SUSIE ALEGRIA 4123 Manila Ave, Oakland , CA 94609 (H) 510 595-8640 (C) 415 640-4366 Email: Susiealegria@Gmail

Total Page:16

File Type:pdf, Size:1020Kb

SUSIE ALEGRIA 4123 Manila Ave, Oakland , CA 94609 (H) 510 595-8640 (C) 415 640-4366 Email: Susiealegria@Gmail SUSIE ALEGRIA 4123 Manila Ave, Oakland , CA 94609 (H) 510 595-8640 (C) 415 640-4366 email: susiealegria@gmail FILM / TV Zoey's Extraordinary Playlist, NBC, pilot, SF—Art Director 2019 ​ ​ ​ Women is Losers, Over the moon production, Film- Production Designer 2019 ​ ​ ​ All Day and a Night, Netflix, Film, Oakland, CA— Art Director 2018 ​ ​ ​ ​ Antman & the Wasp, Walt Disney studios, Film. San Francisco, CA—Assistant Art Director 2018 ​ ​ ​ Bumble Bee, Paramount Pictures, Film. San Francisco, CA—Assistant Art Director 2017 ​ ​ ​ Blindspotting, Lionsgate, Oakland, CA—Art Director 2017 ​ ​ ​ ​ When We Rise, Film. San Francisco, CA—Art Director 2016 ​ ​ ​ Summertime, Chaz Productions, Film. San Francisco, CA—Art Director 2015 ​ ​ Steve Jobs, Universal Pictures, Film. San Francisco, CA—Assistant Art Director 2015 ​ ​ San Andreas, Warner Brothers. Film. San Francisco, CA—Assistant Art Director 2014 ​ ​ ​ ​ Ant Man, Marvel, Film. San Francisco, CA—Assistant Art Director 2014 ​ ​ ​ ​ ​ ​ The Diary of a Teenage Girl, Caviar Films. San Francisco, CA—Decorator 2013–2014 ​ ​ Looking, HBO, TV. San Francisco, CA—Decorator 2013 ​ ​ Pulling, ABC, TV. San Francisco, CA—Props 2013 ​ ​ Shademaker, Pixar, Film. San Francisco, CA—Lead Set Decorator 2011–2012 ​ ​ Contagion, Warner Brothers, Film. San Francisco, CA (memorials)—Set Dresser 2011 ​ ​ ​ ​ On the Road, SPAD Films, Film. San Francisco, CA—Assistant Art Director 2011 ​ ​ ​ ​ Trauma, NBC, TV. San Francisco, CA—Assistant Art Director 2009–2010 ​ ​ Parenthood Pilot, NBC, TV. San Francisco, CA—Art Director 2009 ​ ​ The Butler’s in Love, Short. San Francisco, CA—Decorator 2009 ​ ​ ​ ​ Drag Me to Hell, Tippett Studio, Film. Berkeley, CA—Model Maker 2009 ​ ​ MILK, Focus Features, Film. San Francisco, CA—Assistant Art Director 2008 ​ ​ th Journeyman, 20 ​ Century Fox, TV. San Francisco, CA—Art Director 2007 ​ ​ ​ Earthquake series, BBC, TV. San Francisco, CA—Art Director 2007 ​ ​ ​ Undercover History: J. Edgar Hoover, Actual Films, TV. San Francisco, CA—Art Director 2006 ​ ​ The Evidence, Warner Brothers, TV. San Francisco, CA—Art Director 2006 ​ ​ ​ A Perfect Place, Fantoma Films, Film. San Francisco, CA—Art Director 2006 ​ ​ Rent, Revolution Studios, San Francisco, CA—Assistant Art Director 2005 ​ ​ Bee Season, Fox Searchlight, Film. Oakland, CA—Assistant Art Director 2004 ​ ​ Peter Pan, Lucas Film, ILM, Film. San Rafael, CA—CGI Artist 2003 ​ ​ Big Day Off, Independent Film, San Francisco, CA—Art Director 2002 ​ ​ Artificial Intelligence, Lucas Film, ILM, Film. San Rafael, CA—Model Maker 2001 ​ ​ SUSIE ALEGRIA 4123 Manila Ave, Oakland , CA 94609 (H) 510 595-8640 (C) 415 640-4366 email: susiealegria@gmail Star Wars: Episode 2, Lucas Film, ILM, Film. San Rafael, CA—Model Maker 2001 ​ ​ th Monkeybone, 20 ​ Century Fox, Film. San Francisco, CA—Model Maker 2000 ​ ​ ​ Life with Loopy, Nickelodeon, TV. San Francisco, CA—Model Supervisor 96, 97, 98, 99 ​ ​ Starship