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‘Wallace & Gromit' Studio Aardman Partners With France's Foliascope On Cross-Border Stop-Motion Training Program

‘Wallace & Gromit' Studio Aardman Partners With France's Foliascope On Cross-Border Stop-Motion Training Program

Yahoo2 hours ago

Wallace & Gromit and Shaun the Sheep animation studio Aardman is joining forces with France's Foliascope and training expert Rhinoceros to launch a cross-studio training initiative in France and the UK to advance the skills of professional stop-motion animators.
Oscar-winning Bristol-based studio Aardman and Foliascope, the credits of which include features such as Leonardo da Vinci biopic The Inventor, host some of the largest and most advanced stop-motion sets in Europe and are currently expanding their production slates.
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Per a release announcing the program, the partners recognizing their need for highly skilled animators, decided to work with Rhinoceros to offer the cross-border program.
The four-week intensive course will begin with two weeks at Foliascope Studio in France, followed by two weeks at Aardman's training facility, the Aardman Academy in the UK. The training will focus on enhancing animation technique, speed, character performance, and expressivity—preparing participants to contribute to upcoming stop-motion feature productions.
Applications for the training program open in September 2025, with the course scheduled to take place in March 2026. The training is fully funded for eight selected animators, with support from AFDAS, France Travail Scène et Image, and the participating studios.
'The Aardman Academy has existed for over 20 years training, nurturing and inspiring new talent,' said Rachel Plant, producer at the Aardman Academy. 'We are delighted to be partnering with Foliascope and Rhinoceros with this new course to inspire the next generation of animators Interested animators can apply via the Rhinoceros website.'
The partners will be presenting the new program in a session a the upcoming Annecy International Film Festival next week.
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Underwater jetpack backpack lets you explore ocean depths
Underwater jetpack backpack lets you explore ocean depths

Fox News

time37 minutes ago

  • Fox News

Underwater jetpack backpack lets you explore ocean depths

If you've ever dreamed of gliding underwater with the freedom of a dolphin, the CudaJet might be the gadget for you. Unlike most underwater propulsion systems that strap onto your arms or legs, the CudaJet is worn like a backpack, giving you a hands-free way to cruise beneath the surface. It's a fresh approach that feels a lot more natural and comfortable, especially for longer swims. The CudaJet's story started almost seven years ago. Back then, it was just a prototype called the Cuda, a passion project by British designer Archie O'Brien during his final year at Loughborough College of Art and Design, now known as Loughborough Design School. Archie wanted something lighter and faster than anything else out there, and in 2023 his vision became reality with the first commercial CudaJet. Now, the CudaJet has been redesigned with a longer battery life, lighter build and updated features, making it even more appealing to underwater adventure seekers. So, what's it like to use? The main unit is a dual-jet-drive pack that attaches to a padded neoprene harness, which you wear on your torso. You control everything with a hardwired, trigger-style remote that lets you adjust your speed and keep an eye on the battery level. One of the biggest improvements for 2025 is the battery. While the original model provided approximately 40 minutes of underwater fun for every 75-minute charge, the latest version extends that time to a full 90 minutes per charge. That's more than double the original runtime, so you can explore even more on a single outing. CudaJet can take you down to a maximum depth of 131 feet, and it delivers about 88 pounds of thrust. That translates to a top speed of roughly 10 feet per second, or about 6.7 mph. Now, that might not sound fast on land, but underwater it's a whole different story. The company likes to point out that at 10 feet per second, the drag force on your body is about the same as flying through air at nearly 200 mph. It's an exhilarating experience that feels powerful and smooth. The 2025 redesign also trimmed some weight from the original, reducing it from approximately 33 pounds to just over 30 pounds, including the harness. The harness itself comes in four sizes, so you can get a fit that feels just right. Safety is clearly a priority as well. Each CudaJet ships with a factory-set safety depth of about 10 feet, which you can adjust up to the full 131 feet if you're feeling adventurous. If you ever go past your set limit, the motor cuts out and floats you right back to the surface. The controller's full-color display keeps you updated on your speed, battery and depth at all times. CudaJet is aimed at the luxury market. Think superyacht owners and underwater adventure lovers who want something special. Each jetpack is made to order, handcrafted and painted in the U.K. The 2025 package starts at around $31,000, which is a jump from the original price, but it now includes a two-year warranty, a luxury hard case and a fast charger. For those who want something even more exclusive, there's a Founder's Edition with lifetime product access, in-water training with the founder and a lifetime warranty, but only 20 of those are being made. Since each CudaJet is made to order, buyers should expect a personalized experience. The process involves custom-fitting the harness to your size and selecting your preferred finish, all of which are handcrafted in the U.K. Due to this approach, there is typically a wait time before delivery, which varies depending on demand and the customization options. This ensures you receive a truly unique jetpack tailored just for you. It's pretty amazing to see how far CudaJet has come since it started as a student project. Now it's no longer just a clever idea; it's a real way to zip around underwater and see the ocean from a fresh perspective. With the longer battery life, lighter design and smart safety features, this jetpack is definitely for anyone looking to make their underwater adventures more exciting. If you love being in the water and want to try something truly different, and the price fits your budget, the CudaJet could be your next big thrill. Would you feel safe exploring deep waters with technology like the CudaJet, or does the idea of relying on a jetpack make you nervous? Let us know by writing us at For more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Follow Kurt on his social channels: Answers to the most-asked CyberGuy questions: New from Kurt: Copyright 2025 All rights reserved.

