Index
above the line versus below the line budget, 140
Academy Awards, 108
acquisition deal, 311
acting beats, 238
action
character in, 183
fight sequences as, 219
scripts driven by, 104
actual as-aired/released script, 107
ADR (automatic dialogue replacement)
in post-production, 277
producer approval of, 22
script for, 106
adult-oriented projects, 166
The Adventures of Tintin: The Secret of the Unicorn (Jackson and Spielberg), 127–128
advertising, 312
Afro Samurai, 29
Aladdin (Walt Disney Feature Animation), 35, 39, 42, 46
Alaux, François, 108f
alert systems, 295
“all-in” post-production costs, 268
Altieri, Kathy, 39
Alvin and the Chipmunks, 26–27
ambassador, producer as, 25
Ana (Lo Coloco Films), 41
ancillary groups
digital archiving for, 95
producer interaction with, 25
production and, 232
songs and, 226
animatic, 217
Animation Guild, 132
Animation Industry Database, 72
Animation Magazine, 66
The Animation Picture Company, 33
Animation World Network, 51
animators, description of, 10
aniMÉ, 116
approvals
of final cut, 22
of retakes, 22
subcontractors and, 168
archiving
digital, 95
digital content, 307
materials for, 285
production coordinator and, 159
book illustrationsin production plan, 137–138
area lights, 243
Arnold, Bonnie, 239
art direction
book illustrations and, 101
role of, 83
articulation process, 193–196. See also rigging
artists
assessing, 73
director and, 79
revisionist storyboard, 215
storyboard, 105
in story team, 149
as-aired script, 160
as-delivered script, 160
aspect ratio, 208f
assembly line approach, 99
assets
list of needed, 181
management of, 175
mislabeling, 8
reusing, 128
revisions to, 295
assistant production manager/production department manager (APM/PDM), 8–9
assistant to the executive, 67
associate producer, 9, 17–18, 20–21, 150, 154f
associate production manager, 157–159
Asterix and the Vikings (M6 Studio), 38
atmospheres, sounds for, 276–277
attention-grabbing factor, 73
Attitude Studio, 28
audience
feedback from, 139
for television productions, 69
audio post-production, 275–280
auditions, 199–200. See also talent
automation, in tracking system, 290
Autour de Minuit Productions, 108f
backgrounds, 253, 255–256, 257
Bakshi, Ralph, 5
The Ballad of Nessie (Walt Disney Animation Studios), 37
Bambi 2 (DisneyToon Studios), 41
Batman: Arkham City, 30
BBC, 36
Beauty and the Beast (Walt Disney Animation Studios), 46, 91, 320–321
Beavis and Butt-head, 29
Bebe's Kids (Hyperion), 51
Bee Movie (DreamWorks Animation), 33, 45, 46
Berger, Jeannine, 49
bid (estimated difficulty level), 235
Bioshock's 1, 2 and 3, 30
black-and-white sketches, 189
blend shapes, for modeling, 192
Blue Sky Studios, 267
Blu-ray releases, 279
Blur Studio, Inc., 30
Bob's Burgers (20th Century Fox), 46–47
Bob the Builder (HOT Animation Production), 33
Bolt (Walt Disney Animation Studios), 41–42, 43, 48
bonuses, 167
bonus materials, 82
bottlenecks, 235
boutique production studios, 15, 77
brain trust meetings, 235, 253
brands, established, 5
breakdown chart, 254–255, 297–301, 300f
Brink, 30
broadcast standards and practices (BS&P), 212–213
Brother Bear (Walt Disney Feature Animation), 37
above the line versus below the line, 140
chart of accounts for, 141–142, 143f
cost reports, 142
for effects, 259
fringe payments in, 141f
locking, 156
pre-production and, 175
sequence complexity and, 234
subcontractor consensus with, 173
summary versus detail, 140
buffer money, 132
Bugged (OuiDo! Entertainment), 28
burn-ins, on digital output, 100
Bush, George W., 313
business affairs department, 77–78, 87–89, 150. See also negotiations
business model, for Internet content, 313
buyers
casting expectations of, 199
creative checkpoints of, 231–232
post-production approvals of, 263–264
production plan responsibilities of, 135
surface and lighting tests for, 99
“buy out” talent, 274
buzz, 317. See also social media
callbacks, 201
Camp Lazlo. (Cartoon Network), 36–37
Capitol Ill (JibJab), 313
Carloni, Alessandro, 44
Carr, Lauren, 48
Cars (Pixar Animation Studios), 318
Cartoon Saloon, 37, 48–49, 65f
cartoon shorts, 102
casting director, 103
casting voice-over talent, 199–201
Cats Don't Dance (Turner Entertainment), 41–42
celebrity voice track, 231
CG (computer graphics) projects
character finaling in, 241
choosing to work in, 13
final layout and set dressing in, 241–242
layout and shot setup in, 237–238
lighting and compositing in, 243–247
matte painting in, 243
model building phases on, 180