Troopers, Lucas Film, ILM, Film. San Rafael, CA—Model Maker 1997 ​ ​ James and the Giant Peach, Skellington Productions, Film—Model Maker 1994–1996 ​ ​ Nightmare Before Christmas, Skellington Productions, Film—PA 1993 ​ ​ COMMERCIALS Toyota Leasing, H&L Partners, SF, CA—Art Director 2015 ​ ​ Goldieblox, Oakland, CA—Art Director 2014 ​ ​ T-Mobile, Radical Media, SF, CA—Prop Master 2013 ​ ​ JCP, Detour Films, SF, CA—Prop Master 2013 ​ ​ ​ Sims, Electronic Arts, Redwood City, CA—Art Director 2010 ​ ​ Muse Media, Costco/Amex, San Francisco, CA—Art Director 2010 ​ ​ FEMA, The Orphanage, San Francisco, CA—Art Director 2008 ​ ​ ​ Acme Scenery, various projects, San Francisco, CA—Art Director 2007–2008 ​ ​ Wii Nintendo, Electronic Arts, Redwood City, CA—Art Director 2007 ​ ​ ​ ​ Comcast, Hotbed, San Francisco, CA—Art Director 2006 ​ ​ All Stars Promo, Fox Sports, Marsha Hunt Production—Art Director 2007 ​ ​ Humira, The Orphanage, San Francisco, CA—Art Director 2007 ​ ​ First Union Bank, ILM, San Rafael, CA—Model Maker 1998 ​ ​ REFERENCES Guy H. Dyas, Production Designer, [email protected] (323) 276-0807 ​ ​ Shepherd Frankel, Production Designer, [email protected] (310) 592-3711 ​ ​ ​ ​ ​ Stuart Blatt, Production Designer, [email protected] (323) 816-7891 ​ Bill Groom, Production Designer, [email protected] (917) 903-9215 ​ ​ ​ ​ ​ d Howard Cummings, Production Designer, (415) 703-0304 ​ .
Recommended publications
  • Materials and Movement in Stop Motion Animation
    MATERIALS AND MOVEMENT IN STOP MOTION ANIMATION Thomas Steven Fyfe Abertay University School of Arts, Media and Computer Games APRIL 2016 Abertay University Declaration Author: Thomas Steven Fyfe Title: Materials and Movement in Stop Motion Animation Qualification sought: BA (Hons) Computer Arts Year: 2016 I. I certify that the above mentioned project is my original work II. I agree that this dissertation may be reproduced, stored or transmitted, in any form and by any means without the prior written consent of the undersigned. Signature ………………………………………………………………………………………………… Date …………………………………………………………………………………………………29/04/2016 ……… i ABSTRACT Stop motion animation first evolved from the visual effects in live action filmmaking. Stopping the camera to move, add or remove something created an illusion that fooled the audience into seeing something possess its own motion. Early animations often considered as performances of visual trickery with an emphasis on movement. Animation has evolved over the last century from its early beginnings as trick films, developing as a central element to live action visual effects in the first few decades of the 20th century and as a form of animation in its own right. Throughout this evolution, stop motion has developed to utilise clay models and complex puppets in addition to everyday objects as a means to tell rich and compelling stories. With the rise of computer generated imagery (CGI), stop motion is no longer used as often for visual effects. However it continues to be explored for its visual qualities and artistic possibilities in feature films and animated shorts and these qualities help to make the case for the longevity of stop motion for years to come.
