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.fullpost{display:none;} Job Title : Connected Game Engineer (1-3 yrs.) Job Description : Objective of Position For this full-time position we are seeking talented, self-motivated, hard working and energetic Game Developers, with a real passion for mobile gaming. You will be responsible for the development games that are based on client-server architecture. You will be responsible for creating global high scores & multiplayer mobile gaming solutions. Responsibilities Producing quick, efficient, accurate, reliable and reusable J2ME source. Providing the solution across a range of handsets with various capabilities. Investigating and sharing new coding techniques. Providing status reports to the Lead Developer during all phases of the production cycle. Eligibility : j2me , sdlc , brew , wap , be , mca , wireless , network programming , mumbai UG - B.Sc - Any Specialization, Computers;B.Tech/B.E. - Any Specialization, Computers;BCA - Computers PG - MCA - Computers Excellent object-oriented design and analysis skills required. Expertise in Java programming. Solid understanding of performance analysis and software optimization. Knowledge of SDLC & coding standards. Ability to research and learn new tools and methods as needed. Required qualification is BE/MCA/BSc (Comp. Sc.) or equivalent degree. Bonus Skills Experience with Mobile Device platforms (Brew, WAP, J2ME etc. Experience in connected application development. Familiarity with designing/developing games. Programming experience in the gaming industry. Experience with Network programming. Final year projects in Wireless technology Candidates must apply in either of the following capacities. Game Engineer: 6 months to 2 years of experience in J2ME/BREW. Experience : 1 - 3 years Location : Mumbai Apply Before : Company Name : Jump Games Pvt. Ltd. Company Profile : Jump Games is a leading publisher spearheading the evolution of game design and development across Web and Mobile platforms. Jump s experience and expertise in creating innovative and cutting-edge gaming content reflects in its client roster, which sports some of the best brands from across the world. Besides being affiliated with global associations like Sun s iForce initiative and Forum Nokia PRO, Jump has partnered with leading content owners, publishers, Mobile operators, handset manufacturers and technology providers like Intel, Coca-Cola, Sony Ericsson, ICTV (HeadendWare), Sun, Walt Disney India, Virgin Comics, Pixiem, Miniclip Games, Kato Studios, Big Fish Games, Qualcomm, LG, and Conitec for its gaming initiatives. Working on multiple technologies, Jump has today broken out of the clutter in core competencies pertaining to Mobile and Web game development. Its commitment to quality gaming is reflected in its award-winning games like Final Front, a 10-player strategy war game that won the M1 Nokia IMS Challenge. Jump s Mobile games are available with international aggregators such as Zingy Inc., Cellucom, Games Federation, PocketNet, and Sam Click, among others. Distributed across the US, Europe, South Africa, Australia, the Middle East, and Asia, Jump s games can be accessed and played on leading networks like Hutch (Thailand), M1, Orange, Dialog Telekom, Vibo, Reliance World Mobile, Idea, BSNL, and Spice Telecom. Fuelling concepts for these ground-breaking games is the domain expertise of Jump s 140+-strong multi-disciplinary, cross-skilled team housed at state-of-the-art production house at Mumbai. The team comprises game designers, concept artists, 2D and 3D graphic artists, modelers, programmers, project managers, game testers, and creative writers. Expanding operations internationally, the company has opened an office at Stockholm recently. In India, Jump is shortly setting up shop in Pune after Mumbai. Email to Apply : jumpjobs@jumpgames.co.in Description : Name : Mr.Shailesh Kotian Telephone : 91-022-30364547 Fax : 30364295 Website : http://www.jumpgames.co.in Address : Jump Games Pvt Ltd C-3 , G-Block Bandra Kurla Complex, Bandra (East) Mumbai - Maharashtra ,IND 400051 Email : jumpjobs@jumpgames.co.in cheap microsoft office cheap corel draw

