![]() “We knew we wanted it to be 2D, because our first two projects were 3D, but we wanted to push the envelope,” says Gallagher. It was a goal not only ambitious for student animators, but industry veterans as well. But the SCAD Animation Studios’ fourth film, The Pope’s Dog, posed the biggest challenge yet: creating a 3D look on top of 2D animation using custom-designed software for lighting and shading. Of course, these are hurdles many large studios have already conquered. Each of our projects has had a technical challenge.” Let's figure it out.’ The second film, Hex Limit, had crowds of 60 or 80 goblins, with three hero characters instead of one. And, on top of that, I'm like, ‘We're going to use Katana for rendering.’ And they're like, ‘We don't even have that installed yet.’ And I'm like, ‘Great. “With our first short Bearly, the students decided to do a quadruped animation that's singing. “I tend to want to elevate what we do on a project right out of the gate,” notes Gallagher, a former Walt Disney Studios and Sony Pictures animator known for his work on Surf’s Up and Zootopia. Whether it’s a singing CG bear, a steam-punk broom race in a neon city, or a demon-possessed dog rampaging through the Vatican, all SCAD Animation Studios projects have one thing in common… they attempt to “achieve the unachievable,” in the words of Chris Gallagher, Chair of Animation at Savannah College of Art and Design and founder of SCAD Animation Studios.
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