    [Show full text]
  • “Rabbit! Rabbit!”, “Watt”, “The Curtains” an Interpretation
    “RABBIT! RABBIT!”, “WATT”, “THE CURTAINS” AN INTERPRETATION OF CINEMATIC STORYTELLING THROUGH THREE DIFFERENT MEDIA (3D ANIMATION, STOP-MOTION ANIMATION AND LIVE-ACTION) by BURAK N. KURT Submitted to the Graduate School of Arts and Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts in Visual Arts & Visual Communication Design Sabancı University Spring 2009 © Burak N. Kurt 2009 All Rights Reserved Anneme/ For my mother… iv “RABBIT! RABBIT!”, “WATT”, “THE CURTAINS” AN INTERPRETATION OF CINEMATIC STORYTELLING THROUGH THREE DIFFERENT MEDIA (3D ANIMATION, STOP-MOTION ANIMATION AND LIVE-ACTION) by Burak N. Kurt Visual Arts and Communication Design, M.A., Thesis, 2009 ABSTRACT This three short-film project tries to comparatively evaluate the visual storytelling properties of three film techniques, live-action, 3D Computer Animation and Stop- motion (clay-mation). All of the three films aim to tell a different enjoyable story adapted to the strengths and weaknesses of each technique. To be able to establish an internal consistency and better comparability, the films are based on a common theme which is ‘solitude’ and a common genre which is ‘supernatural horror’. This paper discusses the features of visual storytelling on each of those techniques comparatively and tries to evaluate their strengths in creating feeling and emotions. To provide a basis, this paper also examines the mythical and archetypal story behind and functions of storytelling in addition to its essentials. It also discusses the importance and necessity of ‘solitude’ in the context of storytelling. Solitude’s role in fear is discussed as well. Eventually it blends the research and discussion material with the short-films “Rabbit! Rabbit!,”, “The Curtains”, and “Watt” in an attempt to better understand the technical aspects of the three techniques as well as their conceptual and semantic projections on and of the story.
    [Show full text]
  • (Walt Disney Pictures & Pixar Animation
    Cast Crew Hanham Players Hanham Players Youth Group Act 2 – Creatures to Animals Frozen… (Walt Disney Animation Studios, Walt Disney Pictures, Walt Disney Studio Motion Pictures (2013)) Minions… (Illumination Entertainment & Universal Pictures International (2015)) The Nightmare Before Christmas… (Touchstone Pictures, Skellington Productions Inc., Tim Burton Productions & Walt Disney Pictures (1993)) Monsters Inc.… (Walt Disney Pictures, Pixar Animation Studios & Buena Vista International (2001)) Shrek… (DreamWorks Animation, DreamWorks SKG, Pacific Data Images & United International Pictures (2001)) There will be a 20 minute interval between the two acts. The use of photography and filming equipment is strictly prohibited. Aladdin… (Walt Disney Pictures, Silver Screen Partner, Walt Disney Feature Animation & Buena Vista International Monsters vs. Aliens… (DreamWorks Animation (2009)) (1992)) Despicable Me… (Universal Pictures, Illumination Entertainment & Universal Studios (2010)) Brave… (Walt Disney Pictures, Pixar Animation Studios & Walt Disney Studio Motion Pictures (2012)) Anastasia… (Twentieth Century Fox Film Corporation, Fox Animation Studios, Fox Family Films, The Big Gun Project, Little Wolf Entertainment & 20th Centure Fox (1997)) Toy Story… (Pixar Animation Studios, Walt Disney Pictures & Buena Vista International (1995)) Cars… (Walt Disney Pictures & Pixar Animation Studios (2006)) The Polar Express… (Castle Rock Entertainment, Shangri-La Entertainment, Playtone, ImageMovers, Golden Mean, Universal CGI, Warner Bros. & Park
    [Show full text]
  • 1 “I Grew up Loving Cars and the Southern California Car Culture. My Dad Was a Parts Manager at a Chevrolet Dealership, So V
    “I grew up loving cars and the Southern California car culture. My dad was a parts manager at a Chevrolet dealership, so ‘Cars’ was very personal to me — the characters, the small town, their love and support for each other and their way of life. I couldn’t stop thinking about them. I wanted to take another road trip to new places around the world, and I thought a way into that world could be another passion of mine, the spy movie genre. I just couldn’t shake that idea of marrying the two distinctly different worlds of Radiator Springs and international intrigue. And here we are.” — John Lasseter, Director ABOUT THE PRODUCTION Pixar Animation Studios and Walt Disney Studios are off to the races in “Cars 2” as star racecar Lightning McQueen (voice of Owen Wilson) and his best friend, the incomparable tow truck Mater (voice of Larry the Cable Guy), jump-start a new adventure to exotic new lands stretching across the globe. The duo are joined by a hometown pit crew from Radiator Springs when they head overseas to support Lightning as he competes in the first-ever World Grand Prix, a race created to determine the world’s fastest car. But the road to the finish line is filled with plenty of potholes, detours and bombshells when Mater is mistakenly ensnared in an intriguing escapade of his own: international espionage. Mater finds himself torn between assisting Lightning McQueen in the high-profile race and “towing” the line in a top-secret mission orchestrated by master British spy Finn McMissile (voice of Michael Caine) and the stunning rookie field spy Holley Shiftwell (voice of Emily Mortimer).
