Animationsprofi Cal Brunker (Operation Nussknacker 2 – Voll auf die Nüsse, Nix wie weg – vom Planeten Erde) inszeniert das fröhliche neue Abenteuer der PAW Patrol für die große Leinwand.
https://paramount.de/paw-patrol-der-kinofilm
Deutsche Stimmen: Lea van Acken, Dunja Hayali, Daniel Boschmann, Christoph Scheermann, Sara Urbainczyk, Kai Bösel, Marko Krahl
US Release Date: November 24, 2021 Starring: Stephanie Beatriz, Diane Guerrero, Wilmer Valderrama Directed By: Jared Bush, Byron Howard, Charise Castro Smith Synopsis: The Madrigals are an extraordinary family who live hidden in the mountains of Colombia in a charmed place called the Encanto. The magic of the Encanto has blessed every child in the family with a unique gift — every child except Mirabel. However, she soon may be the Madrigals last hope when she discovers that the magic surrounding the Encanto is now in danger.
Die Madrigals sind eine ungewöhnliche Familie, die tief versteckt in den Bergen Kolumbiens an einem wundersamen, verzauberten Ort namens „Encanto“ leben. Die Magie des „Encanto“ hat jedes Kind der Familie mit einer einzigartigen Gabe gesegnet, von Superkräften bis hin zur Kraft des Heilens – jedes Kind hat eine besondere Fähigkeit. Jedes Kind außer Mirabel. Doch als sie herausfindet, dass ihr geliebtes Encanto in Gefahr ist, wird Mirabel bewusst, dass sie allein die letzte Hoffnung für ihre außergewöhnliche Familie und ihr wunderbares Zuhause sein könnte…
Der eue Trailer enthält den Originalfilmsong „Colombia, Mi Encanto“, gesungen von dem 17-fachen GRAMMY® und Latin GRAMMY Gewinner, Sänger, Songwriter und Schauspieler Carlos Vives, der aus Santa Marta in Kolumbien stammt. “Das Lied feiert die magische Diversität Kolumbiens,” sagt Vives. „Ich kann es nicht abwarten, zu sehen, wie sich die Musik mit den Filmbildern und Charakteren, inspiriert vom Charme Kolumbiens, verbinden wird.“
Der mit dem Emmy®, GRAMMY® und Tony Award® ausgezeichnete Komponist Lin-Manuel Miranda (VAIANA, HAMILTON) hat für den neuesten Animationsspaß der Walt Disney Animation Studios neue, mitreißende Songs geschrieben. Regie führte Byron Howard (ZOOMANIA, RAPUNZEL – NEU VERFÖHNT) zusammen mit Jared Bush (Co-Regie ZOOMANIA) und Charise Castro Smith als Co-Regisseurin (Drehbuch zu “The Death of Eva Sofia Valdez”). Das liebevolle und lustige Familienabenteuer wurde produziert vom Oscar®-prämierten Clark Spencer (ZOOMANIA, RALPH REICHTS) mit Yvett Merino. Die Filmemacher waren nicht nur zutiefst inspiriert durch ihre Expedition nach Kolumbien zu Beginn des Projektes, sondern auch durch die kontinuierliche Zusammenarbeit mit einem Expertenteam, das während der Produktion zusammengestellt wurde.
THE FRENCH DISPATCH model shop. A short model shop “making of” featuring the miniature work that Simon Weisse and his Berlin crew did for the film. Sense of Scale documentary. Indian Paintbrush, Fox/Searchlight, Music: Alexandre Desplat
The magicians of Luna Island join Teca Princess Maya in the battle against the gods. Never underestimate the power of a magic dragon punch.
Maya and the Three now streaming only on Netflix.
