The second stop on the L.A. leg of the Oscar Showcase tour was on Tuesday, Feb. 19th at 20th Century Fox. So here are some more pics.
MAXON Computer, the developers of CINEMA 4D and BodyPaint 3D, announced Monday the 2008 schedule of its highly anticipated Power Integration Tour.
The tour is a joint road show with Adobe Systems that highlights the ease of integrating MAXON CINEMA 4D 3D software with Adobe Creative Suite 3 Production Premium for a powerful 2D/3D cross platform solution.
Congratulations to Oscar winners Suzie Templeton and Hugh Welchman, as well as Peter and the Wolf producer Alan Dewhurst.
At 20th Century Fox, I Met the Walrus producer Jerry Levitan talks about interviewing John Lennon when he was 14 years old.
At the Sony Pictures Animation lunch, Madame Tutli-Putli director Chris Lavis talks about how they worked with actress Laurie Maher to inform their stop-motion animation and provide the eyes for their puppets.
Directors Chris Lavis and Maciek Szczerbowski talks about the inspiration for the train in their film Madame Tutli-Putli at the PDI/DreamWorks Q&A.
At the Valentine’s Day dinner, I Met the Walrus illustrator James Braithwaite starts a conversation on Guy Madden’s short film Sissy Boy Slap Party.
At the Pixar Q&A, director Maciek Szczerbowski answers the most asked question about his film Madame Tutli-Putli - how did you do the eyes?
At the Pixar Q&A, directors Maciek Szczerbowski and Chris Lavis talk about the journey of the title character in their film Madame Tutli-Putli.
At the ILM dinner, animation supervisor Hal Hickel, who was nominated for Pirates of the Caribbean: At World’s End, talks with Madame Tutli-Putli director Chris Lavis about motion-capture and the importance of eyes in animation.
At the ILM Q&A, director Josh Raskin explains where I Met the Walrus’ interview with John Lennon originated from.
At the ILM Q&A, Madame Tutli-Putli director Maciek Szczerbowski and Peter and the Wolf director Suzie Templeton talk about the scale of their film’s puppets.
When the agents cringed at the time it takes, tour host Ron Diamond said, “Animation is a painful process and this brings it to a new low.” Hugh added that he would have liked more time to finish Peter, but they had already sold out the Royal Albert Hall for the premiere and they wanted to continue working in the U.K., so they had to keep the debut date.
The tour is a grueling experience for everyone involved. Josh said he looks forward to getting the chance to go back home and relax, but is still keeping a positive outlook on the rare experience.
Here are some more pics from the first stop on the L.A. leg of the Oscar Showcase tour - Sony Pictures Animation.
After a late screening in the Aidikoff Screening Room for the William Morris agents, the filmmakers had a chance to meet with a few of the agents. Like many people have said along the tour, the agents felt that this year is one of the strongest years for animated shorts in quite some time.
When it comes to development of stories, John said they have the entire story department brainstorming on the projects at the beginning then pare down the writers on each film. He added that usually the scribes will be the first on the project and can stay involved with the project as late as three months before release.
A new question for the Peter and the Wolf team was how they came about designing and animating the animals. The main goal of the design was to not make them caricatures. Hugh said the duck was the toughest and the look they chose was based on how goofy the breed looked, which would help create instant sympathy for the doomed character.
Dubailand, a member of Tatweer, today announced it has formed a strategic alliance with U.K.-based HIT Entertainment, one of the worlds leading independent childrens entertainment producers and rights owners.
They will work together to develop a diverse portfolio of family entertainment projects in Global Village at Dubailand, a 3 billion-square-foot development that includes theme parks, eco-tourism projects, shopping malls, restaurants and residential units in United Arab Emirates.
The conversation moved to the expansion of animation in the region, especially China. Ed said he was reluctant to get into China, because of the government hoops that doing business there entails.
With the event filled with press from all over the globe, the nominees were given the star treatment. On the way to the screening, I asked I Met the Walrus producer Jerry Levitan what went through his mind when he heard that his film was nominated.
Talking to Even Pigeons Go to Heaven producer Simon Vanesse, we learned that he began his career in IT. He mentioned that being one of the few producers who speaks English at BUF has helped him get on big American production. Most of the time he works as a visual effects producer, having worked on The Prestige.
While the films were screening for the studio artists, we were treated to a backstage look at the making of Sony’s Oscar-nominated animated feature Surf’s Up. VFX supervisor Rob Bredow gave us a nice overview of creating the beautiful waves and mockumentary style of the film.
Entertainment Rights announced today it has appointed 3DBA as its key sales partner to turn its brands into themed attractions.
George of the Jungle and Casper are currently being showcased at major trade shows throughout the world and a number of deals are expected to be announced soon.
ER is the U.K.'s leading global media group, specializing in the ownership and management of children's and family programming, characters and brands.