    [Show full text]
  • Linda Sena Everything Must Go Where the Road Meets the Sun the Job Four Christmases Captain Abu Raed Smother (Short) Heart Shape
    LINDA SENA PRODUCTION DESIGNER, ART DIRECTOR, ASST ART DIRECTOR H) 323-953-5963 C) 323-528-7184 ART DIRECTORS GUILD - LOCAL 800 [email protected] www.lindasena.com EASTERN TALENT AGENCY, MAUREEN TOTH, 323-856-3009 WWWEASTERNTALENT.NET FILMS EVERYTHING MUST GO DIR. DAN RUSH, PROD. TEMPLE HILL, MARTY BOWEN, SCOTT LUMPKIN, PROD. DESIGNER KARA LINDSTROM ART DIRECTOR CAST; WILL FERRELL, REBECCA HALL, CHRISTOPHER WALLACE, MICHAEL PENA WHERE THE ROAD MEETS THE SUN DIR. MUN CHEE YONG, PROD. HOLLYWOOD UNTITLED, BRETT HENENBERG, SHANNON MAKHANIAN PRODUCTION DESIGNER CAST; ERIC MABIUS, WILL YUN LEE, FERNANDO NORIEGA, LUKE BRANDON FIELD THE JOB DIR. SHEM BITTERMAN, PROD. KIKI GOSHAY, PROD. DESIGNER ANDREW TROSSMAN ART DIRECTOR CAST; PATRICK FLUEGER, RON PERLMAN, TARYN MANNING, JOEY PANTOLIANO FOUR CHRISTMASES DIR. SETH GORDON, AVERY PIX, NEW LINE CINEMA, PROD. DESIGNER SHEPARD FRANKEL, ART DIRECTOR MIKE ATWELL ASSISTANT ART DIRECTOR CAST; REESE WITHERSPOON, VINCE VAUGHN, SISSY SPACEK CAPTAIN ABU RAED DIR. AMIN MATALQA, PROD. DAVID PRITCHARD, KEN KOKIN, NADINE TAUKAN, PROD. DESIGNER GERALD SULLIVAN ART DIRECTOR SUNDANCE FF 08 WORLD DRAMATIC COMPETITION - “AUDIENCE AWARD” SMOTHER (SHORT) DIR. LUIS GISPERT, PROD. ALEX ORLOVSKY, HUNTING LANE FILMS, MARY BOONE GALLERY NYC PRODUCTION DESIGNER CAST; ANTHONY QUINONEZ, TARYN MANNING , STEVEN BAUER HEART SHAPED GLASSES (SHORT) DIR. MARILYN MANSON, PROD. JONATHAN LIA, INTERSCOPE RECORDS, SUNSET EDIT ART DIRECTOR CAST; MARILYN MANSON, EVAN RACHEL WOODS WRISTCUTTERS-A LOVE STORY DIR. GORAN DUKIC, LIONS GATE, CAST; PATRICK FUGIT, SHEA WHIGHAM, SHANNYN SOSSAMON, TOM WAITS PRODUCTION DESIGNER/ASSOCIATE PRODUCER SUNDANCE FF 06, INDEPENDENT SPIRIT AWARDS NOMINEE 07, HUMANITAS AWARDS NOMINEE 07… MALACHANCE DIR. GERARDO NARANJO, PERRONEGRO FILM PRODUCTIONS, CAST; JAMES (PJ) RANSONE, NANCY ANNE RIDDER PRODUCTION DESIGNER/PRODUCER CINEVEGAS FF 04, AFI FF 04, IFP MARKET 04, MANNHEIM-HEIDELBERG FF 04, MEXICO CITY FF 04 … BIKER BOYZ DIR.
