#owen sullivan

[gebo4482]

 The Sea Beast by Bobby Rebholz / Mario Pata / Celine Dahyeu Kim / Owen Sullivan

‘The Sea Beast’ Animators Talk the Devils in the Details (awn.com)

[vld-news]

Interview Quote:

Which fight sequence was more difficult to bring to life: Keith vs Clone Shiro or the Paladins vs Lotor’s RoBeast?

Dos Santos: They were tough. I mean, that Keith/Shiro episode in general was a monster, just because we dealt with technical issues on the backend, from an episodic place.

Montgomery: Generally I tend to hand the “Most Difficult” ribbon to the things that have the most moving pieces, and that would be Lotor vs all of the Paladins, but Owen Sullivan is the storyboard artist who handled that Keith vs Shiro fight and he really hit it out of the park.

Dos Santos: What you see on screen is what was storyboarded first time out. We had one pass of notes, but the notes were like, “You did a great job, Owen! Keep going!”

Montgomery: Not to take away at all from he did, because it’s not an easy task, especially with something as large as that where there are so many different levels and keeping all that stuff straight and just the sheer destruction of the facility…

Dos Santos: And making sure it still felt personal. At the end of the day, you can have all the fight you want, but if you don’t care about the characters themselves the struggles they’re going through … he hit it on all cylinders.

That’s a hard question because we dealt with struggles from different ends, so I’d have to agree with Lauren: The more moving parts, the harder.

Is it fair to say there was some Akira inspiration for that fight?

Dos Santos: Yeah, I think there was that. I will say, in my heart of hearts, again going back to like, “Hey, let’s put a wolf in because wolves are awesome,” there was a big sort of Empire Strikes Back influence, when you think about Luke and Darth Vader fighting at the Bespin facility. All that stuff is in there. When you’re boarding, when you’re writing, all the way down the line, you’re a product of your influences. We put all that stuff in there.

Lauren and Joaquim discuss the difficult fight sequences in season six 

[iruka-2013]

Giant mech battle illustration by Owen Sullivan (from the Ancillary Art section of The Legend of Korra: The Art of the Animated Series, Book 4: Balance, p. 182).

[bryankonietzko]

It’s the most wonderful time of the year.

[bryankonietzko]

KORRA CREW PROFILE: OWEN SULLIVAN

Owen Sullivan joined the crew a while ago as a storyboard revisionist. He worked really hard, quickly adapted to our storyboarding style, and learned our production system so well that we promoted him to assistant director. You can see some of his great storyboard drawings from Book 2 Book 3 above, and you can see him in a fantastic Mako costume here and here. I asked him a few questions to give you guys some insight into one of the many talented people we are lucky to have working on Korra, and how he got here.

BK: What is your art education background, formal and/or informal? Are you currently taking any classes outside of work?   OS: I originally intended to be a civil engineer, which I went to school for.  I never went to any formal art school, but took a lot of classes around Los Angeles, mainly at the Animation Guild and at the Concept Design Academy. I am currently taking a class at CDA and one with the very talented April Connors, who teaches out of Glendale.   BK: How long have you been working in the animation industry? Did it take you a while to get your foot in the door?   OS: I’ve been working in the industry for about 3 years. After deciding engineering was not for me and moving to Los Angeles, it took about a year and a half of very concentrated work for me to find a job.   BK: Describe your position on Korra and what work it entails.   OS: As an Assistant director on Korra, I help implement the changes that the Director and Producers want. Additionally I help Director Mel prep the final storyboard to be sent over to Korea.  If there’s time I like to take a section of the script to board as well.   BK: What other productions have you worked on?   OS: Before coming to Nickelodeon, I worked at Warner Bros Animation, on Young Justice and a number of their direct-to-video movies. I’ve also done some freelance boards on Ben 10 and Ultimate Spiderman.   BK: What is the most common thing people on the outside of the animation industry don't know about your job?   OS: Probably that we do not actually animate the episodes here in the States. My friends outside of the industry usually just call me an animator.   BK: Do you have any interests or hobbies outside of animation? Do they feed back into your work in any way?   OS: I love to draw, I sketch constantly, all the time. I hope this helps my work... I watch a lot of films and play a lot of video games. I enjoy hiking, snowboarding, surfing, running, etc. It’s good to balance sitting at a desk with some outdoor activity. Also we’ve been playing a lot of ping pong here at Nick.   BK: Any advice you'd like to offer for aspiring artists?       OS: Get around other artists, draw as much as you can. Take some classes. A good teacher or talented friends can help you learn a lot faster than you will on your own. Try not to get discouraged and keep at it!

[harley--puddin]

FOUR

Atop the bed were two bodies in a mess of sheets. Their limbs were tangled and their lips were locked; there was a thin layer of sweat covering both of their bodies, and they were both panting. From the sheets emerged the head of Olivia Owens. Known by most as Liv, she was the blonde bombshell that was more often than not in this very position - wrapped up with a male. The male she was currently with then appeared from under the sheets as well, and his name was Owen Sullivan. Owen had known Liv when she was a kid, for they'd both grown up in the same small trailer park of Ashwick Grove. When he was twelve, however, when he and his mother moved away; but had now moved back after his mother's passing. It didn't take too long for the two to find each other after his return to town. They were soon in the same position that they were now in - tangled up in each other. And after a few ups and downs; a few touching moments; and more than a few times of losing themselves in each other; they had ended up in the same place. "Never gets old," Owen finally spoke up, a breathlessness in his voice showing that he'd really just exerted himself. "Never," Liv told him, that trademark, sexy grin on her lips as she traced one of the tattoos on his chest with the tip of her fingers, "So, when are you going to sing to me, big boy?" "I actually wrote you a song," he told her with a smile, "I don't have my guitar with me... But..." He reached up and combed a hand through her hair to brush it back from her face. "You push me, I don't have the strength to resist or control you. Take me down, take me down. You hurt me, but do I deserve this? You make me so nervous. Calm me down, calm me down. Wake you up in the middle of the night to say I will never walk away again. I'm never gonna leave this bed, oh. So come here, and never leave this place. Perfection of your face slows me down, slows me down. So fall down, I need you to trust me. Go easy, don't rush me; help me out, why don't you help me out? Wake you up in the middle of the night to say I will never walk away again. I'm never gonna leave this bed, oh. So you say "Go, it isn't working". And I say "No, it isn't perfect". So I stay instead, I'm never gonna leave this bed. Take it, take it all; Take all that I have. I'd give it all away just to get you back. And fake it, fake it all; Take what I can get. Knockin' so loud, can you hear me yet? Try to stay awake but you can't forget. Wake you up in the middle of the night to say I will never walk away again. I'm never gonna leave this bed, oh. So you say "Go, it isn't working". And I say "No, it isn't perfect". So I stay instead, I'm never gonna leave this bed. Take it, take it all; Take all that I have..."