The In­no­va­tors

Animation Magazine - - Miptv Special Report -

From cre­ative to tech, busi­ness to mu­sic, these com­pa­nies and artists rep­re­sent the spirit of in­ven­tion that per­vades ev­ery as­pect of an­i­ma­tion and VFX.

Lo­ca­tion: Fly­ing back and forth be­tween Moscow and Los Angeles. Years ex­pe­ri­ence: 27 First pro­fes­sional project: A col­lec­tion of an­i­mated shorts ti­tled Lift 1, re­leased in 1989 by Moscow stu­dio Pi­lot. Cur­rent projects: Masha and the Bear its spin-off se­ries, Masha’s Tales. What We Say: Masha and the Bear is one of the most suc­cess­ful global an­i­mated se­ries in re­cent years, tap­ping into a wide au­di­ence of both young and old view­ers who are cap­ti­vated by sto­ries that res­onate across the globe with min­i­mal di­a­logue. To demon­strate how wide its suc­cess is, the show has been trans­lated into more than 25 lan­guages and airs in more than 100 coun­tries, while one episode of the se­ries ranks among a hand­ful of YouTube videos that has racked up more than 1 bil­lion views. What He Says: “I think my big­gest ac­com­plish­ment is that I man­aged to put to­gether a team of ex­tremely tal­ented artists and tech­ni­cians that was ca­pa­ble of pro­pel­ling the local na­tional project to an in­ter­na­tional level. In the fu­ture, I hope they will help me to bring my new ideas to life.” Lo­ca­tion: Los Angeles Years ex­pe­ri­ence: 30 First project: An­i­ma­tion on the mu­sic video for A-Ha’s “Take On Me”. Cur­rent projects: Rhythms + Vi­sions / Ex­panded + Live 3, a large-scale, out­door vis­ual mu­sic event; Be­yond Mu­sic, Com­po­si­tion and Per­for­mance in the Age of Aug­mented Re­al­ity, an im­mer­sive vis­ual mu­sic con­cert; Mea­sures and Frames, a live vis­ual mu­sic con­cert. What We Say: Pat­ter­son has bro­ken an­i­ma­tion out of the tra­di­tional bounds of the movie or TV screen and found new forms for the medium and new ways for it to in­ter­act with mu­sic that have pushed the bound­aries for cre­ativ­ity. What He Says: “With en­cour­age­ment from an­i­ma­tor-de­sign­ers Jules En­gel and Saul Bass, I pur­sued a di­rect­ing ca­reer in an­i­ma­tion. At the time, it was very chal­leng­ing to break in if you weren’t a char­ac­ter an­i­ma­tor. Com­ing from a more ex­per­i­men­tal style, mu­sic videos turned out to be a fan­tas­tic place to be­gin a ca­reer ... Cre­at­ing the an­i­mated, five-screen Pic­tures at an Ex­hi­bi­tion in 2011 for the open­ing of Frank Gehry’s New World Cen­ter in Mi­ami Beach was a turn­ing point. This col­lab­o­ra­tion with con­duc­tor Michael Til­son Thomas and an amaz­ing team of our USC an­i­ma­tion stu­dents and grad­u­ates showed what was pos­si­ble in the live vis­ual mu­sic medium. Since then, we’ve cre­ated mul­ti­screen and im­mer­sive pro­jec­tions for con­tem­po­rary com­posers. For me, it’s been es­sen­tial that as an an­i­ma­tor, I do not limit my­self to just one medium, but freely com­bine an­i­ma­tion with all forms of im­age-mak­ing. An­i­ma­tion is the hub that can con­nect and syn­the­size an un­lim­ited num­ber of ideas and con­cepts.” Lo­ca­tion: London Em­ployer: Splendy In­ter­ac­tive Ltd. Years ex­pe­ri­ence: 23 First project: Lit­tle Ro­bots, LEGO se­ries for BBC. Cur­rent projects: The Bunker, Cam­era 6, The Bak­ing Bears. What We Say: The po­ten­tial for com­bin­ing an­i­ma­tion, vis­ual ef­fects and gam­ing to cre­ate a new nar­ra­tive ex­pe­ri­ence is some­thing that has been promised for years, but Plen­der­leith is ac­tu­ally de­liv­er­ing it. What He Says: “I en­joy telling sto­ries in new and in­no­va­tive ways, and to­day’s tech­nol­ogy is now giv­ing sto­ry­tellers the op­por­tu­nity to do just that. The Hunt­ing was my first video game af­ter spend­ing years writ­ing scripts for chil­dren’s se­ries, and it was so in­ter­est­ing and chal­leng­ing writ­ing some­thing which was non­lin­ear with mul­ti­ple paths. Writ­ers al­ways have many ideas and op­tions when writ­ing a script, but in a game we can pur­sue all of our ideas and let the play­ers de­cide which path they would choose. The Bunker, our next game, out later this year, is tak­ing that con­cept to the next level — a full length fea­ture film which you ex­pe­ri­ence in your own way, dis­cov­er­ing the story on your own terms and be­com­ing re­spon­si­ble for the fate of John, our main char­ac­ter, a man alone in a nu­clear bunker 30 years af­ter the blast wiped out Eng­land. It was a real chal­lenge writ­ing the script — giv­ing play­ers the right amount of free­dom while still dic­tat­ing the arc of the story. I couldn’t write it in Fi­nal Draft — it was more of a 3D map, which changed over time — so it was a chal­lenge to con­vey the story to the crew dur­ing film­ing. Thank­fully I had sto­ry­boarded ev­ery shot, which helped me to pre-vi­su­al­ize the el­e­ments I had to di­rect dur­ing film­ing. It was a big sto­ry­board — my hand still aches!”

Newspapers in English

Newspapers from USA

© PressReader. All rights reserved.