    [Show full text]
  • Tim BURTON: Un Marionnettiste Du Macabre Olivier DOBREMEL
    Tim BURTON: Un marionnettiste du macabre Olivier DOBREMEL « Burtoniens », voilà comment un certain ton, une approche esthétique et un univers narratif sauraient être décrits de nos jours. En effet, les différentes œuvres de Tim Burton proposent un imaginaire singulier et reconnaissable entre mille. Mais aux thématiques récurrentes chères à ce conteur moderne s’ajoutent par ailleurs des techniques d’animation qu’il a développées au long de sa carrière… Un punk au pays des merveilles Le réalisateur, producteur, scénariste, designer et animateur qu’est Burton a toujours été un grand romantique, fasciné par l’amour. Paradoxalement, il semble être aussi un personnage torturé et constamment séduit par l’horreur, dont le gothisme poussé parfois à l’extrême n’a d’égal que la volonté d’abuser d’atmosphères mélancoliques. Cet aspect nostalgique est l’une des clefs permettant d’aborder le monde de ce créateur polymorphe, de pénétrer la bulle de cet enfant déviant d’Hollywood. En effet, Tim Burton est quelqu’un qui fait partie du système de production traditionnel américain mais, ambiguïté oblige, il en est aussi l’un des représentants les plus marginaux. On dit souvent de lui que la bizarrerie est la pierre angulaire de son travail. En fait, la filmographie de Burton reflète plutôt l'accumulation de contradictions dans son parcours de vie… Né en 1958, en Californie, dans une banlieue proche d’Hollywood1, le jeune Tim trompe la monotonie de son existence timide grâce à sa plus grande passion : les films. Son destin va alors l’amener à travailler pour les studios Disney, environnement créatif par excellence mais 1 Burbank, une ville où de très nombreux artisans du 7e Art vivent.
    [Show full text]
  • Dead Technology
    Dead Technology Bill Tomlinson Synthetic Characters Group MIT Media Lab [email protected] http://www.media.mit.edu/ ~badger/Publications/deadtech.pdf ______________________________________ Sony’s robot dog, Aibo, playing dead For thousands of years, technology has been breaking. • Psalms 31:12 I am forgotten as a dead man out of mind: I am like a broken vessel. • Othello I:3 Duke of Venice: Men do their broken weapons rather use / Than their bare hands. • The Blues Brothers [Landis, 1980] Corrections Officer (returning the possessions of Jake Blues on his release from Joliet Prison): One Timex digital watch - broken. One unused prophylactic. One soiled. For thousands of years, people have been dying. • 1 Corinthians 15:22 For as in Adam all die, even so in Christ shall all be made alive. • Henry VI Part i, III:2 Lord Talbot: But kings and mightiest potentates must die / For that's the end of human misery. • Buffy the Vampire Slayer [1997-99] Buffy: The world is what it is---we fight, we die. Wishing doesn't change that. Only recently, though, has technology begun to die. • Ferris Bueller’s Day Off [Hughes, 1986] Ferris (after his friend crashes his father’s Ferrari) You killed the car. • Small Soldiers [Dante, 1998] Chip Hazard (eulogizing a dead toy soldier) His battery is dead but his memory lives on. • “Requiem for a Macintosh” Tom McNichol New York Times Service, Saturday, March 7, 1998 (http://globetechnology.com/gam/News/19980307/TADEAD.html) My computer died last week. If you think it's strange to talk about a computer dying, as if it were a living thing, that's probably because your computer is still alive.
