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Pixar

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Harneel Kaur

on 18 April 2011

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Transcript of Pixar

Pixar Representative Works A company that revolutionized the feature film industry Feature Films Short Films Popular Themes Important People: Makers The Disney Connection Homosociality Toy Story
1995
Director: John Lasseter
Originally conceived to be a half-hour TV Christmas special, but when executives at Disney looked at the numbers, they decided the investment would be so big it made more financial sense to do a full-length film
The script was in development for over four years, and at one point Disney shut down production entirely so it could be entirely rewritten
The script went on to be nominated for an Oscar. Toy Story 2
1999
Director: John Lasseter
This sequel was originally going to go direct-to-video, but when Disney decided to release it theatrically, Pixar scrapped nearly all of the work that had already gone into the project. That left them with less than a year to complete the movie
"Toy Story 2" is the only computer animated movie to win the Golden Globe for Best Comedy. Toy Story 3
2010
Director: Lee Unkrich
Over 150 new characters
Newer technology allowed unique textures and movement qualities (i.e. characters like Stretch (purple octopus) or Lotso (plush bear) A Bug's Life
1998
Director: John Lasseter
To familiarize themselves with life at ground level, the filmmakers stuck tiny video cameras on sticks to see what they world looks like through ants' eyes
The biggest technical challenge was animating the entire ant colony
At first, the technicians didn't think their computers could handle more than 50 characters at a time, but they were eventually able to animate over 800 ants in a single shot Monsters, Inc.
2001
Directors: Pete Docter, and David Silverman
Billy Crystal turned down the role of Buzz Lightyear in the first "Toy Story," which he later called one of the worst decisions of his career. So he jumped at the chance to voice Mike Wazowski in this movie.
2 1/2-year-old Mary Gibbs provided the voice of Boo, but she could not stand still long enough to record her lines. Instead, the filmmakers followed her around with a microphone and taped her speaking as she played around the room. Finding Nemo
2003
Directors: Andrew Stanton, and Lee Unkrich
Every Pixar movie starts with research, which can go on for years
For "Nemo," animators learned how to Scuba dive and observed fish off the coasts of Hawaii and California
They also heard lectures from visiting professors and studied sea life in the studio's 25-gallon aquarium The Incredibles
2004
Director: Brad Bird
Bird became friends with John Lasseter when they studied animation at Cal Arts (director Tim Burton was also a classmate)
This is also the first Pixar film with all human characters, and the only one to be rated PG
Though the characters aren't taken directly from a comic book, the movie is full of references to DC and Marvel heroes and villains Cars
2006
Director: John Lasseter, and Joe Ranft
Many people assumed the character of "Lightning McQueen" was named after Steve McQueen, the star of the movie "Le Mans" and a racing enthusiast in real life. But actually, he was named after Glenn McQueen, an animator at Pixar who died in 2002
"Cars" grossed less money worldwide than the previous four Pixar movies, but related merchandise brought in nearly $1 billion in 2006 Ratatouille
2007
Directors: Brad Bird, and Jan Pinkava
Research for this movie took the Pixar crew to Paris, where they rode around the city on the backs of motorcycles videotaping the sights of the city
Brad Bird was originally unsure that ratatouille, a simple stew, would be visually impressive enough for the climax of the movie. But then they invited world-renowned chef Thomas Keller to the studio to prepare a unique presentation of the dish, and it's a digital recreation of Keller's creation that Remy the rat cooks up Wall·E
2008
Director: Andrew Stanton
Stanton and his team spent a year watching silent films every day at lunch as so much of Wall-E was presented without dialogue
Wall-E's voice was created by sound designer Ben Burtt, and even though he previously worked on every "Star Wars" films, there are more sound effects in "WALL-E" than in any other movie he's worked on
When this film was previewed, about half of the test audiences thought that the humans wouldn't survive when they returned to Earth, so Pixar added the animated closing credits to show that they were able to revive life on the planet Up
2009
Directors: Pete Docter, and Bob Peterson
"Up" tells the story of 78-year-old Carl Fredricksen, who decides to take an expedition into the wilds of Venezuela that his late wife always wanted to do but never got the chance. So to get there, he inflates thousands of helium balloons that lifts his house into the sky
"Up" will be the first Pixar movie released in 3-D, but not the last
The first two "Toy Story" movies are being revamped for a 3-D re-release List of Pixar's 18 Short Films:
The Adventures of André and Wally B. (1984)
Luxo Jr. (1986)
Red's Dream (1987)
Tin Toy (1988)
Knick Knack (1989)
Geri's Game (1997)
For the Birds (2000)
Mike's New Car (2002)
Boundin' (2003)
Jack-Jack Attack (2005)
One Man Band (2005)
Mater and the Ghostlight (2006)
Lifted (2006)
Your Friend the Rat (2007)
Presto (2008)
Burn E (2008)
Partly Cloudy (2009)
Dug's Special Mission (2009) The Pixar Process Most Disney animated films have been criticized for their stereotypical female leads and traditional representations of gender
"All the major features released by Disney's Pixar studios since 1990 have featured masculine protagonists," (Gillam, Ken, and Wooden, Shannon).
