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THE PRINCE OF EGYPT

About The Production
Visual Development is one of the key elements of the pre-production and production phases of making an animated film

Visual Development is one of the key elements of the pre-production and production phases of making an animated film. It involves exploring various designs, color palettes, locations, etc. in an effort to define the visual style of the movie. Art directors Kathy Altieri and Richard Chavez and Production Designer Darek Gogol led a team of nine visual development artists in setting a visual style for the movie that was representative of the time, the scale and the architectural style of Ancient Egypt. Part of the process also includes the research and collection of artwork from various artists that may be in line with the style they are trying to achieve, as well as taking part in trips such as the two-week trek across Egypt that the filmmakers took prior to beginning work on the film.

The story phase of production is an ongoing part of the process. In the animation process, a script is not necessarily used - the entire story is mapped out on storyboards instead. The Prince of Egypt was "written" throughout the story process. Starting with a beat outline for the story, Story Supervisors Kelly Asbury and Lorna Cook led a team of 14 storyboard artists and writers as they sketched out the entire movie - sequence by sequence. Once a sequence is storyboarded, the artist pitches it to the directors, producers and story team for approval. The story process is intensely collaborative and is the time when the team can really develop the characters and story points to achieve the strongest and most cohesive story possible.

Composer and Lyricist Stephen Schwartz began working on writing songs for the movie at the very beginning of the project. From that point on, as the story evolved, he continued to write songs that would serve to both entertain and help move the story along. Composer Hans Zimmer arranged and produced the songs and then eventually wrote the score. The score for The Prince of Egypt was recorded entirely in London, England.

The animators handle the key drawings and poses for the characters in each scene. Supervising Animators are assigned to each main character, who then oversee a team of animators who are responsible for bringing those characters to life. For example, Kristof Serrand, the Supervising Animator on the Older Moses and Seti characters, would handle the key scenes in the movie involving those characters and then pass on various scenes to his team of animators.

The Backgrounds department, headed by supervisors Paul Lasaine and Ron Lukas, oversee a team of artists who are responsible for painting the sets/backdrops from the layouts. In the case of The Prince of Egypt, approximately 934 hand-painted backgrounds were created for the movie. Once the backgrounds are finished and approved, they are checked and scanned.

Visual Effects in animation is basically anything that moves in a scene that is not a character, such as natural phenomena, props, vehicles, etc. Headed by supervisors Don Paul and Dan Philips , the Effects department consists of both digital effects artists and 2D traditional artists who together were responsible for creating everything from shadows on the floor to the Parting of the Red Sea, the Plagues, the Burning Bush and the vast crowds of the Exodus.

Checking is the process by which all animation and all other elements of a scene are checked and reviewed for possible errors, omissions or inconsistencies. Checking Supervisors Pat Sito and Shauna Stevens were primarily responsible for overseeing this part of the process. Once scenes and animation levels are<

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