all the standards audiences demand, which at this moment is judged by the products being produced by Walt Disney Studios and Pixar Animation Studios.
The difference is that EDQ can produce the same animation for a fraction of the costs of the big studios.
How?
Three factors make this possible:
1. EDQ outsources the rudimentary work involved in a production at the beginning of the production process, rather than doing it in-house, which allows EDQ to keep its labor, facilities, and other overhead costs extremely low;;
2. As stated above, EDQ has the ability to create a 3D effect for both the foreground and background. For a detailed explanation, please see the Section - 2D vs 3D below; and more importantly...
3. EDQ has customized computer software and hardware, that allows the Company to -- RENDER IN REAL TIME.
MORE ON RENDERING
Rendering is one of the most expensive and time consuming phases in animated film production.
EDQ’s unique ability to render in real time, employing its cutting edge computer software and hardware, sets EDQ apart from its peers. The ability to render in real time does not exist anywhere else in the industry.
BELOW ARE TWO EXAMPLES OF REAL-TIME RENDERING
This clip illustrates one of our innovative animation design elements. In this render each hair on the ball of fur reacts to the motion relative to its position on the shape. Each hair subsequently reacts to the light sources and color in turn. This results in a uniquely realistic effect. The fur has the look of being soft to the touch and fluffy.
However, what's important to understand is that every single hair that moves is a separate render.
This fur ball sequence, as you are currently seeing it, would take months to create using the techniques employed by the major studios (Disney and/or Pixar for example). At EDQ, this sequence took a matter of days.
Days versus Months equates to tens of thousands of dollars. You can imagine the time and money saved on a full-length feature film.
This low-rez clip above, of an abominable snowman, shows several facial expressions and movement of hair all within a ten second sequence.
The ability to render in real time allowed EDQ animators to composite and render this sequence in less than three days. It would have taken the major studios over three months to accomplish the same results.
2D vs 3D
Unlike “3D Live Action Movies,” 3D Animation refers to the characters and frontline elements being three dimensional shapes and not having film elements jumping off of the screen with the aid of special glasses.
EDQ takes full advantage of the latest advances in 3D animation technology, photo-realistic digital computer animation, digital surround sound, Foley and visual effects. Along with these elements, we add a new concept in lighting and revolutionary motion sensitive element illumination. With our technical production capabilities and plug-in technologies, we will not only limit the financial risk through our cost saving production techniques, but also introduce a totally new method of production in 3D animation.
In today’s “first class” animation, the frontline elements are created as three dimensional objects and the backgrounds are “flat mat,” or 2D backgrounds, (as in Cars, Shriek, Frozen, etc), EDQ utilizes its groundbreaking technologies, techniques and low production costs, we can afford to build all elements in our film with 3D elements.
FOR AN ANIMATED EXAMPLE OF 2D VS 3D, PLEASE CLICK BELOW.
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THE EDQ ANIMATION METHOD
A Five Stage Process
After the script, the storyboard, and the artistic expression (how the characters and sets will look) are in place, there are Five Main Stages to EDQ's Animation Process:
1. Modeling,
2. Rigging,
3. Texturing, Shading and Lighting,
4. Morphing, and
5. Rendering and Composition
Using popular films, such as Disney's - Frozen, the animation process is illustrated below.
TO SEE EDQ'S ANIMATION PROCESS FOR OUR FILM - HUGGINS, PLEASE CLICK THE BUTTON
MODELING
Modeling is the process of taking a shape and molding it into a completed 3D mesh. The most typical means of creating a 3D model is to take a simple object, called a primitive, and extend or "grow" it into a shape that can be refined and detailed. Primitives can be anything from a single point (called a vertex), a two-dimensional line (an edge), a curve (a spline), to three dimensional objects (faces or polygons).
In the modeling stage, the digitized sketches of each set are created by defining their shapes in three dimensions: height, width and depth. Control points (rigs) are then added, allowing the scene to be moved and animated. Each scene has hundreds of animation control points.
RIGGING
Rigging, the next step in completing a scene, is essentially where a digital skeleton is bound to the 3D mesh. Like a real skeleton, a rig is made up of joints and bones, each of which act as a "handle" that animators can use to bend the character into a desired pose.
A character rig can range from simple and elegant to staggeringly complex. A basic setup for simple posing can be built in a few hours, while a fully articulated rig for a feature film might require days or weeks before the character is ready for what’s typically seen in a Pixar/Disney animated film.
TEXTURING, SHADING AND LIGHTING
The next stage is shading and lighting, which adds a consistent perspective of a light source to the animated sequence or scene. Shading addresses how different types of scattering are distributed across the surface (i.e., which scattering function applies where). Descriptions of this kind are typically expressed with a program called a shader. A simple example of shading is texture mapping, which uses an image to specify the diffuse color at each point on a surface, giving it more apparent detail.
