lux animation: nation

March 18.

There was a weather change, a delay from 5 days to 10 in the recording studio in Nevada, California. I observed that Billy rushed to San Jose to do the dubbing that was halfway through for "The Lion King" movie. As always, he found John Lasseter, who is a very active producer, directing the film with the signing of Robb Mikof, both in charge of directing the film in its final stages, the army of 40 animators dedicated to bringing together a film proposed by Billy, in great detail, which he did the Storyboard with dedication and with the help of Michael Schools, one of the editors of Lux Animation.

Robb Mikoff has been part of the Lux Animation team since the beginning of 1993, the promised investment for his film, created and directed by him, along with 15% of the box office money collected by the film.

-We have a time frame of 15 days for the little boss to do the dubbing, - said John Lasseter.

-Luckily, he decided to do only the old Sinbad, - said Robb Mikof, who denied Billy's involvement in the voice of young and old Sinbad when Billy got the role of Daniel Jackson.

-It's an excellent movie, - said John Lasseter. Watching the scenes and the animated model, dubbing began in January, two months of hard work, has left a clear idea of how the movie will end.

-We should make it 3D, Pixar has a lot to offer. Ah, what a pity that we still don't have the means to make a movie this way. I can assure you, the Oscar in the hands of Pixar, would cause an even more exciting sensation, - said John Lasseter. Today the little hair he had on his head was tousled from side to side; he tousled it with excitement, the more disheveled it was, the higher his level of excitement.

Robb Mikoff listened and debated. -- What's the Pixar animation studio like? I've heard that you are looking to end 2D animation, but I don't believe it, -- said Rob.

-It's not true, bad publicity. We are the future of animation. A work of art does not cease to be beautiful because it is different; beauty can be shared in many styles. For now, seeking a style different from the classic is just a fact, - said John Lasseter.

-That's already proven; Toy Story is a surprise for the entire industry. Why does Disney have a power struggle with you, Pixar? - asked Robb Mikoff.

-The bad publicity from Disney. Since we started with this 3D animation, they have done everything possible to cancel us, from some slight articles in newspapers to bad publicity with the emerging studios, preventing people in the industry from investing in us as a company. Not long ago, Pixar was hanging by a thread, and we were working on some commercials and selling our software to other companies, -- said John Lasseter, adjusting his glasses. -- That's why I think Disney is afraid of the new animation. They are so entrenched in creating their films, in the same way they have been doing for the past 50 years, that they completely rejected a new way of doing things, clinging to tradition. -

It was a harsh statement.

-There's some bad blood between you; see, we'll adjust some shots that I think will be necessary for when our dear voice actor arrives, - said Robb Mikof.

-Just wait; we'll have many movies to show in the coming years, -- said John Lasseter, affirmatively. --In fact, I was thinking about the final frames. -

-We have everything ready, but there are still some details missing, - said Robb Mikof.

The mix of creating characters in caps with a smooth 2D design, and characters with magnificent painted flat maps, took 340 shots, and another 89 scenes to complete the movie sequence.

-Let me finish organizing the songs, organize the shots, and continue with the animation production. I'll be on the fourth floor coordinating with the dubbing teams, - said John Lasseter, somewhat calmer, but the third floor buzzed with activity as the presentation of the remaining movie approached. A few touch-ups here and there, but the conclusions of "The Lion King" were coming to an end.

-Make sure to organize the soundtrack; the songs must be ready by the weekend at the latest. The requests for the sale of musical CDs have been sent out; it must be published on the same day as the movie premiere, - said Robb Mikof.

John Lasseter nodded.

The fourth floor was in an unprecedented movement for people. Of the three recording studios, the journey of many people going from one studio to another stood out. He saw Chandler Reik, the music director. After Hans Zimmer's cancellation, he decided to follow Disney instead of Lux Animation.

But who is Chandler? Just a young graduate from Juilliard with excellent references, a scholarship recipient who plays four instruments, and a lover of classical music.

-Chandler, Robb Mikof requests that you have the outline of all the songs ready by the weekend, - said John Lasseter.

-I'll deliver it immediately, - said Chandler, in a hurry.

-No. Boy, I thought I was behind, but Mikof expects the songs to be detailed and ready for the weekend, he's just pushing for a delivery date, so keep working. Submit an outline and show what you have done for the weekend. Now, if you have the outline done, detail the first songs of the soundtrack to send to the director, but it's good for all of them to be ready by the end of the month, kid, - said John Lasseter.

Chandler Reik's pale complexion was a premonition for John. - Sir, I have only the first two songs ready, but I need to make some adjustments, - said Chandler.

John could see drops running down his wavy hair, combed to one side. Almost like a cow's lick.

-Don't bother, kid, just keep working. Billy left some sketches, - John Lasseter asked.

-He did leave the songs written along with the roadmap, but I have the adjustments made in my head. However, I am not satisfied with what I am still doing, - said Chandler.