Tags: game, jump, mobile, experience, gaming

Piglet Remembering John Fiedler (1925-2005) Jim Hill remembers that great big talent who provided Piglet's very small voice: Character actor John Fiedler, who passed away this past Saturday at the age of 80. by Jim Hill You know, it's kind of bizarre that John Fiedler -- the original voice of Piglet -- actually died within 24 hours of Paul Winchell's passing. "Why bizarre?," you ask. Well, you see, there's this story that I had originally wanted to tell as part of yesterday's Winchell tribute. About the very last time Paul was hired to provide Tigger's voice for a Disney animated feature. A project that was then entitled "Winnie the Pooh and the Family Tree." Winchell's first (and only) recording session for this movie came in the Spring of 1998. And -- as the guys in the booth listened to the obvious rasp in Paul's voice -- it quickly became apparent that the 76-year-old performer no longer sounded like Tigger. I mean, sure, Winchell had originated this character's voice back in that 1968 Disney featurette, "Winnie the Pooh and the Blustery Day." But now -- over 30 years later -- this voiceover veteran could no longer produce Tigger's distinctive bouncy, trouncy sound. So -- after that single session -- Paul was let go from the project. And Disney eventually brought in vocal pro Jim Cummings, who was already doing Pooh's voice for "Family Tree." And -- given that Jim had already been doing Tigger's voice (On various Disney television shows and/or for Disney Consumer Products. Where it had proven to be very cost effective to hire a Paul Winchell sound-alike, rather than pay full price for the really-for-real Paul Winchell ... Anyway ... ) -- it only made sense to replace Winchell with Cummings. Of course, what Disney hadn't counted on was all the bad publicity that would erupt as a direct result of Paul's dismissal. The trades were immediately full of headlines like "Disney Bounces Tigger" and "Winchell gets thrown out of 'Family Tree'." (Which may explain the studio ultimately decided to change this film's title. Dropping "Winnie the Pooh and the Family Tree" in favor of "The Tigger Movie.") Anywho ... The press keeps looking for ways to keep this controversy going. Which is why reporters eventually approached John Fiedler, the last remaining member of the original vocal cast that Walt Disney Productions had assembled 'way back in the 1960s to do those first three "Winnie the Pooh" featurettes. John was the only member of that ensemble who was still under contract to the studio. So -- hoping for a good quote -- a columnist asked Fiedler point-blankly what he thought about Disney replacing Winchell with Cummings. John replied: "I'm just glad that Jim can't do Piglet's voice." That's a cute little story, don't you think? Which was why I was originally thinking about weaving it into yesterday's article. But eventually I decided against including that particular anecdote. Why For? Well ... Because that joke actually comes at Paul's expense. It's a laugh that only occurs because of this extremely trying time in Winchell's life. That period when this entertainment vet just felt that he had become too old to perform anymore. So I guess you can understand why I originally decided to spike that story. Even though it obviously showcased Fiedler's quick wit, this veteran character's ability to continue to surprise people with his awesome comic timing. Well, who knew that -- just hours after I'd decided to cut that anecdote out of my Winchell tribute -- that I'd now have a logical reason to bring up that particular John Fiedler story. Speaking of Mr. Winchell ... I guess I should mention there's actually sort of a happy ending to that Paul-gets-fired story. You see, just around this same time, the Imagineers were beginning work on WDW's new dark ride, "The Many Adventures of Winnie the Pooh." And -- after they saw all those stories in the paper about Disney dismissing Winchell from the "Family Tree" project -- the guys at WDI obviously thought that this was a pretty lousy way to treat a television legend. So when the Imagineers began recording the soundtrack for this new Fantasyland attraction, they insisted that Paul come in and perform Tigger's vocals. The guys from WDI ... They really didn't care that Winchell sounded a little raspy. What mattered to them was that the man who had originated this character's voice was now providing Tigger's vocals for their "Many Adventures of Winnie the Pooh" ride. The message that the Imagineers were obviously trying to get across to Paul was: We're not all like those guys over at Disney Feature Animation. We actually value who you are and what you've done for our company. More importantly, we appreciate all the entertainment that you've provided us with over the past 50 years. And -- given that the Imagineers also made a point of hiring John Fiedler to record Piglet's dialogue for this new Disney World attraction -- I guess it's pretty obvious that the guys at WDI thought fairly highly of John too. Unfortunately, the "Many Adventures of Winnie the Pooh" ride was pretty much Winchell's last hurrah with the Walt Disney Company. Whereas Fiedler ... He actually went on to do a number of new projects for the Mouse House after that. Providing Piglet's vocals for "The Book of Pooh" TV series, the "Mickey's House of Villains"&"Winnie the Pooh: Springtime for Roo" video premieres as well as the "Piglet's Big Movie"&"Pooh's Heffaump Movie" theatrical releases. In fact, there's still one more project in the pipeline -- "Pooh's Heffalump Halloween -- The Movie" -- that John also did voicework for. Though that video premiere isn't due to hit store shelves 'til September 13th of this year. Anyhow ... I just wish that Winchell could have experienced what Fiedler did over the last few years of his life. That sense that -- even though John was a man in his late 70s -- he was still someone who could add something unique to the mix. Which is why Disney deliberately sought Fiedler out whenever they were getting a new "Winnie the Pooh" project off the ground. But now that John's gone ... Well, given the billions that the Mouse makes off of the sale of Pooh-related products each year, it's pretty obvious that this franchise is going to have to continue. Which is why the guys over Disney's voice department are probably already wondering who they're going to get to fill Fiedler's shoes. Maybe they'll get lucky and find another huge talent like Jim Cummings. Someone who -- thanks to their own comic genius as well as the gift of mimicry --will be able to create a close approximation of Paul Winchell's Tigger. Still, given that Tigger's voice was obviously patterned after the voice that Winchell used to do for his Knucklehead Smiff character, it was fairly easy for Disney to come up a replacement bouncy, trouncy tiger. Whereas Fielder's distinctive take on Piglet -- that halting delivery, the sense that this character was constantly struggling to keep his fears under control, the obvious heart that John poured into this part -- it might take Disney's voice department quite a while to come up with an actor who can accomplish what Fiedler did. Which was make us care about -- even fall in love with -- a small, fretful pig. The entire JHM staff wishes to extend its heartfelt condolensces to the friends & family of John Fiedler during their time of sorrow. cheap corel draw cheap microsoft office