Texturing and shading are two separate processes, they both combine to achieve the model’s overall aesthetic look. Using the UV map from the previous step as guidelines, an artist can accurately apply textures to achieve the look they desire of their model. Texturing isn’t limited to just color’s however and can achieve photo-realistic qualities with roughness, highlights and translucent effects through the use of multiple maps like diffuse, specular, and bump/normal maps.
Shading is a vital component of a 3D asset as it informs the Renderer of how the model’s surface should interact with the light. Without a shading, a 3D object would be invisible, existing only as a set of data points.
MORPHING
In 3D animation, after models are built and 3D figures are rigged with a virtual skeleton, the limbs, eyes, mouth, clothes, etc. of the figure are moved by the animator on key frames.
The differences in appearance between key frames are automatically calculated by the computer in a process known as tweening or morphing.
In short, morphing blends one mesh into the next, and uses the resulting mesh to distort the image and simultaneously dissolve one to another, thereby preserving a coherent and seamless internal structure throughout.
RENDERING
Rendering is the act of translating all of the information in the files that make up the shot, (sets, colors, character movement), into a single frame of film.
Animators interpret the data then "draws" the finished image by computing every pixel of the image from the model, animation, shading, and lighting information.
Using powerful computers, all of the digital information that the animators have created is assembled into a single frame of film.
Even with the incredible computing power of the major studios, it takes an average of six hours to render one frame of an animated film. For example, Pixar and Disney animated films are produced at a frame rate of 24 frames per second (fps). For a 90 minute film, that's nearly 130,000 frames of animation. Animators are expected to produce 100 frames of animation a week.
But, not at EDQ.
HUGGINS
Our first film is titled - “Huggins.” We have assembled an innovative team for this project that has enjoyed the pinnacle of success in their respective fields. These fields include animation, music, writing, composition, recording, sound effects, motion picture soundtrack, television production, and stage production.
It is the track record and the experience of our team that gives us the confidence and experience to create what promises to be a film that will revolutionize the industry.
WIND TAMER
“Wind Tamer” is an animated feature film structured after the courageous and inspirational story of - Rudy.
It is an entertaining film that will be a technological wonder, while inspiring and motivating all those who embrace the message of self-empowerment.
Wind Tamer is an adaptation of Rudy Ruettiger’s original story by Rudy and Cheryl Ruettiger from the book Rudy’s Lessons for Young Champions.
Wind Tamer is targeted to be G Rated, appealing to “kids” of all ages.
PIXELTOWN
Pixletown is a film that combines animation and live action to tell the story of how the inhabitants of Pixletown, the world inside your computer, reaches out to their human friends for help in the Pixledom.
Pixies have existed since the dawn of time, but only now have become stars in this animated feature, cleverly and humorously written by Joe Tarantino and Marija Dail.
EDQ brings their incredible animation expertise to this film to present the elaborate backgrounds, variety of great characters, and fascinating story of PIXLETOWN, which has been approved by the Pixies for all humans!
THE LAND OF EVERMOOR
The Land of Evermoor is an animation film that showcases some of the wonderful messages and characters from the CrocPond, a family-friendly entertainment brand.
Evermoor is a classic tale of good versus evil, written by Evan Spiliotopoulos, edited by Kevin Delehanty, and further developed by the EDQ team into a full-length, beautifully presented, animation film.
Evermoor’s story will be appealing and appropriate for the whole family.
ANIMATED FEATURE
FILM PROJECTS
EXECUTIVE TEAM
President
Mr. Richard Nicklaus is co-founder of EDQ. .” Mr. Nicklaus is the recipient of the “Life Time Achievement Award” from the Recording Academy, (Grammys), for “Outstanding Contributions To The Music Community.” He has collaborated in the creation, development, production, musical composition and orchestration of EDQ.
Mr. Nicklaus has held various positions in music production, music publishing, music composition and orchestration, television production and marketing. In the early 70’s, he held a publishing and song writing position with Chapel Music, Los Angeles. In 1978, Mr. Nicklaus won the Ginza Music Festival Award for composition. In 1986, Mr. Nicklaus acted as a Director of Promotions with Chiat/Day, California Cooler accounts. Additionally, he has vast experience as a Music Producer for television specials featuring Mac Davis, the Pointer Sisters, Dolly Parton, Dionne Warwick, Kenny Rogers, Lionel Richie, and many others. Mr. Nicklaus was a producer of the critically acclaimed, weekly PBS television show, CD Highway. Mr. Nicklaus is an original member of the legendary rock group, The Kingsmen, most noted for their hit, Louie, Louie, called by some “the national anthem of rock-’n’-roll.”