-Come on, kid, keep up with your work. I'll be fixing the dubbing problem, and later, we'll listen to the work you have on hand. Sometimes things may not sound perfect, but I'll dispatch what I approve, and we'll present it to Mikof; I'm sure he has a clear understanding of what he approves or rejects, - said John Lasseter.

-All right, sir, I'll go to the studio. With your permission, - said Chandler Reik, somewhat fearful. Musicalizing an African style is a greater challenge than he has faced in his years as a student and lover of classical music.

-The songs were already written, and all that's left is to give them a suitable rhythm. Kid, even Billy provided some rhythm; you don't have to stress too much about it, - said John Lasseter, shooting an arrow into poor Chandler, who felt like a waste.

Chandler walked quickly, as a quick way to get away from John.

-There goes the reckless sir, - said James Earl Jones, who played the role of Mufasa.

-I thought you were leaving already, - said John.

-Well, today our Sinbad is supposed to come, so I'm waiting. To record the final scenes. Why aren't you in the cast? - said James Earl Jones.

Embracing John, they have been friends for some time, and he was surprised by the hiring made by Lux Animation.

-Well, I'm no longer in the youth races, but Andrew, an animator from my team, participates in the dubbing. But it's a long and depressing job after a while, - said John Lasseter.

-I have to meet him; Andrew seems to follow the old-school steps, just getting into the role, you can draw great scenes. I'll wait outside, good luck, John, - said James Earl Jones, taking the elevator to get some fresh air.

-Good luck, James, - said John, continuing his way to the large dubbing studio, a row of four people. First, the main characters are recorded, and then we move on to recording less important people with few lines.

-Good morning, everyone. Let's continue with our great work today. We have some details to attach, but we'll do the next scene in, leave few five minutes. Bill Darwin will be here shortly; it's a confirmed fact, - said John Lasseter, who had received the call from Billy in the morning. John understood; a businessman had little time.

What a strange nickname, thought John Lasseter.

It was the beginning of a long workday; the voices began to come together in what we call a long production studio. Lux Animation made a long, extensive contract for five years, the sum of 20 million dollars with Amblin Entertainment, as basic advisers for post-production and dubbing direction. This deal started not only as an opportunity that Jim Waitt used to extend his recognition in the industry, but it is a direct benefit due to Amblin's experience in making films, along with a necessary gain for the production company's new projects. The 5-year contract has been worth every penny, as in just 2 years, they have created three movies and seven TV series.

...

March 18.

There was a weather change, a delay from 5 days to 10 in the recording studio in Nevada, California. I observed that Billy rushed to San Jose to do the dubbing that was halfway through for "The Lion King" movie. As always, he found John Lasseter, who is a very active producer, directing the film with the signing of Robb Mikof, both in charge of directing the film in its final stages, the army of 40 animators dedicated to bringing together a film proposed by Billy, in great detail, which he did the Storyboard with dedication and with the help of Michael Schools, one of the editors of Lux Animation.

Robb Mikoff has been part of the Lux Animation team since the beginning of 1993, the promised investment for his film, created and directed by him, along with 15% of the box office money collected by the film.

-We have a time frame of 15 days for the little boss to do the dubbing, - said John Lasseter.

-Luckily, he decided to do only the old Sinbad, - said Robb Mikof, who denied Billy's involvement in the voice of young and old Sinbad when Billy got the role of Daniel Jackson.

-It's an excellent movie, - said John Lasseter. Watching the scenes and the animated model, dubbing began in January, two months of hard work, has left a clear idea of how the movie will end.

-We should make it 3D, Pixar has a lot to offer. Ah, what a pity that we still don't have the means to make a movie this way. I can assure you, the Oscar in the hands of Pixar, would cause an even more exciting sensation, - said John Lasseter. Today the little hair he had on his head was tousled from side to side; he tousled it with excitement, the more disheveled it was, the higher his level of excitement.

Robb Mikoff listened and debated. -- What's the Pixar animation studio like? I've heard that you are looking to end 2D animation, but I don't believe it, -- said Rob.

-It's not true, bad publicity. We are the future of animation. A work of art does not cease to be beautiful because it is different; beauty can be shared in many styles. For now, seeking a style different from the classic is just a fact, - said John Lasseter.

-That's already proven; Toy Story is a surprise for the entire industry. Why does Disney have a power struggle with you, Pixar? - asked Robb Mikoff.

-The bad publicity from Disney. Since we started with this 3D animation, they have done everything possible to cancel us, from some slight articles in newspapers to bad publicity with the emerging studios, preventing people in the industry from investing in us as a company. Not long ago, Pixar was hanging by a thread, and we were working on some commercials and selling our software to other companies, -- said John Lasseter, adjusting his glasses. -- That's why I think Disney is afraid of the new animation. They are so entrenched in creating their films, in the same way they have been doing for the past 50 years, that they completely rejected a new way of doing things, clinging to tradition. -

It was a harsh statement.