    [Show full text]
  • Burton's Film and Television Projects
    Master Class with Tim Burton: Burton’s Selected Film and Television Projects As Director Dark Shadows. Dir. Tim Burton, 2012, U.S.A. 113 mins. Production Co.: Warner Bros. Pictures / Village Roadshow Pictures / Infinitum Nihil / GK Films / The Zanuck Company / Dan Curtis Productions / Tim Burton Productions. Alice in Wonderland. Dir. Tim Burton, 2010, U.S.A. 108 mins. Production Co.: Walt Disney Pictures / Roth Films / Team Todd / The Zanuck Company. Sweeney Todd: The Demon Barber of Fleet Street. Dir. Tim Burton, 2007, U.S.A. and U.K. 116 mins. Production Co.: Warner Bros. Pictures / DreamWorks Pictures / Parkes/MacDonald Productions / The Zanuck Company. Corpse Bride. Dir. Tim Burton, 2005, U.K. and U.S.A. 77 mins. Production Co.: Warner Bros. Pictures / Tim Burton Animation Co. / Laika Entertainment / Patalex Productions / Tim Burton Productions / Will Vinton Studios. Charlie and the Chocolate Factory. Dir. Tim Burton, 2005, U.S.A. and U.K. 115 mins. Production Co.: Warner Bros. Pictures / Village Roadshow Pictures / The Zanuck Company / Plan B Entertainment / Theobald Film Productions / Tim Burton Productions. Big Fish. Dir. Tim Burton, 2003, U.S.A. 125 mins. Production Co.: Columbia Pictures Corp. / Jinks/Cohen Company / The Zanuck Company / Tim Burton Productions. Planet of the Apes. Dir. Tim Burton, 2001, U.S.A. 119 mins. Production Co.: Twentieth Century Fox Film Corporation / The Zanuck Company / Tim Burton Productions. The World of Stainboy. Dir. Tim Burton, 2000, U.S.A. Short. Production Co.: Flinch Studios / Tim Burton Production. Sleepy Hollow. Dir. Tim Burton, 1999, U.S.A. and Germany. 105 mins. Production Co.: Paramount Pictures / Mandalay Pictures / American Zoetrope / Karol Film Productions / Tim Burton Productions.
    [Show full text]
  • Master Class with Tim Burton: Selected Filmography 1 the Higher
    Master Class with Tim Burton: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. Early Uses of Stop-Motion Animation (Pre-1960) Matches: An Appeal. Dir. Arthur Melbourne Cooper, 1899, U.K. 1 min. Production Co.: Brit Acres. The ‘Teddy’ Bears. Dir. Edwin S. Porter, 1907, U.S.A. 13 mins. Production Co.: Edison Manufacturing Company. The Cameraman’s Revenge (Mest kinematograficheskogo operatora). Dir. Wladyslaw Starewicz, 1912, Russia. 12 mins. Production Co.: Khanzhonkov. Christmas Forest Dwellers (Rozhdestvo obitateley lesa). Dir. Wladyslaw Starewicz, 1913, Russia. 7 mins. Production Co.: Khanzhokov. The Dragonfly and the Ant (Strekoza i muravey). Dir. Wladyslaw Starewicz, 1913, Russia. 5 mins. Production Co.: Khanzhonkov. Larks in Toyland. Dir. Arthur Melbourne Cooper, 1913, U.K. Runtime unknown. Production Co.: Empire Film Manufacturing Company. The Dinosaur and the Missing Link: A Prehistoric Tragedy. Dir. Willis H. O’Brien, 1915, U.S.A. 5 mins. Production Co.: Conquest Pictures Company / Edison Company. Liliya Belgii. Dir. Wladyslaw Starewicz, 1915, Russia. 14 mins. Production Co.: Skobelev Committee. Cinderella (Aschenputtel). Dir. Lotte Reiniger, 1922, Germany. 13 mins. Production Co.: Institut für Kulturforschung. The Frogs That Demand a King (Les grenouilles qui demandent un roi).
    [Show full text]
  • Master Class with Susan Bradley: Selected Filmography 1 the Higher
    Master Class with Susan Bradley: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how topics and themes relate to the Higher Learning event. *title sequence available to view online at The Art of the Title (http://www.artofthetitle.com) Film and Television works mentioned or discussed during the master class The Lion King. Dirs. Roger Allers and Rob Minkoff, 1994, U.S.A. 89 mins. Production Co.: Walt Disney Pictures / Walt Disney Feature Animation (Susan Bradley, Title Designer). Quiz Show. Dir. Robert Redford, 1994, U.S.A. 133 mins. Production Co.: Baltimore Pictures / Hollywood Pictures / Wildwood Enterprises (Susan Bradley, Title Designer). Reality Bites. Dir. Ben Stiller, 1994, U.S.A. 99 mins. Production Co.: Jersey Films / Universal Pictures (Susan Bradley, Title Designer). Toy Story. Dir. John Lasseter, 1995, U.S.A. 81 mins. Production Co.: Pixar Animation Studios / Walt Disney Pictures (Susan Bradley, Title Designer). Toy Story 2. Dirs. John Lasseter, Ash Brannon, and Lee Unkrich, 1999, U.S.A. 92 mins. Production Co.: Pixar Animation Studios / Walt Disney Pictures (Susan Bradley, Title Designer). Toy Story 3. Dir. Lee Unkrich, 2010, U.S.A. 103 mins. Production Co.: Pixar Animation Studios / Walt Disney Pictures (Susan Bradley, Title Designer).