pipeline for, 236f
subcontractor handling of, 168
CG (computer graphics) supervisors, 90
CG timelines, 120
characters
average number per shot, 128
early surface and lighting tests for, 99
finaling, 241
main versus incidental, 181
mouth chart for, 223
palettes for, 90
rules of, 5
symbolizing, 191
visual development of, 107, 110f
chart of accounts, 141–142, 143f
chase sequences, 219
check print, 284
Chicken Little (Walt Disney Animation Studios), 40–42, 47, 48
Chicken Run (Aardman Animations), 30
programming for, 166
shots of, 244
“chittered” dialogue, 101
Chung, Peter, 5
circle takes, 106, 160, 201, 205
classification system, for archived material, 307
Clavel, Andre, 38
clay sculptures, 185
cleanup animation, 258
cleanup storyboards, 213–216, 214f
clearances
music, 89
parody and, 108
script, 107
title, 88
clip reels, 85
A Close Shave (Aardman Animations), 30
Cloudy with a Chance of Meatballs (Sony Pictures Animation), 27–28, 39–40, 43, 50, 59–60, 198
CNN, 313
Cobb, Melissa, 32
Cockle, Jackie, 33
cold reading, 202
color grading/color timing/color balancing, 280–282
color modeling, 260
color space, 267
Columbia Pictures Motion Picture Group, 27, 38
Columbia Pictures Television, 36–37
Comic-Con International, 58
comics, 58
communication
producer effect on, 150
producer skill in, 23
with subcontractors, 168
tracking as, 303
compensation, 74
completion bond, 15
complexity analysis
fees affected by, 167
script vetted for, 181
of sequences, 234
in 2D production, 253
compositing
in CG (computer graphics) production, 243–247
effects and, 258
for stereo effects, 84
concept, for television productions, 69
consistency, series bible for, 103
consultants, 136
consumer product development, 319–320
contact shadows, 259
content analysis, 127
continuity checking, 220–221, 224, 259–260, 281
contracts
above-the-line budget based on, 140
in session preparation, 203
contractual screen credits, 89
convergence, 281
co-producer, 17–18, 20, 154f, 178–179
copyright issues, 88
Coraline (LAIKA Entertainment), 35–36, 49, 59–60, 60f
Corneil & Bernie (Millimages, BBC), 36
“could be better” (“cbb”) list, 271–272
crawl, of credits, 283
creative checkpoints, 21, 135, 177, 231–232
creative producer, 17–18, 19–20, 33
creative retakes, 174
Crécy, Hervé de, 108f
credits
end, 22
in picture post-production, 282–283
screen, 89
in short-form contract, 74
show format and, 18
for subcontractors, 168
crew. See also production team
bonding events for, 90
pre-production and, 175
in production plan, 131–134, 133f
The Critic (Columbia Pictures Television, Film Roman), 36–37
The Croods (DreamWorks Animation), 49–50
Curious George (July Films for Universal Pictures), 38, 59–60, 100–101
cyber studios, 136
Dante's Inferno, 30
dates, release, 312
DC Universe Online, 30
D & D Pictures, 33
deal-maker, producer as, 18
deal memos, 150
decision maker, producer as, 25
Deckman, Jeff, 50
Deja, Andreas, 46
delegator, producer as, 24
demarcations, 261
demo reels, 11
department supervisors, 151–152
design
Despicable Me (Illumination Entertainment), 26–27, 37–38, 43, 49
Destino and Lorenzo (Walt Disney Feature Animation), 26
detail budget, 140
development
overview, 97
dialogue, music and effects (M&E) printmasters, 280
dialogue editing, 277
dialogue-heavy scripts, 104
diffused light, 244
digital archiving, 95
digital assets, reusing, 128
digital audio workstation (DAW), 275
digital cinema package (DCP), 284
digital distribution, 312
Digital Domain, 48
digital 2D production, 13. See also 2D production
digital effects (DE) supervisors, 90
digital finishing, 282
digital intermediate (DI) files, 284
digital platforms, 100
digital storyboards, 94
Dinosaur (Walt Disney Feature Animation), 27–28, 41–42, 50
direct distribution outlets, 64
direct mail advertising, 317
director
as creative executive, 67
as first hire, 91
direct-to-DVD projects
as-delivered script for, 160
audio deliverables for, 279
budget for, 129
length of, 125
production supervisor in, 157
storyboard panel size in, 207–208
Disney, Roy E., 26
Disney, Walt, 240
Disney Channel, 63
Disney Enterprises, Inc., 64f. See also Walt Disney Animation Studios; Walt Disney Feature Animation
Disney Feature Animation, 28
Disney's Prep and Landing (Walt Disney Animation Studios), 37
Disney Television Animation, 44–45, 62–63
distribution
direct outlets for, 64
documentation, 233
domestic release printing, 284
Donkin, John, 267
Dr. Seuss' Horton Hears a Who!, 26–27
draft documentation, 233
