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#sony pictures animation
euouim · 1 year
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some spiderverse fanart 🕸
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gebo4482 · 5 months
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The Spot Concept by Sony Pictures Animation
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skywstuff · 10 months
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miles morales & gwen stacy. ♡
could like/reblog if youu save pls ;)
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claradanjoux · 3 months
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🕷️🔥🎸
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ahb-writes · 3 months
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(from The Mitchells vs. the Machines, 2021)
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gabrierusblog · 3 months
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🕸 Spider-Man: Across The Spider-Verse (2023) | 𝗚𝗪𝗘𝗡 & 𝗠𝗜𝗟𝗘𝗦 𝗠𝗔𝗧𝗖𝗛𝗜𝗡𝗚 𝗜𝗖𝗢𝗡𝗦
 ̄  ̄ ̄ ̄  ̄ ̄  ̄ ̄ ̄  ̄ ̄
𝖫𝗂𝗄𝖾 𝗈𝗋 𝖱𝖾𝖻𝗅𝗈𝗀 𝗂𝖿 𝗒𝗈𝗎 𝗌𝖺𝗏𝖾/𝗎𝗌𝖾. ❗
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jettpack · 2 years
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I spent a about an hour this weekend rummaging through my hard drive to find all the props I did for The Mitchell’s vs The Machine… and I Found a Lot! Here is the first batch. Most of these are from an early camp site set that I designed which got fully built out in 3d as our first test environment but never made it into the film due to story changes. This was like, within my first 2 or 3 months on the movie. The last image is the fully 3D version of the cut campsite set. More props to come
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honoka-marierose · 6 days
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Sony will release a new animated short titled “The Spider Within: A Spider-Verse Story” on Sony Pictures Animation’s YouTube channel at 6 a.m. PT on March 27.
From Sony Pictures Animation and Sony Pictures Imageworks, the short is set in the world of “Spider-Man: Across the Spider-Verse” and follows Miles Morales/Spider-Man as he struggles to balance his responsibilities as a teenager, friend, student and Spider-Man. In navigating those pressures, Miles experiences a panic attack that forces him to confront the manifestations of his anxiety and learn that reaching out for help can be just as brave an act as protecting his city from evil.
The digital release comes in partnership with the Kevin Love Fund, and will be incorporated as part of the fund’s new mental health-focused lesson plan, “The Hero Within.” The lesson plan invites students to tell their own story through the lens of mental health awareness via an interactive curriculum including a creative storyboard activity.
“Miles represents so many of us doing the best we can in our day-to-day lives,” said Jarelle Dampier, director of “The Spider Within.” “We don’t often realize all that we’ve been through until our own body forces us to become aware of its experience. My intention is that ‘The Spider Within’ can motivate deeper conversations amongst friends & family about their own mental health journeys — and I hope it feels like a love letter to those who adore Miles Morales.”
KLF founder, professional basketball player and mental health advocate Kevin Love said, “My hope for the short film would be for everyone, especially young people, to understand that your feelings are valid and that you are not alone in this.”
Love continued, “You see it with Spider-Man in the short film, where Miles has a trusted confidante. He is able to take a walk with his dad and express what he’s going through. We can all learn from that – how important it is to reach out to someone, express your true emotions, speak your truth and not hold everything inside.”
“The Spider Within: A Spider-Verse Story” debuted at Annecy in 2023 and was developed and produced in the inaugural year of Sony Pictures Animation and Sony Pictures Imageworks’ Leading and Empowering New Storytellers (LENS) program, a nine-month leadership training program that provides candidates from underrepresented groups with an opportunity to gain valuable leadership experience in animation. The final deliverable of the program is an all-original short film, set in the existing world of a feature produced by Sony Pictures Animation and Sony Pictures Imageworks.