Tags: winchell, disney, paul, voice, fiedler

PAUL WINCHELL (1922 - 2005) http://www.contactmusic.com/new/xmlfeed.nsf/mndwebpages/voice%20of%20tigger%20dies American ventriloquist and inventor PAUL WINCHELL, the voice of TIGGER in DISNEY 's WINNIE THE POOH films, died in his Los Angeles home on Friday (24JUN05). He was 82. The New Yorker led an extraordinary life, after contracting polio at the young age of six and fighting a speech impediment, he went on to be a huge success in all three of his chosen careers - in inventing, TV hosting and as an ventriloquist. As an inventor, he patented over 30 ideas, including ones for an artificial heart, a disposable razor, a flameless cigarette lighter and an invisible garter belt. After hosting children's TV shows in the 1950s and 1960s, he landed the voiceover role as the bouncing tiger in the Disney adaptations of AA MILNE's Winnie The Pooh stories in 1968 and provided Tigger's vocals until 1999. His first outing as Tigger in WINNIE THE POOH AND THE BLUSTERY DAY contributed to the movie picking up an OSCAR for Best Short Film, and he went on to win a GRAMMY for Best Children's Recording for the song THE MOST WONDERFUL THINGS ABOUT TIGGERS from the film WINNIE THE POOH AND TIGGER TOO in 1974. Winchell is survived by wife JEAN, five children and three grandchildren. cheap corel draw cheap microsoft office

Tags: tigger, pooh, winnie, children, film

STUNT GRUNTERS DISNEY HIRE 'STUNT GRUNTERS' FOR VOICE-SAVING TRICKS http://www.contactmusic.com/new/xmlfeed.nsf/mndwebpages/disney%20hire%20stunt%20grunters%20for%20voicesaving%20tricks DISNEY bosses hire "stunt grunters" in a bid to save the stars' voices when they're making animated movies. The voice extras are called in to add vocal sound effects to save the stars from developing rasps after talking into a microphone for long periods. RICK DEMPSEY, the animation director for Disney, reveals the grunters are also called upon to save executives asking movie icons to make revolting sounds. He explains, "We actually have stunt grunters if it's getting too late, and we were working with LAUREN BACALL on the dubbing for HOWL'S MOVING CASTLE until about 10pm one night. "She plays THE WITCH OF THE WASTE and when the character is going through her transformation, we didn't want to put her through that grunting, so we had this actress do it and you can't tell where one starts and one stops." Dempsey admits the use of vocal extras doesn't always help to save stars' voices. He adds, "For JEAN SIMMONS (in Howl's Moving Castle), we always had hot tea available and fruits and lemon because she was dealing with some things with her throat and we had to cancel BLYTHE DANNER's session three times because she had laryngitis and couldn't get rid of it for a month. "We ended up going with a little bit of a rasp because she's an invalid in a wheelchair, so it worked."