Dragon Age, 30
DreamWorks Animation, 28, 32, 33, 36, 37–38, 39, 43, 44, 45, 46, 48–50, 58f, 59f, 198, 239
Duncan Studios, 34
DVD commentary tracks, 82
DVD market, 15
dynamic staging, 219
e-card business, 313
edit decision list (EDL), 280
editing, 205
editorial turnover pitch, 216
effects
budgets for, 129
in CG (computer graphics) production, 242–243
wind, 223
electronic indexing method, for timecodes, 275–276
electronic keys, to prevent piracy, 284
electronic press kits, 263–264
electronic score mockup, 275
element reel, 282
El Matador (Reel FX Entertainment), 31
Emmy Awards, 63
The Emperor's New Groove (Walt Disney Feature Animation), 37, 38–39
Enchanted (Walt Disney Feature Animation), 41
energizer, producer as, 24
engineer's scripts, 106
entertainment lawyers, 72
environments, building, 232–233
Epps, Mike, 129
established universe, in sequels, 129
estimate of final costs (EFC), 92, 142
“evergreen” series, 101
EverQuest, 30
executive producer, 17–19, 154f
exit interviews, 90
Exodus Film Group, 28
expectations, managing, 91
exposure sheets, 220–224, 222f, 226
face shapes and expressions, 183, 184f, 185f
facial exercises, for characters, 193–196
facilitator, producer as, 18, 19–20
facility costs, 136
Fairly Odd Parents, 116
Family Dog, Steven Spielberg's Amazing Stories (Hyperion. Kushner Locke), 51
Fanboy and Chum Chum (Frederator Incorporated, Nickelodeon Animation Studios), 36–37
Fantasia 2000 (Walt Disney Feature Animation), 26, 37
Fantastic Mr. Fox (20th Century Fox Film Corporation), 49
fast cutting, 315
feature film executives, 69–70
feature productions
as-delivered script for, 160
definition of, 3
length of, 125
model packs for, 190
post-production flowchart for, 265f
producer as deal-maker in, 19
quotas for, 123f
storyboard panel size in, 207–208
feedback
creative checkpoints for, 177
market research, 232
pre-production, 79
in storyboard process, 207
on voice-over talent, 201
fees
per-footage complexity basis for, 167
standard, 201
feet-seconds-frames conversion, 124t
festivals, animation, 314
fiduciary skill, of producer, 30
FileMakerPro software, 12
final as-aired/released script, 107
Final Checker (Nickelodeon Animation Studios), 47
final cut, 22
Final Cut Pro editing system, 270–271
final screen credits, 89
Finding Nemo (Pixar Animation Studios), 43, 198
first-draft script, 104
Fish n' Chips (OuiDo! Entertainment), 28
floating windows, 281
fluid simulation, 242
Flushed Away (DreamWorks Animation), 37–38, 45, 46
Focus Features, 60f
footage changes, 270
foreign-language dubbing, 107
foreign release printing, 284
foreign sales, 310
Fox News, 313
frame line, 84
frames, thinking in, 116
frames-feet-seconds conversion, 124t
Franck, Stephan, 36
Freaknik: The Musical, 29
Frederator Incorporated, 36–37
freelance artists, 98, 150. See also subcontractors
French Roast (Bibo Films), 37–38
fringe benefits, 140–141, 141t
Fritzinger, Marec, 41
Fry, Michael, 58
Fukuto, Jay, 29
full animation, 116
full-body calisthenics, for characters, 193–196
funnyordie.com, 58
Futurama (20th Century Fox Television, Rough Draft Studios), 36–37
Futuropolis (Sony Pictures Animation), 36
gaming, 63–64, 100, 267, 280, 318–319
gamma curve parameters, 267
Garfield Gets Real (The Animation Picture Company), 33
Garfield's Pet Force (The Animation Picture Company), 33
G-Force (Walt Disney Studios), 48
ghosting, 281
G.I. Joe Renegades (Hasbro Studios), 47
Gnomeo & Juliet, 165
going off model, 255
Golding, Steve, 42
Goodrich, Carter, 43
Google.com, 87
Gore, Al, 313
The Gotham Group, 73
Gotoh, Jinko, 306
A Grand Day Out (Park), 60–61, 61f
graphic novels, 58
The Great Mouse Detective (Walt Disney Animation Studios), 35
greenlighting projects, 92, 106
guarantee, completion, 15
Guardians (DreamWorks Animation), 50
Guitar Hero, 29
Halo Wars, 30
Hammerhead Productions, 33
hand chart, for characters, 185
handout meeting, 171
Happy Feet, 64
hardware, computer, 94. See also technology
head of production, 68
head of programming, 67
head of story, 207
Hellgate, 30
Hercules (Walt Disney Animation Studios), 35, 46
Hidalgo, Mary, 43
high definition (HD), 284
high-end talent, 150
Hollywood Reporter, 66
Home Box Office Original, 36
home entertainment systems, 279
Home on the Range (Walt Disney Feature Animation), 41
Hoodwinked (Kanbar Entertainment), 59–60, 61f
Hop (Illumination Entertainment), 49
HOT Animation Production, 33
Houplain, Ludovic, 108f
Howard, Max, 28
How the Grinch Stole Christmas (Digital Domain), 48
