DOCSLIB.ORG

ARI RUBENSTEIN 21 Ganung Drive Ossining, NY 10562 Cell # 914-589-3974 [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ARI RUBENSTEIN 21 Ganung Drive Ossining, NY 10562 Cell # 914-589-3974 Ar@Curvstudios.Com ARI RUBENSTEIN 21 Ganung Drive Ossining, NY 10562 cell # 914-589-3974 [email protected] . website: www.curvstudios.com _______________________________________________________________________________________________________ With a specialty in VFX Look Development, and a thorough knowledge of the entire VFX pipeline (having run my own VFX facility full time for over 10 years, and 20 years having freelance produced & VFX Supervised work for Feature films and Episodic VFX TV series), I take pride in developing content and insuring the very highest levels of quality, in production and through final delivery. Having worked on many live-action and feature animated films, I have been fortunate to gain the experience that each of these divergent production paradigms offer. This is a strength I bring to a company, the ability to provide considerable cost saving solutions through methodologies appropriate to a given pipeline. INDEPENDENT PRODUCTIONS THE BLUES CRAB Director, Producer, VFX Supervisor Curv Productions 3D Animated Short Film - Award Winning (1st ever film Rendered in Compositing app - Vray for Nuke) SMALL BLUE SHADOW Director, Producer, VFX Supervisor Curv Productions 3D Animated Short Film (Convergence of VFX & Feature Animation pipelines with Unreal Engine) - recipient of Epic MegaGrant, and sponsored by Foundry, ChaosGroup, Dell Computer, Realillusion, Turbosquid, Goleam _______________________________________________________________________________________________________ ANIMATED FEATURE FILMS Film Experience Contribution / Role Production Company / Distributor NIMONA Lead Compositor Blue Sky Studios / Disney Feature Film SPIES IN DISGUISE Lead Compositor Blue Sky Studios / Disney Feature Film THE STORY OF FERDINAND Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film – Academy Award nomination ICE AGE 5: COLLISION COURSE Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film ANUBIS Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film PEANUTS Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film RIO 2 Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film EPIC: LEGEND OF THE LEAFMEN Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film ICE AGE 4: CONTINENTAL DRIFT Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film RIO Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film ICE AGE 3: DAWN OF THE DINOSAURS Lead Compositor Blue Sky Studios / 20th Century FOX Feature Film SURVIVING SID Compositor Blue Sky Studios / 20th Century FOX 3D Animated Short Film HORTON HEARS A WHO Compositor Blue Sky Studios / 20th Century FOX Feature Film NO TIME FOR NUTS Compositor Blue Sky Studios / 20th Century FOX 3D Animated Short Film – Academy Award nomination ICE AGE 2: THE MELTDOWN Compositor Blue Sky Studios / 20th Century FOX Feature Film _______________________________________________________________________________________________________ LIVE-ACTION FEATURE FILMS Film Experience Contribution / Role Production Company / Distributor THE FOREST VFX Supervisor Temprimental Films / Gramercy Feature Film Pictures DRAG ME TO HELL VFX Supervisor Curv Studios / Universal Pictures Feature Film BANGKOK DANGEROUS VFX Supervisor Curv Studios / Lionsgate Feature Film THE MATRIX REVOLUTIONS Compositor Tippett Studio / Warner Bros. Pictures Feature Film CONSTANTINE Compositor Tippett Studio / Warner Bros. Pictures Feature Film HELLBOY Compositor Tippett Studio / Sony Pictures Feature Film CHARLOTTES WEB Compositor / Camera Matchmove Tippett Studio / Paramount Pictures Feature Film IT LURKS Compositor Tippett Studio Short Film (Phil Tippett) SHAGGY DOG Camera Matchmove / Layout Tippett Studio / Walt Disney Pictures