‘How To Train Your Dragon' (2025) Review - A Live-Action Remake Done Right
‘How To Train Your Dragon' (2025) Review - A Live-Action Remake Done Right

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  • Geek Vibes Nation

‘How To Train Your Dragon' (2025) Review - A Live-Action Remake Done Right

An unsung curse that has plagued the cinematic landscape for years now is that of the dreaded 'live-action remake'. Despite coming on strong with Jon Favreau's Jungle Book reimagining in 2016, just about every genre entry since has suffered from a lack of color and inspiration in favor of a bland, play-by-play remake of whatever animated classic is being castrated. That is, until Dean DeBlois decided to tackle his own How to Train Your Dragon franchise, sculpting the live-action reformation with the same hands that created the original. The result is, in a rarity for the type, almost as magical as the original animated release was in 2010. DeBlois and Dreamworks didn't just get this one right — they set a new standard. While the live-action makeover's narrative is almost a one-to-one retelling of the first movie, it sets itself apart with strong casting and unique visuals. In an age of much more expensive movies looking unrealistic and unconvincing, the remake of a children's dragon movie coming onto the scene with some of the best visual effects in the last half-decade was certainly unexpected; yet, here we are. How to Train Your Dragon simply looks fantastic. The franchise's cartoonish sensibilities are not lost in live-action, like many feared they would be; instead, they're adapted in style, lending themselves to the realistic look of the titular creatures without losing the whimsy that makes them feel so unbelievably special. Toothless, especially, is flawlessly executed here. His characterization (which, of course, relies entirely on expressions) strongly translates to the film's relatively grounded visual palette. If anything, he stands out more in this one than he did in the original. Just fantastic work across the board in that regard here. Mason Thames as Hiccup, situated aside Toothless for most of the runtime, is nothing short of a stroke of genius in this adaptation. His interactions with the computer-generated dragon are terribly convincing and wonderfully spirited, and his bouts of emotion with the rest of the village, especially Gerard Butler's Stoick, his father, are staunch standouts. Butler voiced the character in the animated trilogy, but his role reprisal here isn't as simple as it seems. Seeing him in costume and working alongside the rest of the cast in physical form adds a new layer to his delivery as the character. He and Thames create the perfect sort of jagged, confused, painfully loving father/son relationship that the narrative necessitates at the center of the movie. Each of them plays a huge role in the third act's emotional weight, elevating every scene they're in and then some. On that final act, it too is brilliantly done here. While the original film still stands a little taller in most regards, if not only for the reason that it was the first to tell this story on the big screen, the last thirty minutes of the new retelling may actually be a tad stronger. How to Train Your Dragon's scale, from the moment the characters meet at the dragons' lair, is that of a true, proper blockbuster. It's clear that much of the money went to the last few scenes, but the result is a truly dazzling sequence of stakes taking physicality in the form of fire, beating wings, and lone teardrops. If anyone, by that point, is still asking the question: 'Why did this need to be made?' That scene answers it. Was this movie necessary? On the whole, perhaps not. But is it welcome? Absolutely. Prior to this release, it had been more than a decade since audiences were able to see this classic story told at the cinema. For the first movie's director to return to retell it in this form, and to this degree, is a true delight. How to Train Your Dragon is the best live-action remake of an animated movie ever. Point, blank, period. Here's to hoping they tackle the sequels next. How To Train Your Dragon will debut exclusively in theaters on June 13, 2025, courtesy of Universal.

On Tonys night, Broadway divided over Patti LuPone's remarks about Audra McDonald
On Tonys night, Broadway divided over Patti LuPone's remarks about Audra McDonald

Yahoo

timean hour ago

  • Yahoo

On Tonys night, Broadway divided over Patti LuPone's remarks about Audra McDonald