How to Hook Up Your Home Theater (Walt Disney Animation Studios), 37, 40–42
How to Train Your Dragon (DreamWorks Animation), 39, 42, 44, 45, 46, 49, 59–60, 198, 239, 239
hue correction, 281
human resources department, 84–85, 89–90
humor, sense of, 36
The Hunchback of Notre Dame (Walt Disney Feature Animation), 32–33
Hyperion, 51
Ice Age: Dawn of the Dinosaurs, 267
Igor (Exodus Film Group), 28
Illumination Entertainment, 26–27, 37–38, 49
The Illusionist (Chomet), 127–128
Imagi Studios, 45
incidental characters, 181
The Incredibles (Pixar Animation Studios), 34, 43, 48–49
independent animation producers, 13–14
independent production houses, 65–66
indexed color palettes, 260–261
in-house distribution partnership, 311
innovator, producer as, 24
insurance, completion bond as, 15
intellectual property, owning, 15
internegative, 284
Internet
business model for, 313
project length flexibility, 125
research and references on, 137
web comics on, 58
interpersonal skills, 73
interpersonal conflicts, 89
interpositive, 284
interviews, 90
Interweb, 313
inventory flow, troubleshooting, 155–156
iPhone/iPad applications, 63–64
The Iron Giant (Warner Bros. Feature Animation), 31, 34, 36, 38, 44–45
Iron Man 2 (Marvel Studios, SEGA, Pendulum Studios), 30–31
Ivan Toad (D & D Pictures), 33
Jack-Jack Attack (Pixar Animation Studios), 34
James and the Giant Peach (Skellington Productions), 35–36
James Industries, 64f
JibJab, 313
job descriptions, 89
July Films, 38
Jupiter, Amy, 114
Kanbar Entertainment, 59–60, 61f
Kane-Ritsch, Julie, 73
key frames, 238
key plot points, in outline, 104
Khait, Igor, 165
KidScreen (NY), 314
King Kong (WETA Digital), 47–48
King of the Hill (Deedle-Dee Productions, Film Roman), 36–37
King of the Hill (Film Roman), 29
Klasky/Csupo, 51
Korngiebel, Lori, 49
Kung Fu Panda (DreamWorks Animation), 32, 36, 44, 49–50
Kung Fu Panda 2 (DreamWorks Animation), 32, 36
Kushner Locke, 51
Kutcher, Ashton, 129
LAIKA Entertainment, 35–36, 49
Land Before Time II, III, and IV (Universal Cartoon Studios), 44–45
language barrier, 173
launch weekend, of release, 312
Lawrence, Martin, 129
layout
turnover of, 235
layout pre-vis team, 84
leader, producer as, 23
legal and business affairs
broadcast standards and practices and, 212–213
in visual development stage, 108
LeJeune, Cindy, 48
Lerew, Jenny, 45
LeTendre, Deven, 33
Lewis, T., 58
license fees, 178
lighting
in CG (computer graphics) production, 243–247
cleanup layout guide for, 256–257
color changes with, 261
indexed color palettes based on, 260–261
tests for, 99
textures and, 197
lighting keys, 189
Lilo & Stitch (Walt Disney Feature Animation), 34, 40, 46, 49
limited animation, 116
line consistency, 261
line producer, 9, 17–18, 20, 114, 154f
lineup of characters, 185
The Lion King (Walt Disney Feature Animation), 39, 46, 320
litigation risk, 108
The Little Engine That Could (Universal Cartoon Studios), 41
The Little Mermaid (Walt Disney Animation Studios), 35, 39, 46
locations
priority of, 181
visual development of, 107, 111f
locking
animatic, 106
budgets, 156
picture, in post-production, 269–272
Lo Coloco Films, 41
logline, 69
Logorama (Autour de Minuit Productions), 108, 108f
look development, for characters, 196–197
look-up tables (LUTs), color, 282
loop group, 277
looping, 277
The Lord of the Rings: The Two Towers (WETA Digital), 31
The Lost Empire (Walt Disney Animation Studios), 47
low-resolution proxies, 232–233
low-res rendering, 246f
Lucas, George, 5
LucasFilm Animation, 39–40, 48, 321f
luminance parameters, 267
Lumley, Steve, 45
Luna
(Rainmaker Entertainment), 109–111
breakdown chart for, 300f
face shapes and expressions for, 184f, 185f
lighting design for, 188f, 189f
location design for, 185–186, 186f
look development for, 197f, 198f
low-res rendering of, 246f
poses for characters in, 182f
pre-visualization for, 218f
props design for, 187f
rigging test for, 196f
scale of characters in, 185f, 187f
skinned geometry for, 194f, 195f
wireframe sculpture for, 193f
macroschedules, 117, 118f, 119f, 120f
Madagascar (DreamWorks Animation), 49
Madeline, 32
main characters, 181
Maisy, 32
Making Friends (Nickelodeon Animation Studios), 47
managing expectations, 91
marketing
artwork requests from, 314
director availability to, 82
producer interaction with, 25, 32
songs and, 225
title sequence for, 227
Marsh, Jeff “Swampy”, 62
Marvel Universe Online, 30
Master, Brian, 43
master schedule. See also schedule;
