The Good Dinosaur - crew, film crew
The entire team, the film crew of the film "The Good Dinosaur"
The Good Dinosaur (2015)
Timing:
1:33 (93 min)
6.736/10
5936
5936
7.131/10
97444
97444
6.7/10
139000
139000
Film crew
Director
Producer
Denise Ream
Producer
Executive Producer
Editor
Stephen Schaffer
Editor
Art Direction
Bryn Imagire
Art Direction
Matt Nolte
Art Direction
Noah Klocek
Art Direction
Huy K. Nguyen
Art Direction
Production Design
Original Music Composer
Associate Producer
Mary Alice Drumm
Associate Producer
Orchestrator
Nicholas Dodd
Orchestrator
Director of Photography
Sharon Calahan
Director of Photography
Mahyar Abousaeedi
Director of Photography
Sound Effects Editor
Supervising Sound Editor
Shannon Mills
Supervising Sound Editor
Script Supervisor
Crosby Clyse
Script Supervisor
Animation
Steven Clay Hunter
Animation
Thanks
Michael Fong
Thanks
Stereoscopic Supervisor
Bob Whitehill
Stereoscopic Supervisor
Production Manager
Ann Brilz
Production Manager
Screenplay
Meg LeFauve
Screenplay
First Assistant Editor
C.J. Hsu
First Assistant Editor
Sound Designer
Craig Berkey
Sound Designer
Assistant Editor
Thomas Gonzales
Assistant Editor
Christopher Zuber
Assistant Editor
Katie Schaefer
Assistant Editor
Foley Editor
Nia Hansen
Foley Editor
Story
Kelsey Mann
Story
Erik Benson
Story
Meg LeFauve
Story
Music Supervisor
Tom MacDougall
Music Supervisor
Foley Supervisor
Nia Hansen
Foley Supervisor
Music Editor
Erich Stratmann
Music Editor
Conductor
Nicholas Dodd
Conductor
Post Production Supervisor
Paul Cichocki
Post Production Supervisor
Cynthia Slavens
Post Production Supervisor
Casting Director
Kevin Reher
Casting Director
Natalie Lyon
Casting Director
Visual Effects
Matthew Webb
Visual Effects
Effects Supervisor
Jon Reisch
Effects Supervisor
Lighting Supervisor
Tim Best
Lighting Supervisor
Jonathan Pytko
Lighting Supervisor
Production Office Assistant
Tim Power
Production Office Assistant
Laura Finell
Production Office Assistant
Assistant Sound Editor
Kenny Pickett
Assistant Sound Editor
Animation Manager
Shannon Ryan
Animation Manager
Set Supervisor
David Munier
Set Supervisor
Executive Music Producer
Chris Montan
Executive Music Producer
Compositing Lead
Esdras Varagnolo
Compositing Lead
Supervising Animator
Michael Venturini
Supervising Animator
Layout
Colin Bohrer
Layout
Arjun Rihan
Layout
Story Supervisor
Kelsey Mann
Story Supervisor
Art Department Manager
Megan Bartel
Art Department Manager
Story Manager
Sally Garbarini
Story Manager
Lighting Manager
Sarah Jo Helton
Lighting Manager
Jesus Martinez
Lighting Manager
Second Film Editor
Anthony J. Greenberg
Second Film Editor
Editorial Manager
Gillian Libbert
Editorial Manager
Cathleen Carmean
Editorial Manager
Additional Storyboarding
James S. Baker
Additional Storyboarding
Additional Editorial Assistant
What's left behind the scenes
- While working on the tyrannosaur family, the artists drew inspiration from a farming family from the northwestern Pacific coast of the United States. The filmmakers stumbled upon this family's home during a research trip and were captivated by their appearance and outlook on life.
- To make the film's setting look realistic, the team of artists and technicians at Pixar thoroughly studied the American Wild West, from the town of Junction City, Oregon, to Jackson Hole Valley, Wyoming. It was in that area, according to the screenwriters, that Arlo got lost.
- To immerse themselves in the pristine wilderness, a research horseback expedition was organized in Wyoming. The filmmakers’ route ran along the Teton Range and the Snake River. The expedition reached southern Montana, experiencing challenging climatic conditions. To transfer all the beauty seen during the expedition onto the screen, the filmmakers turned to Pixar’s technical specialists, as they needed to process a huge amount of information. Data on Wyoming was found online. The American Geological Survey helped the filmmakers with the other territories, providing comprehensive landscape data for all the United States. Most of the information was presented as aerial photographs. Information about the altitudes of the terrain became the starting point for subsequent research and the development of a computer landscape generation system.
- Satellite photographs were used to create the terrain. A special plugin was written for the program that indicated that any green spot on the map was trees and other vegetation. By the same analogy, other types of terrain were mapped: brown – earth and dirt, blue – a body of water or river.
- During a research expedition in Wyoming, filmmakers decided to raft down the Snake River. The journey was filmed with a GoPro camera. At one point, the camera mount loosened, and it fell into the river. Fortunately, an experienced guide who knew the river was able to calculate where the current would carry the valuable equipment. The camera was found and continued to operate. The film crew obtained invaluable footage capturing the entire swim from start to finish, including underwater shots.
- While preparing to film, artists and technicians from Disney/Pixar created an entire library of various rain and cloud effects that could be modified and combined to produce original combinations. Usually, clouds are drawn in two dimensions, but in this film, for the first time in animation history, they were made entirely volumetric. They are mobile and can be lit from any angle, creating a very realistic cloudscape.
- When working on the appearance and behavior of Butch (a massive Tyrannosaurus Rex that Arlo meets on his way home), filmmakers drew inspiration from actors who convincingly embodied the image of classic cowboys, such as Clint Eastwood and Jack Palance.
Did you like the film?
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