5- 14 8- 12

Animation Magazine - - Frame- By- Frame - By Ja­son Sur­rell [Dis­ney Edi­tions, $22.99]

2On disc to­day: Kahlil Gi­bran’s The Prophet, Ex­tra­or­di­nary Tales, The Sig­na­ture Col­lec­tion: Snow White and The Seven Dwarfs, Bat­man: Bad Blood, Shim­mer and Shine, Mickey Mouse Club­house: Pop Star Min­nie, Bion­i­cle: The Leg­end Re­born,

Enjoy stu­dent and pro shorts from Bel­gium and around the world at An­ima - The Brussels An­i­ma­tion Film Fes­ti­val. [an­i­matv.be]

lurches men­ac­ingly into the­aters.

An­imex Int’l Fes­ti­val of An­i­ma­tion & Com­puter Games of­fers screen­ings, work­shops and more in Mid­dles­brough, U.K. [an­imex.tees.ac.uk] Happy birth­day to Bruce Timm!

On disc:

“Wel­come, fool­ish mor­tals, to the Haunted Man­sion!” Au­thor Ja­son Sur­rell may not be a Ghost Host, but the Dis­ney Imag­i­neer­ing vet­eran is uniquely qual­i­fied to guide read­ers through the fas­ci­nat­ing history and de­vel­op­ment of Dis­ney­land’s ul­ti­mate cult at­trac­tion: The Haunted Man­sion. Con­ceived by Un­cle Walt as an un­nerv­ing walk-through ex­pe­ri­ence in the mid 1950s, the light­hearted hor­ror ride un­der­went many twists and turns be­fore fi­nally open­ing in 1969 (af­ter Walt’s death), en­chant­ing guests with ex­tremely clever bits of Imag­i­neer­ing. This re­cently up­dated book out of the “From the Magic King­dom” se­ries shows the evo­lu­tion of the “grim grin­ning ghosts” and their un­holy haunt from early sketches and story con­cepts. Read­ers will also get the scoop on what is true and false in the man­sion’s sto­ried history. And, in this third edi­tion, a new il­lus­trated chap­ter de­scribes how the iconic ride has been adapted for parks in Tokyo, Paris and Hong Kong — plus even more de­tails and art­work re­lated to the Ana­heim and Or­lando at­trac­tions.

‘ You can go through all that ma­te­rial and get a really good pic­ture of the kind of the way the sur­faces were con­structed. It helps you cre­ate a Mil­len­nium Fal­con that you be­lieve is from the era of those movies, from A New

Hope or Em­pire.’

Star Wars: The Force Awak­ens.

It’s been a ban­ner year for vis­ual ef­fects as an art form and for In­dus­trial Light & Magic, the iconic com­pany that pi­o­neered mod­ern vis­ual ef­fects 40 years ago when Ge­orge Lu­cas founded it to work on a lit­tle movie called Star Wars.

And ILM is still push­ing the en­ve­lope for vis­ual ef­fects. Not only has it come full cir­cle to re­cap­ture the look and feel of its very first project in a new way for Star Wars: The Force Awak­ens, it also de­liv­ered most of the ef­fects for the global smash Juras­sic World. It’s surely Be­fore it was sub­ti­tled A New Hope, the first Star Wars movie broke ev­ery mold in the book by in­vent­ing mo­tion con­trol tech­nol­ogy that al­lowed its space­ships to swoop, swerve and make au­di­ences swoon with ex­cite­ment. A mere three years later, ILM upped its game con­sid­er­ably as mas­ter Phil Tip­pett in­te­grated stop-mo­tion tech­niques into its arse­nal to cre­ate the iconic Taun­tauns and the AT-AT bat­tle on Hoth. Ken Ralston’s fly­ing dragon was done the old fash­ioned way — with mod­els and op­ti­cal com­post­ing — but achieved a real­ism that shocked au­di­ences at the time and pointed the way to­ward the more com­plex dig­i­tal crea­tures of to­day. In ad­di­tion to fan­tas­tic model work, ILM cre­ated the first an­i­mated se­quence for a fea­ture cre­ated com­pletely within the com­puter with the demonstration of the Ge­n­e­sis ef­fect. ILM takes its crea­ture work into the hor­ror realm, help­ing scare the pants off au­di­ences and making this one of the most suc­cess­ful hor­ror films ever. no co­in­ci­dence that those movies are poised to be not just the most suc­cess­ful movies of the year, but also among the top-gross­ing films of all time.

To cel­e­brate its 40 years of amaz­ing work, An­i­ma­tion Mag­a­zine has picked out 40 great an­i­ma­tion mo­ments from ILM’s il­lus­tri­ous history.

It’s not an easy job — the stu­dio has cred­its on lit­er­ally hun­dreds of movies — but it’s also a fas­ci­nat­ing look at how far vis­ual ef­fects have come as well as how im­por­tant ILM has been Heart­strings were tugged in un­prece­dented ways thanks to ILM’s use of Go-Mo­tion tech­nol­ogy to seam­lessly in­te­grate ef­fects into such iconic shots as the bike ride in front of the moon. Lu­cas­film’s com­puter di­vi­sion an­i­mated the wire-frame graphic of the Rebels’ at­tack plan for the Death Star, while ad­vances in mo­tion-con­trolled cam­eras took the space bat­tles to a new level. ILM’s “stained glass knight” is the first all-dig­i­tal 3D an­i­mated char­ac­ter in a fea­ture film. This ride brought the Star Wars ex­pe­ri­ence to Dis­ney­land and proved vis­ual ef­fects had uses far be­yond movies and tele­vi­sion. ILM an­i­mated all the 2D char­ac­ters — re­quir­ing more than 82,000 hand­drawn frames of an­i­ma­tion — but it also for the first time seam­lessly in­te­grated an­i­mated char­ac­ters with live-ac­tion.

was to fire, so



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