Tags: grunters, stunt, disney, voice, hire

Molly (RedMolly) tagged me today with this different form of questionnaire. She took famous movie quotes, but you have to fill in the blank with the words that describe you. First--Here's the questionnaire, then my answers... “I was born a --- --- ---.” (The Jerk) “Your middle name is ---, as in ---, your birth date's ---, you're 5'---, you weigh --- pounds and your social security number is [just kidding!].” (Breakfast Club) “Your mother was a --- and your father smelt of ---.” (Holy Grail) “It's a Zen thing, like how many --- fit in a ---.” (Waiting for Guffman) “I have a bad feeling about ---.” (Star Wars) “This is not a tragedy. A tragedy is ---, or ---.” (Dirty Dancing) “ My job consists of basically ---, and, at least once a day, --- so I can ---while I fantasize about ---. ” (American Beauty) “I see --- people.” (Sixth Sense) “Vote for ---!” (Napoleon Dynamite) “What do you mean nothing good? We've seen everything good. We've seen ---! We went to ---, we saw priceless ---! We ate ---!” (Ferris Bueller) “Life is ---. Anyone who says differently is selling something.”(Princess Bride) “'Blessed are the ---.'” (Life of Brian) But I'm adding one: "There's no place like ---." (Wizard of Oz) My answers: “I was born a blue-eyed Yooper." from the upper peninsula of Michigan (The Jerk) “Your middle name is Marie , as in Claire , your birth date's January 21st , you're 5' 6" , you weigh an undisclosed number of pounds and your social security number is [just kidding!].” (Breakfast Club) “Your mother was a model and your father smelt of cigarettes (but not for the past 8 years!) .” (Holy Grail) “It's a Zen thing, like how many diamonds fit in a sponge (ok...really don't know how to answer that one) .” (Waiting for Guffman) “I have a bad feeling about a bottle of wine on a Thursday night (eh--don't ask!) .” (Star Wars) “This is not a tragedy. A tragedy is never being a mother , or another world war .” (Dirty Dancing) “ My job consists of basically calling many people who don't want to spend money , and, at least once a day, putting on headphones so I can relax while I fantasize about what I really want to do . ” (American Beauty) “I see too many people.” (Sixth Sense) “Vote for Me (for what--that's up to you) !” (Napoleon Dynamite) “What do you mean nothing good? We've seen everything good. We've seen Disneyland ! We went to Mickey's house , we saw priceless Mouse ears ! We ate Moon Shaped Rice Krispy treats the size of our heads !” (Ferris Bueller) (Yeah, I'm a dork) “Life is a bitch . Anyone who says differently is selling something. (and I'm probably selling it to you!”( Princess Bride) “'Blessed are the forgotten .'” (Life of Brian) "There's no place like a hammock on a sunny, weekend afternoon!) (Wizard of Oz) Ok...I tag Stephanie, Susan, and whoever else feels like doing this. Comment here so I can read your answers, k? cheap corel draw cheap microsoft office