These male plots are remarkably alike, and together, they indicate a rather progressive postfeminist model of gender
Pixar consistently promotes a new model of masculinity.
"From the revelation of the alpha male's flaws, including acute loneliness and vulnerability, to figurative emasculation through even the slightest disempowerment, each character travels through a significant homosocial relationship and ultimately matures into an acceptance of his more traditionally "feminine" aspects," (Gillam, Ken, and Wooden, Shannon). Toy Story
The world the characters in this script inhabit is a toy version of the real world.
"The toys are metaphorical human beings, the problems they face are metaphorical versions of human problems, their hopes and feelings and desires are human ones,"(Hall, Lucia).
Seen as such an allegory, Toy Story illustrates two opposing world views: naturalism and supernaturalism
Woody and the other toys in the playroom represent the naturalistic world view. Woody is a toy, a mechanism, a material being; he knows it and is content with it.
Buzz, on the other hand, is an other-worldly being whose aims, purpose, and reason for existence come from outside this toy reality.
"Just as Christian believers in our world think they truly are embodied, immaterial souls guided by God and charged with the duty of defeating Satan, Buzz believes he truly is a space ranger directed by Star Command and charged with the duty of defeating the evil Emperor Zurg. He is "real" (that is, not just a toy) even if he is forced to follow the rules of being a toy (such as freezing still in the presence of humans)--just as religious believers are "spiritual" even though they are forced to take into account the facts of this material, physical world like the rest of us," (Hall, Lucia).
Even as a toy, however, Buzz in fact has worth and meaning--just as human beings have worth and meaning even if they are nothing but material objects. Saving the poor tortured toys in Sid's room has meaning, just as working to make the material world a better place has meaning.
"'Falling with style' has meaning, even if it isn't flying. Loyalty has meaning. Understanding has meaning. Honesty has meaning," (Hall, Lucia).
In the end, Buzz courageously accepts his lot and even makes good use of his life, saving the day within the terms of the material, scientific, and humanistic universe in which he now realizes he has been all along. Toy Story 2
Toy Story 2 tries to answer a very important question: “Once you've released yourself from belief in the immaterial, how are you going to live your material life? Are you going to live it courageously, willing to love others deeply enough to risk the pain of loss and rejection, the inevitability of growing old and finally dying? Or are you going to take the safer path of avoiding love and change so you can fool yourself into believing you can somehow last forever?” (Hall, Lucia).
The script begins with Woody facing the uncomfortable realization of his own mortality. He must come to terms with the changes in a material world which inevitably lead to death and dissolution.
It is Buzz who points out the folly of this hopeless desire for changelessness in the real world. He has deeply taken to heart Woody's own message that toys are meant to be played with, even broken, because that's the price you pay for the privilege of being alive and loved.
“Human beings, however much we might wish otherwise, are mortal, fallible, and subject to wear and tear, no matter how many face-lifts we have in an attempt to restore lost youth, no matter how many cryogenic heavens we might try to enter,” (Hall, Lucia).
Loving and being loved is what makes life worthwhile. Even though death is inevitable, as Woody says, life will be "fun while it lasts."
Everyone faces a life of limited length in which we risk both physical and emotional injury. However, it is still rewarding and worth cherishing.
“Toys or people, our humanist purpose is best found in those we love,” (Hall Lucia). Humanism Toy Story
Toy Story's Buzz Lightyear and Sheriff Woody similarly base their worth on a masculine model of competition and power, desiring not only to be the favorite toy of their owner, Andy, but to possess the admiration of and authority over the other toys in the playroom.
For this reason, the alpha-male position is depicted as fraudulent, precarious, lonely, and devoid of emotional depth.
However, near the end, Woody achieves a new masculine identity, one that expresses feelings and acknowledges community as a site of power.
As a result, he is able to sacrifice the competition with Buzz for his object of desire.
Buzz's own moment of truth comes from seizing his power as a toy.