In 2006 Mr. Nicklaus released his first book, “Louie Louie, Me Gotta Go Now.
RICHARD NICKLAUS
Vice President - Director of Business Affairs
Mr. Kim Nicklaus is the co-founder of EDQ.
He is a musical performer, artist and composer. He studied music theory, electronics, and musical arranging at Olympic College located in the State of Washington. For seven years Mr. Nicklaus owned and operated Great Heart Recording Studio and an audio and video recording facility The Recordatory Recording Studio. He has written, performed and recorded logo music for theater chain SRO.
Mr. Nicklaus has also written and produced various radio jingles and has over 30 years of experience arranging and producing musical compositions. He serves as a consultant in the music recording industry. He graduated from the Phoenix Institute of Technology specializing in electronics and has been a Project manager for the past 20 years.
KIM NICKLAUS
Vice President - Director of Creative Affairs
Mr. English has 23 years of experience in animation and is recognized as a leading high-end 3D animator in the United States.
For the past 20 years Mr. English has been a Designer, Animator and Technical Director. In these capacities, Mr. English works with James Cameron, Michael Jackson, Disney, Pepsi, Turner Broadcasting, Cartoon Network, NBC, Reebok, View Studio, Knott’s, Lenox, Santa Barbara International Film Festival, among many others. He is the Beta Tester for software companies Maya, Mental Images, After Effects, Electric Image and Strata. Mr. English has taught Maya animation courses at Stanford and UT Austin Universities, Mount Holyoke College Mass. and Lawrence Livermore National Laboratories. Mr. English also teaches Shake at Stanford University. Mr. English is fluent in Maya Unlimited, Shake, Final Cut Pro, Fusion, Combustion and Avid. Mr. English wrote the initial Softimage to Maya Transition tutorials for Alias/wavefront. Mr. English’s vast expertise includes outstanding abilities in modeling/animation, visual effects, video editing, digitizing and encoding.
KEITH ENGLISH
Vice President - Director of Systems Development
MAURO CONTALDI
Mauro started his career in the early '90s in Italy, when he founded Space Lab snc, one of the pioneering companies in Italy’s digital visual effects industry. With his company, he produced several national TV spots for companies like Omsa, Rizzoli and Leopard and music videos for local artists.
Eager to expand his horizons, he moved to the US in 1998 when he got involved as a modeler, animator and mentor for a student film project- produced at UC Santa Barbara- which won several awards including a bronze medal Student Academy Award.
In the last 10 years, he collaborated with small boutique VFX shops as well as renowned visual effects houses such as Hy*dra*ulx, Motion Theory and Screaming Pixels, tackling and solving an incredibly wide range of animation problems.
Some of the most successful projects include the Grammy-winning video “Boom Boom Pow” and the AICP award winning Tanqueray commercial. Most recently he worked as Character TD in several feature films including A-Team, Jonah Hex, Gulliver's Travels, Skyline and Battle: Los Angeles.
Treasurer
Mrs. Fraser is the owner of Fraser Business Services in Portland, Oregon. Mrs. Fraser has been a financial services consultant, providing bookkeeping and payroll services. Her clients include physicians, contractors, dance studios, retailers and entertainment companies. Mrs. Fraser’s experience includes: business Administrator for Pacific Festival Ballet, Portland, Oregon; office manager for Miles Cohen, M.D., Chief of Surgery at Cedars-Sinai Hospital, Los Angeles, CA; and business manager for Samaritan Center, Santa Monica, CA.
NANCY FRASER
CFO
Mr. Brown, CFP is Managing Partner of Temecula Financial Group. Michael graduated from the UCLA School of Economics in 1981. He has spent the past 35 years learning the fine art of financial services. Michael's strengths include his ability to help clients see what is important to them and how to help them reach and achieve their true financial goals. He knows the value of being prudent, ethical and conservative in all his business dealings. Michael holds the designation Certified Financial Planner. Michael's Credentials include: * CA Insurance License #0614715 * BS Economics, UCLA * CFP (Certified Financial Planner) * Past President - Temecula Valley Business Association * Past President - Temecula Valley Life Underwriters * Member of the International Association of Financial Planners * Lifetime Member of the prestigious MDRT.
Mr. Brown lives in San Juan Capistrano, California with his wife Donna. He enjoyes spending time with his three granddaughters and grandson, Samantha, Alexandra, Lucy, and Jackson. His hobbies include: baseball, coaching basketball, scuba diving, flying a private plane, skiing and traveling.
MICHAEL BROWN
