Jacob Burns Film Center Celebrates Blue Sky Studios, Creators of Ice Age, Robots, and Rio

Total Page:16

File Type:pdf, Size:1020Kb

Jacob Burns Film Center Celebrates Blue Sky Studios, Creators of Ice Age, Robots, and Rio Jacob Burns Film Center Celebrates Blue Sky Studios, Creators of Ice Age, Robots, and Rio A Collaboration with Katonah Museum of Art Pleasantville, NY – Sept. 5, 2012 – The Jacob Burns Film Center (JBFC) is collaborating with the Katonah Museum of Art (KMA) to Celebrate Blue Sky Studios. KMA is presenting “Ice Age to the Digital Age: The 3D Animation of Blue Sky Studios,” a Blue Sky Studios exhibition from Sept. 16, 2012–Jan. 20, 2013. Starting in September, the JBFC is hosting Blue Sky Studios related workshops, screenings, and special opportunities for families, teachers, and volunteers. Throughout the JBFC and KMA Blue Skies Studios celebration, members of one institution will receive member discounts at the other (unless otherwise stated). One highlight of the program is “An Evening with Chris Wedge” at the JBFC Theater. Wedge is the cofounder and VP of Creative Development at Blue Sky Studios and the director of such films as Ice Age and Robots. Bunny, which he wrote and directed, won an Academy Award for Best Animated Short Film. Wedge is coming to JBFC to present a selection of short films and to discuss the art of animation. Check burnsfilmcenter.org for more information. In conjunction with KMA’s “Ice Age to the Digital Age” exhibition, JBFC is hosting Blue Sky Studios related classes at its Media Arts Lab. A member of the Blue Sky Studios team will participate in each of these special workshops. Sessions include “The Sounds of Blue Sky Studios,” where students recreate the voice and sound effects of an animated Blue Sky film, “Voice Acting” taught by Chris Wedge, “The Art of Storyboarding,” taught by professional storyboard artists from Blue Sky Studios, and “A Taste of Animation,” in which Blue Sky Studio artists help students create short, stop-motion animated films. In addition, JBFC is screening the Blue Sky Studios films Robots, Rio, and Horton Hears a Who! each weekend in October. For dates and times, visit the Movies for Kids page on the JBFC website. For a full list of screenings, workshops, and events, visit the Blue Sky Studios page on our website. JBFC and KMA have also teamed up to produce “Here and There Animation Workshops with Blue Sky Studios.” These daylong programs begin at the KMA, where students will work with Blue Sky artists to develop their own stories and characters. After lunch, they’ll take the train to the JBFC’s Media Arts Lab in Pleasantville, where they’ll bring their stories to life in original short media projects. Each workshop addresses a different aspect of animation creation. All “Here and There” workshops are 10:00 am-noon at KMA, 1:30-3:30 pm at JBFC. Participants must commit to the entire day. A KMA or JBFC staff member will accompany the students on the train from Katonah to Pleasantville. The Jacob Burns Film Center is a nonprofit cultural arts organization dedicated to: presenting the best of independent, documentary, and world cinema; promoting 21st century literacy, and making film a vibrant part of the community. Located on a 47,500 sq. foot, three-building campus in the center of Pleasantville, the JBFC is just 30 miles outside of New York City. Since the opening in 2001, over 1,000,000 people have seen over 4,500 films from more than 40 countries. The campus includes the 27,000 sq. foot Media Arts Lab, the JBFC’s state-of-the-art education center, a creative and educational community for storytellers in the digital age, offering one-time workshops, intensive courses, and weekend programs for children and adults of all ages. To learn more about the Jacob Burns Film Center and Media Arts Lab, visit www.burnsfilmcenter.org. # # # Contact: Lori Zakalik ([email protected]) 914.773.7663, ext. 434 Abby Popper ([email protected]) 914.773.7663, ext. 424 .
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]
  • Suggestions for Top 100 Family Films
    SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT..
    [Show full text]
  • Toy Story: How Pixar Reinvented the Animated Feature
    Brown, Noel. " An Interview with Steve Segal." Toy Story: How Pixar Reinvented the Animated Feature. By Susan Smith, Noel Brown and Sam Summers. London: Bloomsbury Academic, 2017. 197–214. Bloomsbury Collections. Web. 2 Oct. 2021. <http:// dx.doi.org/10.5040/9781501324949.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 2 October 2021, 03:24 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 1 97 Chapter 13 A N INTERVIEW WITH STEVE SEGAL N o e l B r o w n Production histories of Toy Story tend to focus on ‘big names’ such as John Lasseter and Pete Docter. In this book, we also want to convey a sense of the animator’s place in the making of the fi lm and their perspective on what hap- pened, along with their professional journey leading up to that point. Steve Segal was born in Richmond, Virginia, in 1949. He made his fi rst animated fi lms as a high school student before studying Art at Virginia Commonwealth University, where he continued to produce award- winning, independent ani- mated shorts. Aft er graduating, Segal opened a traditional animation studio in Richmond, making commercials and educational fi lms for ten years. Aft er completing the cult animated fi lm Futuropolis (1984), which he co- directed with Phil Trumbo, Segal moved to Hollywood and became interested in com- puter animation.
    [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]