-There's some bad blood between you; see, we'll adjust some shots that I think will be necessary for when our dear voice actor arrives, - said Robb Mikof.

-Just wait; we'll have many movies to show in the coming years, -- said John Lasseter, affirmatively. --In fact, I was thinking about the final frames. -

-We have everything ready, but there are still some details missing, - said Robb Mikof.

The mix of creating characters in caps with a smooth 2D design, and characters with magnificent painted flat maps, took 340 shots, and another 89 scenes to complete the movie sequence.

-Let me finish organizing the songs, organize the shots, and continue with the animation production. I'll be on the fourth floor coordinating with the dubbing teams, - said John Lasseter, somewhat calmer, but the third floor buzzed with activity as the presentation of the remaining movie approached. There were a few touch-ups here and there, but the conclusions of "The Lion King" were ending.

-Make sure to organize the soundtrack; the songs must be ready by the weekend at the latest. The requests for the sale of musical CDs have been sent out; it must be published on the same day as the movie premiere, - said Robb Mikof.

John Lasseter nodded.

The fourth floor was in an unprecedented movement for people. Of the three recording studios, the journey of many people going from one studio to another stood out. He saw Chandler Reik, the music director. After Hans Zimmer's cancellation, he decided to follow Disney instead of Lux Animation.

But who is Chandler? Just a young graduate from Juilliard with excellent references, a scholarship recipient who plays four instruments, and a lover of classical music.

-Chandler, Robb Mikof requests that you have the outline of all the songs ready by the weekend, - said John Lasseter.

-I'll deliver it immediately, - said Chandler, in a hurry.

-No. Boy, I thought I was behind, but Mikof expects the songs to be detailed and ready for the weekend, he's just pushing for a delivery date, so keep working. Submit an outline and show what you have done for the weekend. Now, if you have the outline done, detail the first songs of the soundtrack to send to the director, but it's good for all of them to be ready by the end of the month, kid, - said John Lasseter.

Chandler Reik's pale complexion was a premonition for John. - Sir, I have only the first two songs ready, but I need to make some adjustments, - said Chandler.

John could see drops running down his wavy hair, combed to one side. Almost like a cow's lick.

-Don't bother, kid, keep working. Billy left some sketches, - John Lasseter asked.

-He did leave the songs written along with the roadmap, but I have the adjustments made in my head. However, I am not satisfied with what I am still doing, - said Chandler.

-Come on, kid, keep up with your work. I'll be fixing the dubbing problem, and later, we'll listen to the work you have on hand. Sometimes things may not sound perfect, but I'll dispatch what I approve, and we'll present it to Mikof; I'm sure he has a clear understanding of what he approves or rejects, - said John Lasseter.

-All right, sir, I'll go to the studio. With your permission, - said Chandler Reik, somewhat fearful. Musicalizing an African style is a greater challenge than he has faced in his years as a student and lover of classical music.

-The songs were already written, and all that's left is to give them a suitable rhythm. Kid, even Billy provided some rhythm; you don't have to stress too much about it, - said John Lasseter, shooting an arrow into poor Chandler, who felt like a waste.

Chandler walked quickly, as a quick way to get away from John.

-There goes the reckless sir, - said James Earl Jones, who played the role of Mufasa.

-I thought you were leaving already, - said John.

-Well, today our Simba is supposed to come, so I'm waiting. To record the final scenes. Why aren't you in the cast? - said James Earl Jones.

Embracing John, they have been friends for some time, and he was surprised by the hiring made by Lux Animation.

-Well, I'm no longer in the youth races, but Andrew, an animator from my team, participates in the dubbing. But it's a long and depressing job after a while, - said John Lasseter.

-I have to meet him; Andrew seems to follow the old-school steps, just getting into the role, you can draw great scenes. I'll wait outside, good luck, John, - said James Earl Jones, taking the elevator to get some fresh air.

-Good luck, James, - said John, continuing his way to the large dubbing studio, a row of four people. First, the main characters are recorded, and then we move on to recording less important people with few lines.

-Good morning, everyone. Let's continue with our great work today. We have some details to attach, but we'll do the next scene in, leave few five minutes. Bill Darwin will be here shortly; it's a confirmed fact, - said John Lasseter, who had received the call from Billy in the morning. John understood; a businessman had little time.

What a strange nickname, thought John Lasseter.

It was the beginning of a long workday; the voices began to come together in what we call a long production studio. Lux Animation made a long, extensive contract for five years, the sum of 20 million dollars with Amblin Entertainment, as basic advisers for post-production and dubbing direction. This deal started not only as an opportunity that Jim Waitt used to extend his recognition in the industry, but it is a direct benefit due to Amblin's experience in making films, along with a necessary gain for the production company's new projects. The 5-year contract has been worth every penny, as in just 2 years, they have created three movies and seven TV series.

...

patreon.com/vin_modeus12 Hi everyone keep posting, I have written a lot, so I will do recurring posts, on Patreon we are on 184, but that's it, 188. good morning.