production manager role in, 153–155
for tracking, 291
master timelines, 117
material transfers, in post-production, 156–157
matte painting, 243
Max Howard Consulting Group, 28
McHale, Joel, 129
Megamind (PDI, DreamWorks Animation), 48–49
Megas XLR, 29
merchandising, 25, 72, 303, 318–320
Merry Madagascar (DreamWorks Animation), 33
Metalocalypse, 29
Mickey's Twice Upon a Christmas (Walt Disney Feature Animation), 27–28
micromanaging, delegating versus, 24
The Mighty B! (Nickelodeon Animation Studios), 47
Mighty Morphin Power Rangers, 32
Miller, Tim, 30
Millimages, 36
Millstein, Andrew, 27
minimum scale rates, 102
mix, temp, 270
mixdowns, 275
mix session, 22
mobile platforms, 100
model packs, 181, 190–191, 224
Moncrief, Charlene, 47
monitoring retakes, 271
Monk (OuiDo! Entertainment), 28
A Monster in Paris (Bibo Films), 37–38
Monsters vs. Aliens (DreamWorks Animation), 49–50
Moore, Tomm, 37
Motion Picture Association of America (MPAA), 88
Motion Picture Health and Welfare Pension, 90
Motorcity, 29
mouth chart, for characters, 185, 223, 256
M6 Studio, 38
MSNBC, 313
Mulan (Walt Disney Feature Animation), 34, 40
music
clearance of, 89
click track for, 221
recording of, 22
music and effects (M&E) printmasters, 279
music editor, 274
Musker, John, 35
My Little World (July Films), 38
National Film and Television
National Stereoscopic Association, 84
natural elements, effects for, 242
“natural pause” editing, 205
NDA (non-disclosure agreement), 87, 200
“near field” mix, 279
negative pickup deal, 311
negotiations
for above-the-line talent, 150
for actors above union scale, 201
in identifying and selling projects, 74–75
by legal and business affairs department, 88
salary, 90
talent, 88
union, 88
Nelson, Jen Yuh, 36
neutral versions, 283
New York Times, 313
Nguyen, Mike, 38
Nguyen, Sandrine, 28
Nickelodeon Animation Studios, 36–37, 47
Nickelodeon Kids and Family Games Group, 34
The Nightmare Before Christmas (Skellington Productions), 35–36
nomenclature, for tracking, 293
nonunion projects, 12
“normal pause” editing, 205
numbered scripts, 106
numbering convention, for tracking, 293
“offer only,” for star talent, 200
offlining, 159
“off-the-shelf” software, 94
online content, 313
opening titles, 22
opening weekend, of release, 312
Open Season (Sony Pictures Animation), 43, 129
Open Season 2 and Open Season 3 (Sony Pictures Animation), 128, 129
opticals, 22
optioning materia
fees for, 74
legal and business affairs in, 88
representation and, 71
for television, 69
orchestrated projects, 274
orthographic construction of characters, 185
The Osbournes, 29
Osher, Bob, 27
Osmosis Jones (Warner Bros. Feature Animation), 45
Ottawa Animation Festival, 314
Otto, Simon, 46
OuiDo! Entertainment, 28
outsourcing. See subcontractors
overages, avoiding, 271
overhead costs, 136
overlay/underlay (OL/UL), in shot levels, 253
overseas subcontractors, 169–170
Over the Hedge (DreamWorks Animation), 39, 42, 44, 58
paperwork, 203
parallel lights, 243
parent shots, 244
particle renders, 242
partnerships, 263–264, 317–320
payment schedule, 135–136, 167
payroll department, 88
performance criteria, subcontractor, 168
permission, legal, 107
Persepolis (Satrapi), 58
personnel reviews, 90
Phineas and Ferb (Disney Television Animation), 62
Photoshop software, 12
physical production plan, 136
picture playback format, 274
picture post-production, 280–284
pilot episode, 69
Pingu (HOT Animation Production), 33
The Pink Panther, 32
pipeline
approved script to start, 20–21
CG (computer graphics)
projects, 236f
flexible, 129
library build and, 191
models of, 3
subcontractor compatibility
with, 148
for 2D production, 249f
pitching material
cold-calling with, 66
editorial turnover, 216
Pixar Animation Studios, 34, 38–39, 43, 48–49, 64f, 198, 318
podcasts, 58
point lights, 243
polarized filters, 281
Police, Carol Kieffer, 41
polygons, for modeling, 192
Poole, Lisa M., 34
‘popping off the screen’ shots, 84
poses, for characters, 182f, 183, 183f
post pitch, 71
post-production
ADR script for, 106
songs and, 226
post-production supervisor, 264–269
Povenmire, Dan, 62
The Powerpuff Girls: The Movie (Cartoon Network), 39–40
predub, 278
premise, 103
premix, 278
pre-production
art direction and design in, 179–191
director role in, 79
shipment and route sheet checking in, 224
slugging/animation timing, 220–221
story reel and animatic, 217
title sequence and end credits in, 227–228
pre-production packages, 170–171, 173
prep time, 120