He has found the value of being a toy, the self-fulfillment that comes from being owned and loved. The Incredibles
An old-school superhero, Mr. Incredible opens the Incredibles by displaying the tremendous physical strength that enables him to stop speeding trains, crash through buildings, and keep the city safe from criminals.
It is clear that he suffers from the emotional isolation of the alpha male.
He must eventually admit to his emotional dependence on his wife and children.
In the end, Mr. Incredible's new source of strength and value is his family. Cars
Lightning McQueen achieves the alpha status when he heroically ties the championship race, distinguishing himself by his physical power and ability, characteristics that catapult him toward the exclusively male culture of sports superstars.
However, the script soon diminishes his appeal as this alpha model. “Within a few moments of the race's conclusion, we see some of Lightning's less positive macho traits; his inability to name any friends, for example, reveals both his isolation and attempts at emotional stoicism,” (Gillam, Ken, and Wooden, Shannon).
By the end, Lightning completely and publicly refuses his former object of desire, the Piston Cup.
Early in the final race, he seems to somewhat devalue racing; his daydreams of Sally distract him tempting him to give up rather than to compete.
The plot, however, needs him to dominate the race so his decision at the end will be entirely his own. "With the strength afforded by these homosocial intimacies, the male characters triumph over their respective plots, demonstrating the desirable modifications that Pixar makes to the alpha-male model," (Gillam, Ken, and Wooden, Shannon).
This is where the other scripts/films end: the values of caring, sharing, nurturing, and community being clearly present, the hero is at last able to achieve, improved by having embraced those values. Wall-E
The story of robots who save humanity by teaching us to nurture the Earth rather than treat it as a disposable commodity
"Wall-E exemplifies a problem not uncommon to [science fiction]: attempting to imagine the future, it nevertheless defines 'human' nostalgically," (Howey, Ann).
The opening of the script introduces this tension between future and past.
Near the beginning of the script, the song 'Put on Your Sunday Clothes' from the 1960s film musical Hello Dolly! (Kelly US 1969) is played.
As Andrew Stanton remarks in his Director's Commentary for the DVD, 'juxtaposing sci-fi and the future with retro old stuff' was a deliberate strategy.
Wall-E interrogates the relationship between humans and machines.
"Romantic courtship is one of the human behaviours emulated by machines in the film, as Wall-E and Eve learn what it is to be in love from viewing clips from Hello Dolly!" (Howey, Ann).
Nevertheless, sas the script begins with Wall-E, it remains his quest; like the young men in Hello Dolly!, he goes 'out there' and finds a girl to kiss.
In the end, "WALL-E's resurrection was not achieved through mechanical means but through the power of love," (Laycock, Joseph).
Fundamentally, Wall-E celebrates the male individual's quest to attain full humanity through the acquisition of status (Wall-E as hero to the people on the Axiom) and of heterosexual romantic partnership. Style Includes:
Humor
Variety of action scenes
Creation of distinctive worlds out of recognizable emotion Unlike many scripts/films designed ultimately to aim for the audiences' sense of humor, Pixar aims for its audiences' heart. "Pixar films contain lovable characters, none-too-risky humour, and an old-fashioned approach to storytelling. These films are high in charm, and intend for you to go through a range of different emotions during a viewing," (Prescott, C.R). "The Pixar animation studio even breaks an unwritten code by having a script written before filming starts," (Aoun, Steven). The computer generated animations appear to be more lifelike than real actors, and the scenarios are truer to life than most live action counterparts.
From Toy Story through to Finding Nemo, the stories derive from the personalities of fully rendered characters. Up
In the beginning of the script, we are introduced to two characters and we immediately fall in love with them.
We read about how they grow up together and fall in love.
We feel for them, and we are charmed by their life.
We are given a believable representation of the life of a perfectly normal happy couple as they grow old together.
The tragedy in the script/movie has the readers/audience fighting back tears.
As the script progresses, we notice that the old widowed man has become a grumpy, cynical, old man, and we cannot help but laugh at him.
Any other script could have created a two-dimensional character who gains easy laughs for being a grumpy old man, but Pixar's script made us feel for him.
We understand him, and he is more than believable. Disney has a long history of developing, producing, and distributing films such as:
•Beauty and the Beast
•Aladdin
•The Lion King
May 1991- Pixar entered into an agreement with Walt Disney Pictures
It was for the development and production of up to three computer animated feature films to be marketed and distributed by Disney
It was according to this agreement that Toy Story was developed, produced, and distributed. February 1997- Pixar entered into a new Co-Production Agreement with Disney
Pixar, on an exclusive basis, agreed to produce five original computer-animated feature-length theatrical motion pictures for distribution by Disney.