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Tenerife, November 3rd, 2021. – The Ibero-American Animation Quirino Awards have opened the registrations for its fifth edition, whose ceremony will take place on May 14th, 2022 in the city of San Cristóbal de La Laguna, Tenerife. The call is aimed to works, with majority production from one of the 23 Ibero-American countries, that have been released during 2021, although in the case of feature films, series and animations for video game works, the could have been released as of June 1, 2020. Created in 2018 by a group of professionals from Latin America and Spain, the Quirino Awards seek to value the Ibero-American talent and animation industry, in addition to promoting professional networks and contributing to the construction of an Ibero-American animation market. As usual, the Quirino Awards will award the best works in six main categories: Feature Film, Series, Short Film, School Short Film, Commissioned Film and Animation for Video Game. The best works in three technical categories will also be recognized: Visual Development, Animation Design and Sound Design and Original Music. The works presented in the main categories will automatically compete in the technical competitive categories. Registration must be done through the Festhome platform before December 20th, 2021 at 11:59 p.m. (Spanish time), as indicated in the regulations that can be consulted in the following link. From among all the registered works, a Selection Committee will choose six nominees per category, which will be announced in February 2022. Subsequently, an international jury will choose three finalist works in each category and these will be the ones that aim for the prizes to be given at the ceremony which will take place on May 14th next year in San Cristóbal de La Laguna. The Mexican “A costume for Nicholas” by Eduardo Rivero was consecrated as Best Feature Film in the last edition of the Quirino Awards. In the Series category, the award went to “Petit – 2nd season” by Bernardita Ojeda, a co-production between Chile, Argentina and Colombia, while the award for Best Short Film went to the Galician director Alberto Vázquez with “Homeless Home”. In addition to recognizing the best Ibero-American animation works, the Quirino Awards host the Co-production and Business Forum, which in its last edition brought together more than 120 companies representatives from 19 countries and organized more than 700 professional meetings. |
Basking in a theater’s lights, a realm of dust particles dances in unison. One sprite suddenly gets the chance to be centre stage…
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Une nuée de particules de poussière se prélassent dans les lumières du théâtre et dansent joyeusement à l’unisson. Une petite fée de poussière a soudain la chance d’être au centre de la scène…
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Directors / Réalisateurs : Eduardo ADSUARA, Jennifer BELOBI, Keilidh BRADLEY
Team contact / Contact de l’équipe : phosphorus@gobelins.fr
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Soundtrack / Musique : STUDIO MBC // Valentin MARINELLI, Clément BARBIER
Strings: QUATOR AGATE // Adrien JURKOVIC, Thomas DESCAMPS, Raphaël PAGNON, Simon IACHAMET
Mix / Mixage : Benjamin CABAJ
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Production : GOBELINS, l’école de l’image – Cécile BLONDEL : cblondel@gobelins.fr
Distribution : Miyu Distribution – Luce GROSJEAN : festival@miyu.fr
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We are excited to share with you our work for „Jolt“. Our team led by the VFX Supervisor Alexander Valev completed almost 800 shots of various VFX work for the project from set extension and green screen replacements to explosions and digital doubles.
Jolt is directed by Tanya Wexler and is starring Kate Backinsale, Jai Courtney, Stanley Tucci
We are excited to share with you our work for „Jolt“. Our team led by the VFX Supervisor Alexander Valev completed almost 800 shots of various VFX work for the project from set extension and green screen replacements to explosions and digital doubles. Jolt is directed by Tanya Wexler and is starring Kate Backinsale, Jai Courtney, Stanley Tucci
Im Internationalen Wettbewerb kurzer Dokumentar- und Animationsfilm wurden Abyssal von Alejandro Alonso, die dokumentarische Beobachtung eines Schiffsschrottplatzes in Westkuba, als bester Dokumentarfilm und Impossible Figures and Other Stories I von Marta Pajek, eine komplexe Verhandlung von Vergänglichkeit, Leben und Tod, als bester Animationsfilm mit Goldenen Tauben ausgezeichnet. Die Auszeichnungen sind mit jeweils 3.000 Euro verbunden.
Impossible Figures and other stories I – Teaser from NFB/marketing on Vimeo.
Die Silberne Taube im Wettbewerb um den Publikumspreis kurzer Dokumentar- und Animationsfilm erhielt Diana Cam Van Nguyen für ihren Animationsfilm Love, Dad, in dem eine junge Frau auf einen 15 Jahre zuvor im Gefängnis verfassten Brief ihres Vaters stößt. Die Silberne Taube ist verbunden mit einem Preisgeld von 1.500 € und wurde gestiftet von der Leipziger Gesellschaft zur Förderung der Filmkunst e. V.
Eine Übersicht aller Gewinnerfilme, inklusive der Lobenden Erwähnungen, finden Sie hier
Alle Gewinnerfilme der Goldenen und Silbernen Tauben sind vom 1.11. – 14.11. online im DOK Stream zu sehen.
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Weitere Preise und Auszeichnungen in Leipzig:
Florence Miailhe
Mahboobeh Kalaee
Following the divisive events of Captain America: Civil War, Natasha Romanoff reconnects threads of her pre-Avengers life in the Marvel Studios solo film Black Widow. The Third Floor supported the filmmakers from pre-production through post in visualizing ambitious action, shooting approaches and uniquely intense action sequences. The Third Floor London produced previs and techvis as several notable scenes were designed. For the Budapest Chase, artists worked with stunt and shooting units to develop beats and gags, also informing logistics and setups that would be needed for filming on location.
“Almost all major sequences had a techvis pass, where we worked with key departments to help plan camera positions, motion control setups, bluescreen placements and digital stand-ins,” said Brett Grisham, Production Manager from The Third Floor. “Time of day studies also helped production see the impact of sun and shadows in advance. Using these techniques, it was possible to determine which shots they wanted to accomplish on location, which shots to film on sets and what methodology they would use.” For the Goulag prison break and avalanche, multiple iterations of the scene were explored and sequenced to capture the desired timing, humor and tone. Shooting logistics were also visualized through techvis. A particularly demanding scene was the Descent sequence, in which Natasha makes a dazzling escape by diving off a tower. The action was visualized extensively to outline the key beats and pacing the show team had in mind.
“We collaborated across multiple departments to help design cinematic shots and shooting approaches,” Grisham remarked. “The mission from VFX Supervisor, Geoff Baumann was to have a third act sequence that was really dynamic but had a realistic feel to the free fall and skydiving. For this to be achieved, we needed to establish the height of the platform and use that to determine the amount of time everyone would have to fall and move through the planned mid-air fight beats.” Following principal photography and plate shots, work continued at The Third Floor Los Angeles as the film team continued to visualize key visual effects scenes in postvis.
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