press junkets, 82
pre-visualization
associate producer evaluation of, 20–21
for Luna (Rainmaker Entertainment), 218f
prime-time series, 18
The Prince of Egypt (DreamWorks Animation), 39, 46
The Princess and the Frog (Walt Disney Animation Studios), 35, 40–41, 46, 47–48, 116
printmasters, 279
prints, 312
Priority PR, 32
producer
in boutique production studios, 77
line or co-, 20
post-production role of, 263–269
pre-production role of, 175–179
production team structured by, 147–152
Producer's Guild of America, 17
production
CG (computer graphics), 236–247
character finaling in, 241
final layout and set dressing in, 241–242
layout and shot setup in, 237–238
lighting and compositing in, 243–247
matte painting in, 243
processes and procedures in, 232–236
background painting for, 257
brain trust meeting for, 253
cleanup animation for, 258
color styling and ink and paint for, 260–261
final check for, 262
pipeline for, 249f
scene planning for, 252
production accounting, 20–21, 92–93
production assistant, 8, 154f, 160–161
production coordinator, 154f, 157–159
production department manager (PDM), 157–159
production designer, 83
production dialogue recordings, 204
production executive, 68
production manager, 9, 150, 153–157, 154f
production plan
buyer responsibilities, 135
creative checkpoints, 135
physical, 136
project format, length, and technique, 125–126
reference material, 137
research and development in, 131
talent level, 134
training, 136
production script, 203
production secretary, 161
production services, 95
production staff, 8–9, 11–12, 131–134. See also individual staff titles
production supervisor, 157
production team. See also crew
producer role in structuring, 147–152
materials received from, 174
materials shipments to, 170–171
monitoring, 172
negotiating deals with, 166–169
product packaging, project logo on, 317–318
profit sharing, 311
programming, head of, 67
projection, stereoscopic, 281
projects, identifying and selling
format and audience targeting, 63–64
promotion
accuracy of, 89
‘star’ talent involved in, 201
prop animation, 242
proprietary software, 95, 127, 129
proxy models, 192–193, 218–219
Pryor, Jeff, 32
purchase orders (POs), 93
purchase price of project, 74
qualitative expectations, 167
quality control review, 262, 284–285
quotas
complexity analysis for, 235, 253
deadlines and, 151
effects simplified to meet, 259
producer evaluation of, 22
production manager and, 155–156
Rainmaker Entertainment, 31, 109. See also Luna (Rainmaker Entertainment)
Ratatouille (Pixar Animation Studios), 34, 43
ratio, aspect, 208f
recording script, 106, 160, 203
recruiting staff, 77–78, 84–85, 136–137
reel breakdown, 11
Reel FX Entertainment, 31
reference material, 126–127, 137
reflected light, 244
registering titles, 88
rehearsal, 202
rejection, 71
release dates, 312
rendering pass, 245
The Replacements (Walt Disney Television Animation), 47
re-recording mixers, 278
The Rescuers Down Under (Walt Disney Feature Animation), 38
research and development
on CG elements, 198
in production plan, 131
technology, 95
residuals, 274
restaurant chains, promotional partnerships with, 317–318
retakes
list of, 174
monitoring, 271
producer approval of, 22
technical, 174
retrievable archived material, 307
reusing digital assets, 128
revisionist storyboards, 215
Richardson, Kevin, 34
The Ricky Gervais Show (Wild Brain Productions), 46–47
rigging
assets, 192
character finaling and, 241
research and development for, 198
test of, 196f
rights holders, 178
rigid-body dynamics, 242
Rise of Legends, 30
risk, litigation, 108
The Road to El Dorado (DreamWorks Animation), 46
Robots, 26–27
Rock The Boat: The Almost True Story of Noah's Ark (OuiDo! Entertainment), 28
Romeo & Juliet (Hammerhead Productions), 33
Roughnecks (Sony, Columbia, Tristar), 38
rough pass storyboards, 209–213, 211f
route sheets, 224
rules of characters, 5
rushes, 240
Sarto, Dan, 51
scale of characters, 185, 185f, 187f
scales, salary, 132
Scary Larry (OuiDo! Entertainment), 28
schedule
production manager role in, 153–155
in production plan, 113–114, 116–125
script milestones and, 99
subcontractor and, 173
subcontractors and, 167
for tracking, 291
Scooby Doo! Mystery Incorporated (Warner Bros. Animation), 47
scope, subcontractors and, 167
score, 273, 275. See also music; songs
Scott Pilgrim vs. the World, 30
scratch dialogue recordings, 204
Screen Actors Guild (SAG), 12, 199, 201, 202–203
script
clearances for, 107
color, 189