Tags: life, tragedy, answer, good, mother

In response to my previous post, "Dialectical Montage and Disneyland", I was lucky enough to receive this reply by a Mr. Chris Stangl, who does an excellent job pointing out a lot of the problems with my assumptions about physical space and cinema space in the essay, as well as bringing up a number of excellent points about film theory and applicability. Since there's little point in me recounting such an articulate and intelligent argument, I have presented his reply below for your consideration, followed by my own thoughts. -- "I think this essay is a solid start toward understanding how park and attraction design incorporates elements of the other arts. However, any thesis that rests on "the only useful, acceptable way to analyze and discuss" a subject is going to be problematic, and practically begs for complication! 1: Montage Theory It's a pretty grand Unified Field Theory of Imagineering, for one thing, and using Eisensteinian montage as even a starting point is going to lead to trouble. It is a specific editing theory, which hasn't been borne out in pure form outside of, say, the films of Sergei Eisenstein. "Dialectical" does not just mean the editing theory explains "nothing more nor less than how movies carry meaning through their editing patterns" as in language. It means the theory is modeled after philosophical dialectics, and it is founded in the contradiction synthesis and material/brain-world interaction of Marxist dialectics The theory in practice involves shots as discreet units in conflict, generating an effect not present in isolated consideration of the shots; it is "shot-based", in a literal, diagrammatic way. so the first question must be: is there even a way in which a park may have discreet shots, which are replaced by another? Dialectical montage is an indigenous film theory, extremely and expressly medium-specific. The elements you are identifying as the attraction equivalent of "shots" could possibly be linked to notions of cinematic mise en sc cheap corel draw cheap microsoft office

Tags: theory, shot, montage, film, point

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Given that there are only so many hours in the day, it's useful to reflect on some of the negative things that educators have to say about SL (see post here by Wes Fryer and posts by Sylvia Martinez linked therefrom). These are not uncommon and not unreasoned. Bear in mind that I've already identified (for pragmatic reasons) a primary niche for my activities, namely visualization (and, yes, I know there are problems and alternatives there as well), and that I don't have the time or experience to mount an evidence-based defence. Few do at this stage (and the evidence is scant and can't be taken as canonical given that SL is a work-in-progress). For me, SL is partly an exercise in what Disney calls imagineering (and where is Disney in SL?). However, I hope that what I do is grounded in the reality of current SL experience, the scepticism it evokes and the need to assist students in managing the complexity of 21st century biology. If I have a pedagogy driving this forward, it is probably just as much connectivism as constructionism; indeed, not so much pedagogy as tool development at this stage. Many of the (sometimes reluctant) nay-sayers come from the K-12 fraternity and I think they have a different (and, speaking as a parent, justified) perspective on the weirder aspects of SL. It would be a pity, however, if this restricted adult staff and student access to the social context SL provides for networking (an important part of "the game") and just chatting to (and being friendly with) folk from far-flung places. For some (like Stephen Downes) this itself is nothing new, just online gaming revisited. Finally, the user experience is for many currently half-baked and this will be enough to put people off who are not inveterate early-adopters . This made me wonder where one would put SL on the Gartner Hype Cycle from an educational perspective. I came across this blog which had it heading into the Trough of Disillusionment from a marketing perspective as early as December 2006 (but see this rebuttal of common business myths). One of the comments, however, makes it clear that it depends on your perspective. In education early adopters will want it to be on the rising curve following the technology trigger, nay-sayers will see it as being close or just over the peak of inflated expectations, while all with a modicum of goodwill hope it is on the slope of enlightenment, headed for the plateau of productivity. Indeed, some early, early adopters (such as Desi Stockton) may already be on the plateau, waiting for the rest of us to catch up. The other technology of note at the moment is Facebook. This is much more popular than SL with students (though most surveys show that they're not sure they want staff there as witnessed by the recent Oxford experience). As an alternative time sink, it would appear to lack the serendipity of chance acquaintance inherent in SL. I'm sticking to SL for the moment. cheap microsoft office cheap corel draw

Tags: sl, early, perspective, experience, adopters

Via Cnet: Pixar Animation Studios was in shock Wednesday after learning of the death of Joe Ranft, one of the founding members of its creative team. The 45-year-old Ranft, who earned an Oscar nomination as a writer on "Toy Story," died Tuesday afternoon in Mendocino County, Calif., when a car he was traveling in plunged off a cliff. "People cannot say much but just gave each other embraces to quell the sadness..." Pixarblog. "It is the saddest day at Pixar." storyboard artist Ronnie del Carmen wrote in his "We are all hit hard by this sudden news and we're all beyond sadness here at the studio," Enrico Casarosa, another storyboard artist, wrote in his online journal. "Joe's contribution to animation has been immense and far reaching. He taught and mentored a whole generation of creators. I can't even begin to describe how dearly he will be missed." Ranft, a veteran of the California Institute of the Arts and Disney, did storyboard and story-development work, and even provided voices for some characters. He played, for example, Wheezy the Penguin in "Toy Story 2." Other credits include "Who Framed Roger Rabbit,""The Lion King,""Monsters Inc." and "Finding Nemo." The animation community at large expressed its sorrow and shared remembrances at Cartoon Brew, which also featured links to more information about Ranft and his work. The Hollywood Reporter posted an obituary on Ranft earlier Wednesday. cheap corel draw cheap microsoft office