  • 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]
  • April 29, 2005 Animation Gets Futuristic with Dreamworks' 'Robots'
    www.surveyor.wash.org April 29, 2005 17 Animation gets futuristic with DreamWorks’ ‘Robots’ Andrew Madsen film, I was reminded of movies such as “Me- staff writer tropolis” and “Blade Runner,” movies that present the future as a place of visual wonder, Animation has progressed steadily through- and yet one that also contains an element of out the years, from the early days of black and fear emitting from the rulers who control such white Disney cartoons to the latest CGI films places. Greed and the black and white side of from PIXAR and DreamWorks. human nature are also found in these movies, This is where the delightful movie “Ro- especially in “Robots,” with Rodney’s struggle bots” comes in, the latest CGI picture from against Ratchet’s plans to change Robot City DreamWorks, who is also responsible for the for the worse. successful “Shrek” movies. Certainly animation is not only what Rodney Copperbottem (voiced by Ewan makes the movie worth watching, but also McGregor) is a young robot born to an aver- the plot and characters. “Robots” great- age family. Inspired by the legendary inventor est strength lies in its characters, and the Bigweld (voiced by Mel Brooks), he dreams often funny dialogue they are given to say, of becoming a great inventor and improving along with some of the film’s entertaining, the lives of his fellow robots. comedic moments. In that aspect, Williams Rodney leaves his home and journeys as Fender is the movie’s best character, as to the gigantic metropolis of Robot City, he steals most of the scenes he’s in with where he runs into a gang of misfits led by typical comedic fashion.
    [Show full text]
  • Theaters 3 & 4 the Grand Lodge on Peak 7
    The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall
    [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]
  • 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]
  • Commercials Issueissue
    May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era.
    [Show full text]
  • Paper Summaries Projects Plan for Today Motivational Films Motivation
    Paper Summaries • Any takers? Dynamics I Linear Motion Projects Plan for today • Proposals due Wednesday • Physics 101 for rigid body animation • Project role call Motivational Films Motivation Films • Spotlight on Blue Sky Studios • Two short films by Chris Wedge – Founder and Vice President of Creative Development at Blue Sky Studios • Director of Ice Age – Before Blue Sky • Lead animator on TRON (MAGI) • Student at Ohio State’s Advanced Computing Center for the Arts and Design (ACCAD). 1 Motivational Film Motivational Film • Tuber’s Two Step (1985) • Bunny (1998) – Chris Wedge (while at ACCAD) – Bunny began as an effort to stretch the limits – Shown at SIGGRAPH 85 of the company's proprietary lighting software • First animated short to use Radiosity Let’s get started Role of Animation • Physics for Rigid Body Dynamics • Degrees of freedom • Today: Linear Motion – Number of parameters • Wednesday: Rotational Motion whose values must be • Winter Break defined in order to fully • Monday, January 5: Collisions position objects • Wednesday, January 7: Numerical Integration / Constraints Purpose of animation Provide values to each of the DOF for each time step. Degrees of freedom Modeling Motion • 60 sec animation • Most animation techniques employs some – Video: 30 frames / sec = 1800 frames sort of structured model for producing – Assume each object has 7 degrees of freedom motion. • x, y, z, s, v – Assume 5 objects – Need for some sort of procedure / set of rules. • (5 x 7 x 1800) = 63000 – Control vs. Flexibility – Need to determine the values of 63000 parameters to complete animation. 2 Modeling Motion Kinematics vs. Dynamics • Three approaches – Kinematic control – Hueristics • Refers to motion of object irrespective of the forces • Rules of thumb, guidelines, cheap hacks involved • Keyframing, traditional cel animation • E.g.
    [Show full text]
  • The Amplitude of Fnirs Hemodynamic Response in the Visual Cortex
    bioRxiv preprint doi: https://doi.org/10.1101/2021.07.19.452678; this version posted July 19, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY 4.0 International license. 1 The amplitude of fNIRS hemodynamic response in the visual cortex unmasks 2 autistic traits in typically developing children 3 4 Raffaele Mazziotti1,2‡, Elena Scaffei2,3‡, Eugenia Conti3, Viviana Marchi3, Riccardo Rizzi2,3, 5 Giovanni Cioni3,4, Roberta Battini3,4, Laura Baroncelli1,3* 6 7 [1] Institute of Neuroscience, National Research Council (CNR), I-56124, Pisa, Italy 8 [2] Department of Neuroscience, Psychology, Drug Research and Child Health NEUROFARBA, University of 9 Florence, I-50135, Florence, Italy 10 [3] Department of Developmental Neuroscience, IRCCS Stella Maris Foundation, I-56128, Pisa, Italy 11 [4] Department of Clinical and Experimental Medicine, University of Pisa, Pisa, Italy 12 13 *To whom correspondence should be addressed: [email protected] 14 ‡These authors equally contributed to the work 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 1 bioRxiv preprint doi: https://doi.org/10.1101/2021.07.19.452678; this version posted July 19, 2021. The copyright holder for this preprint (which was not certified by peer review) is the author/funder, who has granted bioRxiv a license to display the preprint in perpetuity. It is made available under aCC-BY 4.0 International license.
    [Show full text]