complexity analysis for, 126–127
complexity analysis of, 181
drafts and polished, 103
to drive visuals, 98
fully fleshed out, 66
lighting, 189f
milestones in, 99
outline for, 104
premise for, 103
pre-production and, 175
recording, 203
watermarking, 100
seconds-frames-feet conversion, 124t
The Secret of Kells (Cartoon Saloon), 37, 48–49, 64, 65f
senior director, 67
senior vice presidents, 67
sequels
budgets for, 15
digital archiving for, 95
established universe of, 129
standards for, 128
sequence directors, 80
Sesame Street, 32
7.1 audio, 279
shared file system, 290
Shark Tale (DreamWorks Animation), 37–38, 44, 45, 46
shot finaling of, 243
shots
average number of characters in, 128
breakdown chart of, 297–301, 300f
progress tracking of, 94
ramp-up and prep time for, 120
Shrek (DreamWorks Animation), 43, 59–60, 281
Shrek 2 (DreamWorks Animation), 48
sick days, in production plan, 132
sides (script portions), 200
Silent Hill V (Konami, Collective, Pendulum Studios), 30–31
The Simpsons (Klasky/Csupo), 51, 320–321, 321f
Sinbad: Legend of the Seven Seas (DreamWorks Animation), 37–38, 42, 44, 46
Sita Sings the Blues (Paley), 64, 65f
6-tracks, 278
Skellington Productions, 35–36
slugging/animation timing, 220–221
social media, 86–87, 100, 316–317
software
overview, 12
proprietary, 95
tracking of, 292
Sony Imageworks, 48
Sony Pictures Animation, 27–28, 38, 39–40, 43, 50, 59f, 128–130
Sony Pictures Digital Productions, 27
sound effects designer, 226
sound spotting sessions, 275
sound tracks, reduction of, 278
soundtrack sales, 320
The Soup (McHale), 129
South Park (Comedy Central), 113–114
South Park (South Park Productions), 43
Spawn (Home Box Office Original), 36
Special Agent Oso (Disney Television Animation), 44–45
specular characteristics, 245
Spike & Mike's Sick & Twisted Festival of Animation, 314
spin-off projects, 72, 320–321
Spiridellis, Evan, 313
Spiridellis, Gregg, 313
Spirit: Stallion of the Cimarron (DreamWorks Animation), 28, 39, 46, 48
Spirited Away (Walt Disney Feature Animation), 50
spot lights, 243
spotting
sound effects, 22
Sproxton, David, 30
standard definition (SD) masters, 284
standardizing storyboard panels, 207–208
The Starship Troopers (Sony, Columbia, Tristar), 38
Star Wars: The Clone Wars
(LucasFilm Animation), 48, 320–321, 321f
Star Wars: The Force Unleashed, 30
Star Wars: The Old Republic, 30
stems, of instruments, 275
Stereo Club of Southern California, 84
stereoscopic supervisor, 77–78, 84
stereoscopy (3D)
color continuity for, 281
filmmaking in, 239
growth of, 2
layout and, 238
matte painting for, 243
rendering pass for, 245
shot identification for, 219
Steven Spielberg's Amazing Stories (Hyperion. Kushner Locke), 51
stop-motion techniques, 126
Story Artist (Walt Disney Feature Animation), 37
story beats, 103
artists for, 105
associate producer evaluation of, 20–21
buyer feedback on, 117
digital, 94
director's role in, 79
layout pre-vis team and, 84
misnumbering, 8
shipment preparation of, 224
slugging/animation timing, 220–221
story reel and animatic, 217
story-driven projects, 113–114
story editor, 104
story team, 149
storytelling, as director's role, 78
studio policies, 88
associate producer and, 20
lower-budget projects for, 174–148
materials received from, 174
materials shipped to, 159, 170–171
monitoring, 172
negotiating deals with, 166–169
pre-production packages for, 224
producer selection of, 22
for production, 230
production manager and, 155
tracking of, 287–288, 289, 301, 302f
subscription Internet business, 313
summary versus detail budget, 140
surfacing for characters, 99, 196–197
sweatbox sessions, 233, 240–242, 243
symbolizing characters, 191
system administration, technology, 94
table read, 202
talent. See also voice-over talent
assessing, 73
“buying out”, 274
legal and business affairs
negotiation with, 88
in production plan, 134
series bible for casting, 103
of subcontractors, 167
Tangled (Walt Disney Animation Studios), 33–33, 41–42, 43, 59–60, 60f, 198
Tarzan (Walt Disney Feature Animation), 37, 41
technical director (TD), 252–253
technical retake, 174
technique, in production plan, 125–126
technology, 94–95, 148, 167–168
Teenage Mutant Ninja Turtles (Imagi Studios), 45
teen-targeted literature, 59–60
television productions
as-aired script for, 160
concept and audience for, 69
definition of, 3
key personnel roles in, 134
length of, 125
macroschedule for, 117–120, 118f, 119f, 120f
model packs for, 190
organizational chart for, 162f