Feature Film STARSHIP TROOPERS II Compositor Tippett Studio / Sony Pictures Feature Film SON OF THE MASK Compositor Tippett Studio / New Line Cinema Feature Film SHARK BOY AND LAVA GIRL Compositor Tippett Studio / Colubmia Tri Star 3D Stereoscopic Feature Film LEWIS & CLARK: GREAT JOURNEY WEST VFX Supervisor Curv Studios / National Geographic 70 mm IMAX Feature Film RHEGED: THE LOST KINGDOM Lighting & Compositing TD XAOS Inc. / MacGillivary Freeman 70 mm IMAX Feature Film ISLAND OF THE SHARKS Modeling / Materials XAOS Inc. / NOVA/WSBH Boston 70 mm IMAX Feature Film AFRICA'S ELEPHANT KINGDOM Modeling / Materials XAOS Inc. / Discovery Films 70 mm IMAX Film Trailer BEYOND CHAOS FX / Modeling XAOS Inc. / Volkswagen 70 mm Simulator Ride Film CORAL REEF ADVENTURE Compositor Curv Studios / MacGillivary Freeman 70 mm IMAX Feature Film SPIRITS OF SILICON VALLEY Modeling XAOS Inc. / SBK Pictures 70 mm Omni-Max Signature Film San Jose Tech Museum JOURNEY TO THE EAST Compositor Curv Studios / Hellikon 70 mm IMAX Feature Film MACGILLIVARY FREEMAN ID Compositor XAOS Inc. / MacGillivary Freeman 70 mm IMAX Film ID AROUND THE WORLD IN 80 SEEDS Compositor Curv Studios / Hellikon / Big Ideas 70 mm IMAX Feature Film SURVIVER SUBURBIA Lighting & Compositing TD Curv Studios / LUX Edit HDTV Film Trailer MATRIX: WORLD OF TOMORROW Lighting & Compositing TD Curv Studios / Effect Design 2k Museum Film Exhibit Seattle's Sci-Fi Experience Museum _______________________________________________________________________________________________________ VIDEO ON DEMAND / BROADCAST Experience A SERIES of UNFORTUNATE EVENTS VFX Supervisor Netflix / Tippett Studio / VFX for Television Series Curv Studios SONS OF LIBERTY VFX Supervisor Brainstorm Digital / A&E / VFX for Television Series The History Channel THE LIBRARIANS VFX Supervisor Electric Entertainment / VFX for Television Series TNT (Turner Network) SLEEPY HOLLOW VFX Supervisor Brainstorm Digital / 20th Century VFX for Television Series FOX AMERICA'S LOCH NESS MONSTER Lighting & Compositing TD Curv Studios / Indigo Films / Broadcast Title Sequence Discovery Channel THE PLOT TO KILL LINCOLN Lighting & Compositing TD Curv Studios / Indigo Films / Broadcast Title Sequence TLC (The Learning Channel) MYSTERY OF THE U2 Lighting & Compositing TD Curv Studios / Indigo Films / Visual fx for Television Documentary The History Channel AMERICA'S MOST HAUNTED PLACES Lighting & Compositing TD Curv Studios / Indigo Films / Broadcast Title Sequence The Travel Channel CITY COPS: SAN FRANCISCO BLUE Lighting & Compositing TD Curv Studios / Indigo Films / Broadcast Title Sequence TLC (The Learning Channel) OUT OF THIS WORLD Lighting & Compositing TD Curv Studios / Indigo Films / Broadcast Title Sequence The Travel Channel NOWHERE TO LAND Materials XAOS Inc. / TBS Superstation Visual fx for Television Movie ESCAPE FROM ALCATRAZ Lighting & Compositing TD Curv Studios / Indigo Films / Visual fx for Television Documentary The History Channel VANPIRES Character Animator Flying Rhino Productions / MSH Entertainment/ Children's Television Series FOX-UPN _______________________________________________________________________________________________________ COMMERCIALS Experience Contribution / Role Production Company INTEL BRANDING SPLASH Animation / Materials XAOS Inc. / Intel Commercial for Pentium II chip FORTUNE 100 Modeling XAOS Inc. / Deloitte & Touche Commercial EXTRAORDINARY MOP Modeling Flipside Editorial / Clorox / DDB Commercial KINDER CHOCOLATE Digital Paint / Compositing Blue Sky Studios / Ferrero SpA Commercial NBA ICE AGE 2 PROMO Digital Paint / Compositing Blue Sky Studios / 20th Century FOX Broadcast Film Promo during NBA Finals NBC _______________________________________________________________________________________________________ GAMES Experience Contribution / Role Production Company X-MEN LEGENDS Compositing / Modeling Cinematico / Activision X-Box Opening Game Cinematic BRUCE LEE: QUEST OF THE DRAGON Character Animation Curv Studios / Ronin Entertainment / Microsoft X-Box Game Title Universal Interactive / Microsoft SIMCITY 4 Technical Director Curv Studios / Digital Fauxtography / PC Game Title Maxis ALTER ECHO Compositing / FX Curv Studios / Kleiser Walzak / THQ X-Box Opening Game Cinematic ALICE Modeling XAOS Inc. / American McGee / PC Opening Game Cinematic Electronic Arts _______________________________________________________________________________________________________ INTERACTIVE MULTIMEDIA & INDUSTRIAL APPLICATIONS APOGEE TOWERS Lighting & Compositing TD Curv Studios / Ocean Investments Architectural Visualization TOWERS ON THE GROVE Lighting & Compositing TD Curv Studios / Ocean Investments Architectural Visualization AVISTA Lighting & Compositing TD Curv Studios / Ocean Investments Architectural Visualization HUD DISPLAYS Compositing Curv Studios / ICS Multimedia / Product Simulation Animation Boeing AFRICA ONE Interface Designer FTI Corp / AT&T CDRom Presentation Tool UNBUNDLING THE NETWORK ELEMENTS Interface Designer FTI Corp. / AT&T CDRom Presentation Tool BENZENE Interface Designer FTI Corp. / DuPont CDRom Lawyer Interactive Reference Tool BENLATE Interactive Authoring FTI Corp. / DuPont CDRom Lawyer Interactive Reference Tool INTERNATIONAL BANKING CASE Interactive Authoring FTI Corp. / Proctor & Gamble Interactive Deposition Presentation Tool * Numerous Industrial 3D Animated communications tools serving Silicon Valley Technology companies * Numerous Interactive Courtroom Presentation Tools for a variety of clients _______________________________________________________________________________________________________ Education AA Computer Animation & Design, Montgomery College, Rockville, Maryland Organizations Visual Effects Society (VES) member www.visualeffectssociety.com ACM Siggraph http://www.siggraph.org _______________________________________________________________________________________________________ References Matt Jacobs VFX Supervisor - MPC [email protected] 510-681-4309 Matt Simmons VFX Supervisor - Blue Sky Studios [email protected] 914.318.2741 Adam King Lighting Supervisor - Blue Sky Studios [email protected] 914-839-9904 Chris Morley VFX Supervisor - Tippett Studio [email protected] Aruna Inversion VFX Supervisor - Digital Domain [email protected].
Load more

Recommended publications
  • (TMIIIP) Paid Projects Through August 31, 2020 Report Created 9/29/2020
    Texas Moving Image Industry Incentive Program (TMIIIP) Paid Projects through August 31, 2020 Report Created 9/29/2020 Company Project Classification Grant Amount In-State Spending Date Paid Texas Jobs Electronic Arts Inc. SWTOR 24 Video Game $ 212,241.78 $ 2,122,417.76 8/19/2020 26 Tasmanian Devil LLC Tasmanian Devil Feature Film $ 19,507.74 $ 260,103.23 8/18/2020 61 Tool of North America LLC Dick's Sporting Goods - DecembeCommercial $ 25,660.00 $ 342,133.35 8/11/2020 53 Powerhouse Animation Studios, In Seis Manos (S01) Television $ 155,480.72 $ 1,554,807.21 8/10/2020 45 FlipNMove Productions Inc. Texas Flip N Move Season 7 Reality Television $ 603,570.00 $ 4,828,560.00 8/6/2020 519 FlipNMove Productions Inc. Texas Flip N Move Season 8 (13 E Reality Television $ 305,447.00 $ 2,443,576.00 8/6/2020 293 Nametag Films Dallas County Community CollegeCommercial $ 14,800.28 $ 296,005.60 8/4/2020 92 The Lost Husband, LLC The Lost Husband Feature Film $ 252,067.71 $ 2,016,541.67 8/3/2020 325 Armature Studio LLC Scramble Video Game $ 33,603.20 $ 672,063.91 8/3/2020 19 Daisy Cutter, LLC Hobby Lobby Christmas 2019 Commercial $ 10,229.82 $ 136,397.63 7/31/2020 31 TVM Productions, Inc. Queen Of The South - Season 2 Television $ 4,059,348.19 $ 18,041,547.51 5/1/2020 1353 Boss Fight Entertainment, Inc Zombie Boss Video Game $ 268,650.81 $ 2,149,206.51 4/30/2020 17 FlipNMove Productions Inc.