    [Show full text]
  • THE WORLD of IMAGIMATION: a Hundred Years of Animation Art from Around the World
    THE WORLD OF IMAGIMATION: A Hundred Years of Animation Art from Around the World By Hal and Nancy Miles (Copyright 2014) Works Descriptions and Labels (INCOMPLETE DESCRIPTIONS 10/27/2014) 1. Gertie The Dinosaur 1914 U.S.A. Original Animation Drawing India Ink on Rice paper Director: Zenas Winsor McCay Producer: Zenas Winsor McCay Animator: Zenas Winsor McCay Assistant Animator: John A. Fitzsimmons Gertie The Dinosaur is considered the first widely viewed, groundbreaking traditional hand drawn animation short. Gertie’s creator and animation pioneer Zenas Winsor McCay, who was quite the showman, astonished audiences by showing the extinct “great monsters that used to inherit the Earth” in action during his lavish stage performances. Several thousand individually hand drawn sheets of rice paper make up the complete animated film. Once Zenas Winsor McCay designed and drew the background for the film, he started on the animation of Gertie, the Woolie Mammoth, Sea Serpent, and additional tree, water, and rock animation as well as animating himself for a section of the film. Once he had created the animation on each piece of rice paper he would pass each one on to his assistant John A. Fitzsimmons who would precisely trace the background over and over again on each one without crossing the background lines into the animated characters. 2. Scientific American Magazine 1916 U.S.A. Original Magazine Lithographic Paper First Published Article on Clay Animation and Inventor Helen Dayton 3. Animated Cartoons 1920 U.S.A. Original First Edition Book Printing Paper Author: Edwin George Lutz This is the first published book on how the hand drawn animation process worked.
    [Show full text]
  • John Daniel (510) 684-4756
    [email protected] 1369 Francisco St, Berkeley CA JOHN DANIEL (510) 684-4756 Skills: - Expertise in modeling for Consumer and Industrial 3D printers - Film effects production experience in both CGI and practical effects - Ten years experience with Maya and UV mapping for production. - Experience with Zbrush, MudBox, PhotoShop, Geomagics. - Extensive knowledge of invertebrate zoology. Employment: Tippett Studio(2016) Creature and prop Modeling and UV mapping for League of Gods. 3D Systems (2012-2015) Product Design Modeler for Consumer Solutions Division, assisting app developers, product designers, and engineers by creating printable content and troubleshooting both models and printers to ensure quality control. Directed and starred in how-to videos, organized STEAM public outreach events. Autofuss(2011) Architectural design and modeling for Symantec "Get Cloud Security" spot ImageMovers Digital(2007-2010) Modeler and UV mapping for Disney's A Christmas Carol and Mars Needs Moms Modeling R&D for facial and motion capture pipeline Test subject and actor for motion capture pipeline Tippett Studio(2006-2007) Modeler, UV mapping, and matchmoving for Enchanted. Digital Domain(2005-2006) Modeler and UV mapping for GMC “Board” spots Zoic Studios(2004-2005) Modeler and UV mapping for Serenity, Battlestar:Galactica, and CSI Mantron Corporation(2005) Modeled, mapped, and animated a collapsing bridge for Matthew Barney’s film Drawing Restraint 9. ESC Entertainment(2001-2004) Modeler and UV mapper for: Matrix Reloaded and Matrix Revolutions, Catwoman, Constantine. Notable creations: The Colliding Trucks from Matrix Reloaded, (Shot awarded "Best Visual Effect of the Year" by the Visual Effects Society), the Digger from Matrix Revolutions, 'Vermin Man' from Constantine; where I selected, designed and modeled a series of realistic insects.
    [Show full text]