post-production flowchart for, 266f
premise for, 103
production lock on elements, 229–230
production supervisor in, 157
storyboard panel size in, 207–208
writer credits on, 18
temp mix, 270
temp music, 226
temporary music track, 273
terminology, subcontractor versus in-house, 168
textless versions, 283
textures, adding, 196–197, 243
theatrical lighting, 244
thinking map, of producer, 51–55
35 mm film, 267
30 percent reuse of locations, 267–183
Thompson, Pamela Kleibrink, 51
“thought balloons”, 101
three acts, in outline, 104
3D animation. See stereoscopy
thumbnail representations, 189, 209, 210f
Tim Burton's Alice in Wonderland (Walt Disney Studios), 48
timecode, for audio spotting, 275–276
timelines
CG, 120
feature production, 121f, 122f
master, 117
Timmy Time (Aardman Animations), 33
title house, 283
titles
clearance of, 88
opening, 22
registering, 88
subcontractor handling of, 168
Titmouse, Inc., 29
Toy Story 2 and Toy Story 3 (Pixar Animation Studios), 38–39, 64, 64f
tracking
accuracy of, 303
ancillary groups access to system, 232, 303–307
of archived digital content, 307
macro and micro charts for, 292–293
post-production, 303
for software, 292
of subcontractors, 301
master scheduling for, 291
in pre-production, 175
producer need for, 24
production, 233
production coordinator role in, 154f
script possession, 100
sashot details for, 235
shot progress, 94
storyboard changes, 207
by subcontractors, 168
website visits, 317
traditional 2D projects, 13. See also 2D production
training department, 77–78, 93, 136
transmedia opportunities, 69–70, 74, 100
Treasure Planet (Walt Disney Animation Studios), 32–33, 35, 40–41
Tristar, 38
Tron 2: Evolution (Disney Interactive, Propaganda Games, Pendulum Studios), 30–31
T2-3D (Universal Studios), 48
T.U.F.F. Puppy (Nickelodeon Animation Studios), 47
tween-targeted literature, 59–60
20th Century Fox Animation, 26–27
20th Century Fox Film Corporation, 49
20th Century Fox Studios, 46–47, 48
20th Century Fox Television, 36–37, 321f
2D production
background painting for, 257
brain trust meeting for, 253
cleanup animation for, 258
color styling and ink and paint for, 260–261
final check for, 262
pipeline for, 249f
pre-production process flow chart for, 228f
scene planning for, 252
2-tracks (LtRt track), 278
underlay (UL), in shot levels, 253
unions. See also Screen Actors Guild (SAG)
casting and, 199
legal and business affairs negotiations with, 88
Motion Picture Health and Welfare Pension and, 90
talent pay rates set by, 12
Writer's Guild of America, 102
Universal Cartoon Studios, 41, 44–45
Universal Pictures, 38
Universal Studios, 48
Universal Studios Home Entertainment Family Productions, 100–101, 101f
universe, established, in sequels, 129
U.S. Department of Labor, 89
variance reports, 142
Variety, 66
versions, tracking, 288
vertical misalignment, 281
VFX Production Finance, 48
vice presidents, 67
video compilations, 11
Vignali, Marcelo, 40
viral marketing, 64, 310, 316–317
virtual lights, 243
virtual production hub, tracking system as, 289
visas, 88
vision-impaired tracks, 279
visual confusion, avoiding, 84
visual development, 98, 107–108
visual development artists, 83–84
visual effects supervisor, 234
look development team of, 197
visual look of project, 78–79, 179–180
voice director, 200–201, 204–205
celebrity, 231
level of, 134
songs for, 226
volumetric lights, 243
volumetrics, 242
Wallace and Gromit (Park), 60–61
“wallas”, 203
Walt Disney Animation Studios, 27, 32–33, 35, 37, 40–42, 43, 46, 47–48, 59–60, 60f, 116, 198
Walt Disney Company, 63
Walt Disney Feature Animation, 26, 34, 35, 37, 38–39, 40–42, 47, 49, 50
Walt Disney Studios, 48, 90–91
Walt Disney Television Animation, 47
Warhammer, 30
Warner Bros. Feature Animation, 28, 31, 36, 38, 44–45, 47
watermarking scripts, 100
web comics, 58
Wermers, Stevie, 37
West, Marlon, 47
white balancing, 281
white point parameters, 267
Who Framed Roger Rabbit? (Walt Disney Animation Studios), 46, 91
Wilder, Kim Dent, 31
wind effects, 223
Winnie the Pooh (Walt Disney Animation Studios), 47
wireframe sculpture, for modeling, 192
Wolverine, 30
production, 230
subcontractors and, 148
work-for-hire business, 15
workload, bid (estimated difficulty level) in, 235
work permits, 88
Wow! Wow! Wubbzy (Film Roman), 29
Writer's Guild of America, 102
writing. See also script
assessing, 73
television credits for, 18
The Wrong Trousers (Aardman Animations), 30
X-Men, 32
youtube.com, 12, 58