    [Show full text]
  • Science Fiction Meets Science Fact New Traveling Exhibition Reveals How the Two Connect—And What Could Come Next!
    APRIL – MAY 2017 A Newsletter for Members and Friends of the Museum of Science Inside This Issue • From Sci-Fi to Wi-Fi • Cambridge Science Festival • Amazing Amazon! Science Fiction Meets Science Fact New traveling exhibition reveals how the two connect—and what could come next! ake a look at the once-popular flip phone, and it’s hard to miss its similarities with the communicator from the original Star Trek television series. T HAL 9000 from 2001: A Space Odyssey influenced Siri, Alexa, and other electronic voice devices (minus the creepy factor). And many intrepid innovators are still working on turning the hoverboard from Back to the Future Part II into reality. Explore these and other connections between technology and pop culture influences from movies, books, television, and additional art forms in POPnology, the Museum’s newest traveling exhibition opening April 30. Embrace your inner POPnologist in this revolutionary visitor experience that also highlights emerging technologies such as 3-D printed cars and robots through dozens of hands-on experiences, arresting visuals, and more! This Is How We Do It KEVA The exhibit is divided into four areas, each tackling a different way PLANKS CITY technology impacts our lives—“How We Move,” “How We Connect,” “How We Live and Work,” and “How We Play.” See how far we’ve come in the past century and the exciting possibilities that could be just around the corner. Venture into “How We Play,” and stop by the Pentiductor Play Area to learn how to make sounds and music with just your hands.
    [Show full text]
  • El Cine De Animación Estadounidense
    El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice
    [Show full text]
  • Swing Into Summer at the Museum New Exhibits, Giant-Screen Films, and More Make for a Sensational Season!
    JUNE – JULY 2017 Sparks!A Newsletter for Members and Friends of the Museum of Science Inside This Issue • One-Stop Family Fun • Planetarium Shines at Night • Taking STEM to the Street Cover Photos © TMP Images Swing into Summer at the Museum New exhibits, giant-screen films, and more make for a sensational season! eed help filling your summer calendar? The Museum is your FREEDOM go-to resource for awe-inspiring attractions for children and CHAIR adults alike. Intriguing exhibits (including seasonal favorite N ® POPnology), immersive IMAX and 4-D films, a new evening series in the Planetarium, thought-provoking live presentations, and more ensure you’ll keep the learning and fun going long after school’s out! See It Before It Happens Behind the Scenes: Help us test new exhibits!, a new permanent exhibit next to the Theater of Electricity, gives you a sneak peek into the Museum’s future. Just as the name implies, you get a firsthand look at what goes into producing an exhibit— from the birth of an idea to the finishing touches before it’s ready for prime time. And you can participate in the process by experimenting with the newest ideas before they reach their final form. Swing in front of a screen featuring a 3-D space scene designed to make you feel like you’re moving outside this world in “Starfield Swing.” Then share your thoughts on the experience to make it even better! Check back regularly—the space changes frequently as the Museum’s expert exhibit creators are always working on new projects.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Meet World-Class 3D Animation Professionals at Cyberport
    For immediate release Meet World-class 3D Animation Professionals at Cyberport Animation Camp 2011 Behind-the-scene heros from Pixar, Lucasfilm and Rising Sun to share their tips on making stunning 3D animation and scenes Hong Kong, 5 December 2011 - Cyberport Animation Camp 2011, Hong Kong’s leading seminar on digital entertainment development organized by Hong Kong Cyberport IncuTrain Centre, will be held on 12 December 2011 at Hong Kong Cyberport. FREE registration is now available at http://ac.cyberport.hk. Seats are limited, act NOW! Cyberport Animation Camp 2011 provides the opportunities for local animators and industry professionals to learn from the global leading 3D animation studios including Lucasfilm Singapore, Pixar Animation Studios and Rising Sun Pictures, who have involved in the production of blockbusters such as Cars 2, Toys Story 3, Pirates of the Caribbean: On Stranger Tides, Star War series, Harry Porter series and The Lord of the Rings: The Return of the King. Leaders from the 3D animation world include Mr. Ken Huff, Technical Trainer at Lucasfilm Singapore; Ms Wen-Chin Hsu, Lighting Technical Director at Pixar Animation Studios; and Mr. Ian Cope, Visual Effects & Stereoscopic Producer at Rising Sun Pictures, will be sharing with the audience an engaging talk covering topics on the latest 3D animation and visual effect, the latest stereoscopic 3D animation trend, as well as rewarding experience of working in an overseas animation studio from an Asian’s perspective. “We're thrilled to have these top-notch speakers coming to Cyberport Animation Camp 2011,” said Dr. David Chung, Chief Technology Officer of Hong Kong Cyberport Management Company Limited.