The five original Pictures under the Co-Production Agreement were:
A Bug's Life
Monsters, Inc.
Finding Nemo
The Incredibles
Cars November 1999- Toy Story 2, the theatrical sequel to Toy Story, was also included in the Co-Production Agreement.
January 2006 -Ratatouille was subsequently added to the terms of the Co-Production Agreement
January 24, 2006- Pixar entered into an agreement with The Walt Disney Company to merge the two companies. May 5, 2006- The deal was approved by shareholders of both companies and the merger became effective.

Pixar is now a wholly-owned subsidiary of The Walt Disney Company. John Lasseter Left animation job at Disney to join Lucasfilm
Worked on the then groundbreaking use of CGI animation.
Lucasfilm became Pixar in 1986 Lasseter oversaw all of Pixar's films and associated projects as executive producer
Directed: Toy Story, A Bug's Life, Toy Story 2, and Cars. Won:
Two Academy Awards, for Animated Short Film (Tin Toy)
Special Achievement Award (Toy Story) Born: January 12, 1957
American animator
Director and the chief creative officer at Pixar and Walt Disney Animation Studios
Walt Disney Imagineering Steven Jobs Born February 24, 1955
American business magnate and inventor He is the co-founder and chief executive officer of Apple Inc.
Previously served as chief executive of Pixar Animation Studios
Became a member of the board of directors of The Walt Disney Company in 2006, following the acquisition of Pixar by Disney
He was credited executive producer in the 1995 movie Toy Story 1986- Acquired the computer graphics division of Lucasfilm Ltd (Pixar Animation Studios)
2006- Remained CEO and majority shareholder at 50.1% until its acquisition by The Walt Disney company
Consequently, Jobs became Disney's largest individual shareholder at 7% and a member of Disney's Board of Directors Dr. Edwin Catmull Born: 1945
Computer scientist
President of Walt Disney Animation Studios and Pixar Animation Studios Won:
Five Academy Awards
ACM SIGGRAPH Steven A. Coons Award
Ub Iwerks Award
Randy Pausch Prize - Previously, Dr. Catmull was vice president of the Computer Division of Lucasfilm Ltd.
- He managed development in the following areas:
Computer graphics
Video editing
Video games
Digital audio Technology Responsible for many important breakthroughs in the application of computer graphics (CG) for filmmaking
Attracted some of the world's finest talent in this area
Invests heavily Technology allows the production of animated images of:
Quality
Richness
Vibrancy Pixar also has a long standing tradition of sharing its advances within the broader computer graphics (CG) community. This is through:
Technical papers
Technology partnerships
Publicly available RenderMan
Pixar provides the highest-quality, photo-realistic images currently available RenderMan remains the standard in CG film visual effects and feature animation
Honored with an Academy Award for technical achievement By: Harneel Kaur History Timeline Currently, Pixar Animation Studios is an American computer animation studio based in Emeryville, California (USA). 1979 Pixar was founded as the Graphics Group, one third of the Computer Division of Lucasfilm that was launched in 1979 with the hiring of Dr. Ed Catmull from the New York Institute of Technology (NYIT). At NYIT, the researchers worked on an experimental film called The Works, though it was never released. When the group moved to Lucasfilm, the team worked on creating the precursor to RenderMan, called Motion Doctor, which allowed traditional cel animators to use computer animation with minimal training. (Pixar is founded as the Graphics Group) 1986 Luxo Jr. is the first film produced in 1986 by Pixar Animation Studios, following its establishment as an independent film studio. It is a computer-animated short film (two and a half minutes, including credits), demonstrating the kind of things the newly-established company was capable of producing. It is the source of the small hopping desk lamp included in Pixar's corporate logo. It features two desk lamps (inspired by a Luxo brand task-light on John Lasseter's desk, hence the title), one larger (implicitly older, named Luxo) than the other. Luxo Jr. plays with a small rubber ball, as Luxo reacts to its antics. On the technical level, it demonstrates the use of shadow maps to simulate the shifting light and shadow given by the animated lamps. The lights and the color surfaces of all the objects are calculated, each using a RenderMan surface shader, not surface textures. The coordinated articulation of "limbs", and power cords trail believably behind the moving lamps. On the cinematic level, it demonstrates a simple and entertaining story, including effectively expressive individual characters.In 1986, Luxo Jr. received an Academy Award nomination for Best Animated Short Film. It was the first CGI film nominated for an Academy Award. Spinoffs of the short have also appeared in Sesame Street.
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