Tags: ranft, story, storyboard, toy, pixar

Via Wired: Mark Cuban is hiring staff that could form the nucleus of a new DVD label, Wired News has learned, a move that comes as the dot-com billionaire attempts to shatter Hollywood's release window system by making first-run films available simultaneously in theaters, on cable TV, online and on DVD. The label is expected to launch in January with the release of Bubble, the first in a six-part deal between Cuban's 2929 Entertainment and director Stephen Soderbergh, according to a source familiar with the plan. As yet, Cuban and partner Todd Wagner have not announced a DVD publisher for those pictures. Find local technology jobs. In an interview, Wagner would neither confirm nor deny a pending launch. But he said 2929 will pay theatrical exhibitors 1 percent of revenues generated from DVD sales of films they offer in the same window at their theaters. By launching a DVD imprint of their own, Cuban and Wagner would round out a set of assets that covers most but not all of the bases in film distribution. The pair owns holdings that include Landmark Theaters, HDNet Films, the HDNet Movies channel, Rysher Entertainment, Magnolia Films Distribution, 2929 Entertainment and a piece of Lions Gate Films. Online, they have a deal to offer HDNet Films titles on Cinemanow. According to an online job posting, Magnolia Pictures is hiring a DVD accountant whose responsibilities include monitoring inventory levels, working with DVD replicators "to ensure sufficient supplies are available for replenishment," and setting up electronic data interchanges, or EDIs, with vendors and customers. An EDI is a secure electronic transaction and auditing channel between suppliers and vendors, without which it is nearly impossible to do business with big box retailers. The only film known to have debuted on TV, DVD and in theaters the same day so far is Noel, a holiday movie starring Susan Sarandon, Penelope Cruz and Robin Williams in an uncredited role. The film was released last November on cable's TNT, in a handful of theaters and on disc the same day. But the disc was a Flexplay disc that expired in 48 hours, and it was only available on Amazon.com. Neither side will comment but sales were reportedly low, some in the industry say a mere 1,500 copies. The title eventually found distribution under the Screen Media imprint. Screen Media has a distribution deal with Universal Studios Home Entertainment that will put the title in stores on standard DVD for the first time Oct. 25. Soderbergh's murder mystery Bubble is the first 2929 film slated for release across all channels. Some news outlets have erroneously reported that Magnolia's Enron: The Smartest Guys in the Room was released simultaneously on TV, DVD and in theaters. In fact, the film has yet to be released on DVD. Hollywood has shunned simultaneous releases, preferring to milk as much cash from each "release window," as the time blocs are known in the industry, before it moves to the next. The traditional model has movies hopping like tiddlywinks from theaters to home video/DVD, pay-per-view, premium cable, broadcast cable and then broadcast television. But as box office proceeds fell and DVD sales began to level off over the summer, even Robert Iger, who has since taken the reins as CEO of The Walt Disney Co., suggested that the theatrical "window" should be snapped shut and DVDs released at the same time. "We can't stand in the way and can't allow tradition to stand in the way of where the consumer can go or wants to go," Iger told analysts. "Windows in general need to change. I don't think it's out of the question that DVDs could be released in the same window as the theatrical release. All the old rules should be called into question because the rules of consumption have changed so dramatically." Exhibitors have cried foul, saying, among other things, that DVDs only sell because theatrical exhibition heightens their profile. "Mr. Iger knows better than to tell consumers -- or Wall Street analysts -- that they can have it all, everywhere, at the same time," said John Fithian, president of the National Association of Theater Owners. "He knows there would be no viable movie theater industry in that new world -- at least not a theater industry devoted to the products of Hollywood. And he should know that Hollywood studios would be just one shriveled vendor among many in that world of movies as commodities only."

Tags: dvd, film, theater, release, window