    [Show full text]
  • L'animation Stylisée
    Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works.
    [Show full text]
  • Info Fair Resources
    ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… Info Fair Resources ………………………………………………………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….………………………………………………….…………… SCHOOL OF VISUAL ARTS 209 East 23 Street, New York, NY 10010-3994 212.592.2100 sva.edu Table of Contents Admissions……………...……………………………………………………………………………………… 1 Transfer FAQ…………………………………………………….…………………………………………….. 2 Alumni Affairs and Development………………………….…………………………………………. 4 Notable Alumni………………………….……………………………………………………………………. 7 Career Development………………………….……………………………………………………………. 24 Disability Resources………………………….…………………………………………………………….. 26 Financial Aid…………………………………………………...………………………….…………………… 30 Financial Aid Resources for International Students……………...…………….…………… 32 International Students Office………………………….………………………………………………. 33 Registrar………………………….………………………………………………………………………………. 34 Residence Life………………………….……………………………………………………………………... 37 Student Accounts………………………….…………………………………………………………………. 41 Student Engagement and Leadership………………………….………………………………….. 43 Student Health and Counseling………………………….……………………………………………. 46 SVA Campus Store Coupon……………….……………….…………………………………………….. 48 Undergraduate Admissions 342 East 24th Street, 1st Floor, New York, NY 10010 Tel: 212.592.2100 Email: [email protected] Admissions What We Do SVA Admissions guides prospective students along their path to SVA. Reach out
    [Show full text]
  • Top Questions About Character Animation
    Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame.
    [Show full text]
  • Free-Digital-Preview.Pdf
    THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • Sarah Mercey Director | Actress | Storyboardist | Animation —————
    Sarah Mercey Director | Actress | Storyboardist | Animation ————— FILMOGRAPHY Unannounced | 2021 Feature film, animation Storyboard artist Blue Sky Studios (Fox Animation) — Lucky | 2020 Skydance Animations (Skydance Media) — Nimona | 2020 Feature film, animation Storyboard artist Blue Sky Studios (Fox Animation) — Spies in Disguise | 2017 Feature film, animation Storyboard artist Blue Sky Studios (Fox Animation) — Ferdinand | 2017 Feature film, animation Storyboard artist Blue Sky Studios (Fox Animation) AWARDS Oscar nominee (Academy Awards), Best Animated Feature Film – USA, 2018 2 nominations at the Golden Globes, Best Motion Picture – Animated, Best Original Song – Motion picture, USA, 2018 — Angry Birds | 2016 Feature film, animation Storyboard artist Rovio — Rio 2 | 2014 Feature film Story Blue Sky Studios (Fox Animation) — Magic Hockey Skates | 2012 Holiday special Director, Art Director, Co-Writer Amberwood Entertainment / Canadian Broadcast Corporation AWARD Canadian Screen Award 2014 – Best Direction in an Animated Program or Series & In nomination for Best Animated Series — Ice Age Christmas Special | 2011 Feature film Story Blue Sky Studios (Fox Animation) — Toy Story 3 | 2009 Feature film Character Design Pixar Animation Studios AWARDS Oscar winner (Academy Awards), Best Animated Feature Film of the Year– USA, 2011 Golden Globe winner, Best animated Film of the Year 2011 — WALL-E | 2008 Feature film Animation Pixar Animation Studios AWARDS Oscar winner (Academy Awards), Best Animated Feature Film of the Year– USA, 2009 Golden
    [Show full text]