Animation Guild | We are 839 Digital Magazine
Issue link: http://digital.copcomm.com/i/1257506
F E AT U R E on geometry that would be inside that 3D landscape. Literally every frame in Marooned is a painting, because we had to hand-paint these textures and map them onto geometry. A lot of the effects in Marooned were then used to train new effects artists coming into the studio." DreamWorks kicked off its short film program in early 2017 when more than 25 employees, from established storyboard artists to newly hired production coordinators, pitched their concepts to a team of executives that included former President Chris deFaria, Head of Feature Film Development Jennifer Howell, Head of Feature Production Jill Hopper and Producer Jeff Hermann. The only guideline was for employees to submit an original idea and expand on the use of technology. Eight ideas were chosen to be produced, including Bird Karma (released in February 2018), Bilby (June 2018), Marooned (September 2019) and the upcoming To: Gerard. When small studio teams are pulled together for shorts, it offers a host of additional benefits. Fellow studio artists and technicians from different departments who don't typically cross paths on enormous features get to mix with each other and share expertise in unfamiliar aspects of the craft. They learn how to speak each other's language and gain a broader understanding of each one's contributions to the whole, which translates to more efficient problem solving and a more integrated crew on the huge projects. "The small format of these shorts allows for a lot of magical collaborative things to happen," says Character Technical Director Mitch Counsell, who directed the Short Circuit film Fetch. Additionally, shorts give studio artists a chance to show what they can do as writers and directors— and decision-makers. Given limited resources, catch-as-catch-can collaborators working around their responsibilities on features, and a tight schedule for delivery, the shorts test filmmakers' leadership skills. "There is definitely an evolution in how talent is being developed," says Nick Russell, head of Disney's 34 KEYFRAME