![]() Motion Capture has evolved over time, with the first-ever mocap suit being created around the 1960s by Lee Harrison III and his system called ANIMAC. Originally, animators projected photographed live-action movie images onto a glass panel and traced over the image. It is an animation technique used to trace over motion picture footage, frame by frame, to produce realistic action. The first concept of capturing human movements was developed in the early 1900s by Max Fleischer and was called rotoscopy. As we recently announced our collaboration with Move.ai, this piece aims to learn more about motion capture, its future and how a startup named Move is revolutionizing it. We couldn’t be more thrilled to welcome Bill to the Warner Bros family and can’t wait to dive into this exhilarating new era with him at the helm.Motion capture is the process or technique of recording patterns of movement digitally. Usually, motion capture provides more realistic action than computer animation because it is based on the actual movements of human beings. ![]() “Bill combines the unmatched creativity and imagination of an artist with the acumen, instincts and amazing track record of a born leader,” said De Luca and Abdy. “His decades of experience, passion for storytelling, and forward-focused vision align perfectly with our overall creative strategy for the studio and make him the ideal shepherd for Warner Bros’ groundbreaking and iconic film animation business. He also served as a producer on Shark Tale, which was nominated for an Academy Award for Best Animated Feature in 2004, and as an EP on Over the Hedge and Kung Fu Panda. Damaschke also oversaw all of DWA’s live theatrical productions, including the award-winning Shrek the Musical. Damaschke will report to the latter group’s co-chairs and co-CEOs De Luca and Abdy.ĭamaschke got his start at DWA, where he landed his first animation job as production assistant on The Prince of Egypt, ultimately rising through the ranks to lead the company as Chief Creative Officer. During his long tenure there, he steered a number of acclaimed and popular animated franchise films to the big screen including the blockbusters Madagascar, Kung Fu Panda, How to Train Your Dragon and The Croods. We first told you in February that Damaschke notched the top animation post at Warner Bros, a feature division that Zaslav was prizing next to DC, which is run by Gunn and Peter Safran, and the Warner Bros Motion Picture Group (WBMPG). Damaschke also tells us that a Flintstones origin story movie Meet the Flintstones is also in early development, written by Aaron Horvath and Michael Jelenic, who directed The Super Mario Bros. Acme, produced by Chris DeFaria and James Gunn. Also finishing up from WAG is the Dave Green-directed Coyote vs. Seuss Enterprises Lp to produce multiple animated films based on the author’s children’s books.)Īnimal Logic, an animation partner in Vancouver, BC, will continue to team with Warner Bros on animated projects. (Back in 2018, Warners struck a deal with Dr. The plan is to have that film ready for either a 2025 or 2026 theatrical release. He’s working with a core staff of 90 at Warner Bros that includes production artists, filmmakers and writers with the remaining WAG production, The Cat in the Hat, in the works from Oscar-nominated and Emmy-winning filmmaker Erica Rivinoja ( Borat Subsequent Moviefilm) and Annie Award-nominated Alessandro Carloni ( Kung Fu Panda, How to Train Your Dragon). In addition, he previously produced the Tony Award-winning Broadway musical Moulin Rouge! and The Prom through his independent production company StoryKey Entertainment. ![]() The plan is to have the division ultimately yield two animated theatrical releases a year.ĭamaschke arrives to WBPA from Skydance Media. Storied Warner Bros toon franchises will continue to be part of the mix, but with an eye on starting new franchises as well. WAG’s slate centered on established animated IP such as Scoob!, Tom & Jerry, Space Jam: A New Legacy and DC League of Super-Pets. ![]() “Under Pam and Mike’s leadership with the support of (Warner Bros Discovery CEO) David Zaslav, we have an opportunity to really support these types of films and filmmakers in a way that will create new stories and worlds that audiences can anticipate and recognize for years to come,” added Damaschke. “Pamela Abdy and Michael De Luca are inspiring producers and filmmakers themselves who are focused on directors and writers as part of their studio leadership,” Damaschke said, “and we plan to follow their creative lead at WBPA.” Damaschke’s plans with Warners include hatching original IP much like he did during his two decades at DreamWorks Animation.
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