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Animation Magazine - - Tv -

Sky­dance Me­dia’s an­i­ma­tion and fam­ily en­ter­tain­ment di­vi­sion is an artist-friendly stu­dio ded­i­cated to pro­duc­ing a bold and orig­i­nal slate of an­i­mated and fam­ily pro­gram­ming, in con­junc­tion with the com­pany’s TV di­vi­sions. Launched in March of 2017, Sky­dance’s an­i­ma­tion di­vi­sion formed a multi-year part­ner­ship with Madrid-based Ilion An­i­ma­tion Stu­dios to de­velop and pro­duce a slate of high-end - dance founder David El­li­son is pas­sion­ate about an­i­ma­tion and fully com­mit­ted to , team in both Los An­ge­les and Madrid.

“Our goal is to cre­ate an an­i­ma­tion stu­dio that at­tracts di­verse and col­lab­o­ra­tive artists to cre­ate fresh and imag­i­na­tive con­tent that res­onates with au­di­ences around the world,” say Bill Da­m­aschke, Sky­dance Me­dia’s Pres­i­dent of An­ima-

“We’re truly in start-up mode, build­ing an an­i­ma­tion stu­dio from the ground up,” adds Da­m­aschke, who over­saw the re­lease of an­i­mated fran­chise hits such as Mada­gas­car, Kung Fu Panda, How to Train Your Dragon, and The Croods dur­ing his two decades at DreamWorks An­i­ma­tion. “ projects fully staffed up with tal­ented artists, writers, and pro­duc­ers. We are at­tend­ing An­necy In­ter­na­tional An­i­mated are host­ing and at­tend­ing a va­ri­ety of re - ation of tal­ent.”

Sky­dance An­i­ma­tion’s up­com­ing slate in­cludes: Luck, di­rected by ( Kung Fu Panda 3, How to ), is a com­edy that pulls back the cur­tain on the mil­len­nia-old bat­tle be­tween the or­ga­ni­za­tions of good luck and bad luck that se­cretly af­fects our daily lives. Jonathan Ai­bel & Glenn Berger (The Kung Fu Panda tril­ogy, Trolls) are writ­ing the script. (work­ing ti­tle), di­rected by

Whether it’s a me­chan­i­cal shark tram full of tourists or Buzz Light These at­trac­tions ideally give fans a chance to

These Di­rec­tors, ride de­sign­ers and en­gi­neers are mak ery­thing from “Avatar Flight of Pas­sage” at Ani mal King­dom to “Tur­tle Talk with Crush” at Cali

Min­nie’s Run­away Rail­way” at Dis­ney’s Holly attraction fea­tur­ing Mickey Mouse and Min­nie ducer for Walt Dis­ney Imag­i­neer­ing. “It’s based Mickey Mouse shorts and will liz­ing new tech­nol­ogy to bring this unique ride vi­sion An­i­ma­tion — the cre­ators of the Emmy style of the Mickey Mouse shorts is trans­lated the im­mer­sive an­i­mated fun.”

to­gether at­trac­tions based on the De­spi­ca­ble Me and Min­ions char­ac­ters. They wanted to be sure au­di­ences felt as close to the Min­ions at their the screen, so they con­sulted with the cre­ators of the stories and the char­ac­ters. For the stu­dio and the view­ers, there needs to be a sense of conti

I block­busters like Bat­man Be­gins The Tree of Life and Cloud At­las. artist knew he was in for some­thing en­tirely Dead­pool 2.

fore ev­ery­thing that you’ve learned,” he says. “What was in­ter­est­ing to me about Dead­pool 2 since we worked to­gether back on The Ma­trix ed in the real world.”

able when ex­e­cut­ing shots. “Mike Vez­ina for our vis­ual ef­fects work.”

zel­ton, Dou­ble Neg­a­tive Van­cou­ver was the big­gest con­trib­u­tor to the fea­ture, well as the “Con­voy Chase” se­quence. Frame lic mu­tant bat­tles. Sean Kon­rad at Method Stu Ryan Reynolds.

in­stance, we had ver­sions of Ryan or his stunt

es. How­ever, the un­writ­ten rule was not to movie. “The in­tent from the out­set was to mir tion di­rec­tor, so there are some hi­lar­i­ous hu­mor and Hong Kong ac­tion.”

duc­tion, which shot in Van­cou­ver. As Glass ex will use. There’s one shot that is al­most a minute long in which we did a mo where we were able to al­low cre­ativ­ity to

Dead­pool 2. “A lorry with a se­ries of trail­ers

D tations for an es­tab­lished cin­e­matic Mis­sion: Im­pos­si­ble - Ghost Pro­to­col. How­ever, Juras­sic World: Fallen King­dom

Juras­sic Park, be­cause we’re mak­ing the movie for the fans,” says Vick­ery.

team. “There are many gags through­out the Juras­sic Park, as well as to Drac­ula and King Kong,” notes the vfx through the sense of form and sil­hou­ette of

The goal was to honor and bring some­thing lot about dif­fer­ent col­or­ful mark­ings an­i­mals have … It’s about di­nosaurs try­ing to at­tract

Blue and In­domi­nus Rex, all of whom have have unique char­ac­ter­is­tics. J.A. and I tried to bring a new el­e­ment to the movie by re­think ing about what these di­nosaurs would do, how the unique char­ac­ter­is­tics of these an­i­mals that bring in­ter­est to the au­di­ence.”

al ef­fects shots,” notes Vick­ery. “ILM Lon­don of ef­fects artists who have done a lot of de struc­tion work, so they did all of the work in scenes af­ter they’ve left the is­land that fea

to work on the movie. Scan­line tack­led a load logue with some Tyran­nosaurus and Mosasau

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