More than a few years ago now, my mom asked me why the UK's royal family seemed to be all over the news all the time. That's all I see when I turn on my computer, she said. I think that might be because you've been clicking on some stories about Meghan and Harry, I told her, leading to lots more stories about Meghan and Harry. Similarly, I've lately been treated to many variations on basically the same recycled story about the great offstage Broadway drama featuring Patti LuPone and Audra McDonald. Stop, I cry, though if they weren't my Meghan and Harry, I wouldn't keep seeing this stuff. In case they're not your Meghan and Harry, here's the deal: A recent New Yorker profile of LuPone made news, none of it good for her. In the piece, she's quoted saying disparaging things about two Black actresses, her fellow Tony winners Kecia Lewis and McDonald, Broadway's most decorated star. Some 700 Broadway performers signed a petition saying LuPone should be disinvited from Sunday night's Tony Awards for her bullying and racially insensitive remarks. She then profusely apologized, falling on her own knife like Liù in Puccini's 'Turandot,' and various stage actors have been weighing in on whether or not she should be forgiven. Now, Patti LuPone has always been unfiltered, in that one way like the Donald Trump she's said she hates; you do not want to be caught with your cell phone ringing when she's on stage. Only she comes off in this profile as generous and gigantic and human and hurt and self-sabotaging but also finally going too far in letting loose on others, and in general. Is she for real or putting on a show when shouting at New York Rangers, 'Take your clothes off, boys! Naked hockey! No cups — I want full frontal! HA!' She is in let-'em-have-it mode throughout, referring to Glenn Close, the actress who replaced her in 'Sunset Boulevard' 100 years ago as a 'bitch,' and telling the New Yorker writer Michael Schulman more than once that the now Trump-run Kennedy Center 'should get blown up.' Which, hello, is not in any way OK. Serious or not, and people who say these things always insist that they were not, it's wrong to complain about Trump's violent rhetoric and then go around talking like this. So LuPone should also walk those remarks way the heck back. And I do not love to see women tearing down women; are things really not hard enough? Kevin Kline got off easy in the profile; all LuPone said about him is that he was a terrible boyfriend back in the day. Despite all of the many posts I have read about the explosions that followed the publication of the profile, I would never have understood the genesis of the contretemps without the guidance of New York Times theater reporter Michael Paulson. He reported on what happened after LuPone complained last year that noise from the Black-led Alicia Keys musical 'Hell's Kitchen' could be heard in the theater next door, where LuPone and Mia Farrow were performing in 'The Roommate.' LuPone took her gripe to the Shubert Organization, which runs both theaters. So far, perfectly normal, and something that happens all the time. Shubert fixed the problem. But then, Paulson wrote, after LuPone sent flowers to the 'Hell's Kitchen' sound crew, she was videotaped describing the musical as 'loud,' and refusing to sign a 'Hell's Kitchen' playbill. That's when Kecia Lewis, who is in 'Hell's Kitchen,' responded with a video calling LuPone's behavior 'racially microaggressive' by reinforcing stereotypes. McDonald weighed in by posting some supportive emojis on the video. In the New Yorker interview, LuPone said of Lewis, 'Don't call yourself a vet, bitch.' Which was way over the line. She said McDonald was 'not a friend,' and then declared that she needed a nap. Of course she did; setting yourself on fire can be very draining. McDonald wisely said she didn't know about any rift between herself and LuPone. Lewis has wisely not made any public statement. 'For as long as I have worked in the theater,' LuPone said in her own statement, 'I have spoken my mind and never apologized. That is changing today. … From middle school drama clubs to professional stages, theater has always been about lifting each other up and welcoming those who feel they don't belong anywhere else. I made a mistake, I take full responsibility for it, and I am committed to making this right.' Both McDonald and LuPone have given me so much joy, not just over the years but this year, that this is drama I could have done without. McDonald ripped my heart out and then handed it back to me with her 'this-isn't-your-Momma's-Momma-Rose' performance in 'Gypsy.' I spent a lot more than I could afford to be on the front row with our Aunt Mimi Turque, who was cast by composer Jule Styne to play June in an early national touring company of the show. LuPone also showed me a wonderful time recently with her show at the Kauffman Center, where she received five standing ovations, one before she sang a note. It's the only time in my experience — Can you say 'gay icon'? — that there hasn't been a line outside a ladies' room at the Kauffman at intermission, and I went home so energized from her performance, which these days in particular is worth a lot. So what I want to say is that with everything going on in the world that the arts stand squarely against, energy spent on fury at someone who has groveled from here to Argentina is energy wasted. I still love both of you 'Ladies Who Lunch,' the Sondheim anthem to female rage that I've seen both of you crush. I'd like to think that LuPone learned something from this whole episode — though again, those comments about the Kennedy Center still do need clearing up asap. We could all of us, of course, be less eager to pounce and readier to forgive. The many ageist comments about Patti, who is 76, by those Audra fans who aren't ready to let this go, and say they never will be, aren't OK, either. Unfortunately, art doesn't always bring even the relatively like-minded together. As always, that's up to us. UPDATE: I thought McDonald would win her 7th Tony tonight for the same role that LuPone won for in 2008, but no, the award for leading actress in a musical went to Nicole Scherzinger for her Broadway debut in a revival of 'Sunset Boulevard.' Pretty sure LuPone would not have wanted to be at the awards show, since it was Glenn Close who introduced Scherzinger singing, 'It's As If We Never Said Goodbye.' And Oprah Winfrey, who presented the award to Scherzinger, made some interesting faces as she made the show's only veiled reference to the controversy, but she did not mention LuPone by name.

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