“The Spider Within: “A Spider-Verse Story” is written by Khaila Amazan, and produced by LENS program creators Michelle Raimo-Kouyate and David Schulenburg. Rounding out the LENS team are Clara Chan who served as vfx supervisor and Joe Darko who served as animation supervisor.
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demifiendrsa · 1 year
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Empire magazine May 2023 issue covers featuring Spider-Man: Across the Spider-Verse
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elsaspants · 3 months
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in animation news, life is perhaps still worth living!
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Sony Pictures Animation is in development on a new fantasy-adventure feature from Matt Braly, the creator of Disney’s multiple Emmy-nominated animated series, Amphibia.
Braly comes to the as-yet-untitled project after working for the studio as a storyboard artist on The Mitchells vs the Machines, the Academy Award-nominated feature produced by Lord Miller, which was released on Netflix in 2021.
Drawing on his own cultural background and personal history, the film tells the story of a young boy who goes on an emotional journey to a fantastical world of Thai spirits where he hopes to have his illness cured. Braly will direct from his script written with Rebecca Sugar (Cartoon Network’s Steven Universe).
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dbarenzu626 · 10 months
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villain... of the week...?
So “Spider-Man: Across the Spider-Verse” was all sorts of insanely good? Seriously? Like, I need Beyond stat. Anyways, in between of some outstanding artwork and after seeing the film in theaters last weekend, I decided to draw up its villain The Spot as a warm up. Just the right mixture of pasty humanoid with Lovecraftian cosmic horror! 
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skywstuff · 10 months
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Spider-Man: Across the Spider-Verse 🕸️
lockscreen · wallpaper :)
like/reblog if you save plss. ♡
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gebo4482 · 9 months
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Spider-Man: Across The Spider-Verse
Artist: Sony Pictures Animation / Patrick O'Keefe / Mack Sztaba
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artist-issues · 1 month
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What do you think about the Spider-Verse movies, if you've seen them? I love the first one a lot but I've only seen the second one once and, while I think I really liked it too, something about it felt off and I can't quite place it.
I'm glad you phrased this question this way because me too. I totally couldn't place what felt off about Across the Spider-Verse and have been trying to answer the "why" question ever since.
Just to get it out of the way real quick, I thought the first movie was amazing, of course, no surprises. You can tell they really know who the characters are (and I mean, they know what they want their own interpretations of those characters to look like) and that shows in all the emotion and the dialogue. The pacing is perfect. Don't need to say anything about the art style because we all know it's very very good.
I like that Miles has to learn his own version of "with great power comes great responsibility," but in a different way from Peter. Like, with Peter, you get the sense that that lesson is being applied like "if you have the power to do something good, do it."
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But it's applied differently with Miles. Not "you have the power to help others, so take responsibility for that." Instead, it's, "you have the power to be something more than you are, so take responsibility for your potential."
Think about it. Uncle Ben dies because Peter didn't stop a bad guy. Something good he could’ve done, but didn’t do.
But Uncle Aaron (in this version, very intentionally) dies because of his own choice to save Miles after using his talents to be a force for evil (kind of showing Miles what “living up to our potential too late” looks like)—and then Miles, unlike Peter, gets to hear his Uncle's last words—which just so happen to be a specific encouragement for Miles to fulfill his potential.
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And of course, every other character in the movie is asking Miles if he can be what they expect him to be.
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It's not till he hears it from his dad, though, that he believes it. I think all that is great (though not nearly as impactful as Peter Parker, because Peter Parker's application of "responsibility" is more selfless. But both Spider-Men have to think less about their own comfort zones and personal success, and more about others.)
Also, real quick, Peter B. Parker learns the same facet of responsibility as Miles in this movie, too. I mean, they drop him into this story as a Peter Parker who’s already learned his own version of “take responsibility for the good you can do.” Now he needs to learn, as a guy who’s afraid to be a dad, how to take responsibility for his own potential.
