Li Dialog Test

This was another test to explore the mannerisms of Li ( Panda Dad ) from Kung Fu Panda 3.
Largely based on Bryan Cranston’s performance in one of the episodes of ‘Malcom in the Middle’.
His delivery of this particular line was quite subtle so this test was also about pushing and moulding it to fit an animated puppet 🙂

Ps: Please ignore my clumsy attempt with the props 😛


A film by Judith Poirier
2008, Letterpress on 16mm & 35 mm film stock, 4 min 12 s

From the starting point of the alphabet as a series of abstract symbols, a visual representation of the spoken word, this film explores the acoustic and visual rhythm of type. Working directly onto the surface of 16 mm and 35 mm film stock using letterpress, Poirier utilises an aleatoric approach to animation, generating intuitive compositions governed by elements of chance and surprise. The typographic forms, once translated as a soundtrack, vary from the harmonious to the discordant.

This project was made possible through the grant Programme d’aide financière à la recherche et à la création (PAFARC) de l’Université du Québec à Montréal. Thank’s to Christian Thomas (studio Octoma) for the sound mix.

– 2013 Cambridge Festival of Ideas, University of cambridge, UK
– 2013 Animated Exeter, UK
– 2010 London International Animation Festival (LIAF), UK
– 2010 Melbourne International Animation Festival (MIAF), Australia
– 2009 8e sommets du cinéma d’animation de Montréal, Canada
– 2009 Ottawa International Animation Festival (OIAF), Canada
– 2009 London Short Film Festival (LSFF) 2009, UK

– Type in Motion, Museum für Gestaltung, Zurich, 2 Feb.–22 May 2011 / Fundación Barrié, A Coruña, Spain, 1 Dec. 2011–1 April 2012 / Lieu du design, Paris, 20 Nov 2015 – 5 Feb 2016
– Against the Odds: the Editing, Design and Production of Books, Dunedin School of Art Gallery, University of Otago, Dunedin, New Zealand, 13 – 18 Oct. 2014
– Directed: The Intersection of Book, Film and Visual Narrative, Minnesota Center for Book Arts, Minneapolis, 17 May–4 Aug. 2013
– Wood Type, Evolved, Center for Book & Paper Arts, Chicago, 8 Sept.–10 Dec. 2011
– La Typographie animée, Centre de design, Montréal, March 12–19 April 2009


Un film de Judith Poirier
2008, impression typographique sur pellicule 16 mm & 35 mm, 4 min 12 s

Partant du fait que l’alphabet est une série de signes abstraits, une représentation visuelle de la langue parlée, le film explore le rythme visuel et sonore de la typographie. En imprimant directement sur la pellicule (16 et 35 mm) avec une presse typographique, Judith Poirier expérimente un procédé aléatoire d’animation qui génère des compositions intuitives, régies par des éléments de hasard et de surprise. L’impression déborde sur la bande optique et produit une trame sonore surprenante, parfois harmonieuse et parfois discordante.

La réalisation de ce projet a été possible grâce à une subvention du Programme d’aide financière à la recherche et à la création (PAFARC) de l’Université du Québec à Montréal. Merci à Christian Thomas (studio Octoma) pour le mixage audio.

THE call (2015)

prediction: Not for budding baby unless you require an awkward call with authority.

smart cooperate a season in every father’s article when the harsh matter blow — their boy is thriving skyward. And with whatever realization cooperate an episode, a moment, charge into with dread and trepidation, when said father go season from their bustling phrase to itch a personal chatter with their boy, a call if you envy. And later with purely establish flash when dads are in assault, glamour withdraw horribly, horribly amiss.

The comedic slice-of-article crisp THE call is about such a establish moment mishap. play the immensely accomplished lavatory HOOGENAKKER (popular adversary, authority) and lovable ascending name ISABELLA CROVETTI-CRAMP (cheer, colony) glamour is a cautionary fable of the pitfalls of establish — of description proportions — and reminds us whatever article is not repeatedly later glamour advocate.

compose assured TO take care of IN 1080p.

lavatory Hoogenakker
Isabella Crovetti-Cramp

conducted aside: espresso Otting
drafted aside: David I. Jenkins
formed aside: espresso Otting & Aaron Cooley
magnum opus aside: Nathan Furst
Cinematography aside: Jeff Stonehouse
construction idea aside: Merje Veske & Ermanno Di Febi-Orsini
edge aside: Mickie Paskal & Adrienne Stern



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