I mean, there’s really no such thing as “ready,” in these big life decisions. You just do it, as best you can, and you get ready along the way. Heroics, fatherhood, you name it. Leaps of faith. Applicable to all.
Anyway. I said that was going to be real quick, it wasn't, but whatevs.
On to Across the Spider Verse:
I’ve seen this movie twice. And I think I’d need to see it again to really…get what it’s trying to say. There’s some parts about what I think the Main Point is that I like, and some parts I really don’t. There’s also some parts about the actual “art of storytelling” in it that I like, and some that…I think miss the mark, if I can be that bold.
The movie seems to be saying “be true to who you are.” I hate that message. Because human beings are flawed and every-changing, even though the connotations of the phrase “true to” imply something constant. You can’t be “true” to who you are if who you are is always changing. Even if you want to say “yeah, I’m always changing, so I’ll just be true to whoever I am in the moment,” well, what’s the point of that? Ultimately, your “self” is a terrible thing to point the compass of your life at.
But Miles and Gwen both have to decide that they don’t care what everybody around them tells them to be—AND they have to trust others with their identity. Choosing who they are, and then forcing everyone around them to accept it, (Miles telling his alt.universe mother his identity, declaring himself Spider-Man whether the spider was meant to bite him or not, Gwen remaining Spider-Woman regardless of what it forces her father to do, etc.) is treated like a good thing.
That’s not always great, when it’s contrasted with this idea of “the greater good” or “accepting the grand plan for the sake of the world.” The movie makes the “greater good” look like a bad thing.
…But the movie also equates the negative “greater good” with “let one person die because we can’t save everybody.” So it’s like…yeah. You have a point, Miles. If the “greater good” means you know someone is about to die and you just let it happen—instead of letting that person choose to be the sacrifice knowingly—that seems messed up, morally.
And I like parts of that, because I like the valuing of life, and I like the idea that being a control freak is a bad thing, because it’s prideful, etc. But who’s the control-freak? The kid who thinks he can do it all? Or the outer-dimensional watchdog who’s literally “holding all the strings together?”
And then there’s the cop-out of “Well, maybe none of these questions have answers because it’s only PART ONE!”
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Basically, I’ll stop here, and just admit; I haven’t got a handle on why I don’t wholeheartedly like the second movie, either. It’s just not as tight and well-crafted as the first one. Still incredible, don’t get me wrong. Just…something is off.
I’ll talk about other stuff, instead of the Main Point.
I think the pacing is weird. Too much time is given to characters like Pavitr Parker and Hobie (yes, Hobie, I don’t care, he gets too much screen time.) and even The Spot. As much as I love seeing Andrew Garfield, all the cameos take up too much time. The chase scene? Waaay. WAY. Too much time. But that’s the gimmick they leaned in to, so that’s that.
The first movie knew when to make shots that were super artsy few and far between so that they added to a climactic moment. In this movie, just about every shot is doing something new and flashy with the effects, the backgrounds, the stylized icons, all of the above. Only scenes like the ones where Miles and his mom are talking on the fire escape have that “Gorgeous But Normal” vibe. So you feel like you’re just being firehosed with cool artwork, instead of the artwork melting seamlessly into the story and then popping out to enhance impactful moments.
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Also, the facial expressions, particularly in the mouth-areas, are all not as impactful as they were in the first movie. The mouth movements aren’t dramatic enough to fit what the voice actors are doing in a lot of important scenes.
Finally, if I had to pick one big beef with the movie, it would be what they did with Peter B. Parker. I mean, just…relegating him to comic relief, entirely. No arc. No emotional depth. And his baby is just like…there. There’s nothing about him that acts like Spider-Man would.
Anyway, I’ll watch it again, I promise, and come back with more organized thoughts. (But that’s sort of the problem. A well-crafted, finely-tuned story usually doesn’t need this much analyzation to make it’s point—usually it’s clear. But there’s always the chance that it’s a me problem—an audience problem—so I’ll watch it again.)
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