Tag Archives: Disney Channel

Ana Lossada inspires children to live healthy lives with work at Disney

Despite having an interest in the arts from an early age, Ana Lossada never really thought she would have a future in the field. As a child, she enjoyed drawing and painting as most children do, but she also enjoyed sports, dance, and playing with friends. Creativity was an instinct for her, she was never conscious of it. As she began to grow, her other interests slowly started fading away, but art was her constant. She started to realize that she could pursue a career in the arts and do what she loved every day. It was this realization that changed her life, and now, as an internationally sought-after motion graphics designer, she has never looked back.

“As a kid, I never really saw it as a ‘this is what I want to do when I grow up’ type of thing. Doing creative things simply came to me very easily and effortless an. Besides being the artsy kid in school, I have always loved watching cartoons and also movies filled with action, sci-fi and a whole lot of visual effects. These tendencies worked out, as my art interests led me to pursue a career in the digital media world,” said Lossada.

Throughout her esteemed career, Lossada has worked with some of the world’s most well-known production companies and television shows. She recently collaborated with Disney to create the opening theme for the new show Raven’s Home, a spin-off of their older classic That’s So Raven. Premiering earlier this summer, the opening garnered a lot of media attention, and Lossada’s work is a large part of that. A similar experience occurred with Lossada’s work on the opening of Netflix’s hit show Atypical, where Lossada perfectly captured the autistic main character’s tendencies and feelings in her work. All that work alongside the designer are impressed with what she can do.

“Throughout my career I have worked with many talented designers and no one comes across like Ana has. Not only does she have amazing technical skills when it comes to handling computer software, she has a natural ability as an artist and illustrator. She is incredibly dedicated and gives her best in every single project. Her hard work will lead her to an incredible career,” said KA Batcha, who worked with Lossada on The Walking Dead: The Journey So Far, a thrilling recap of the first six seasons of AMC’s iconic series The Walking Dead.

Despite such success, one of the highlights of Lossada’s career is her work with Disney Jr. on their “Be Inspired” spot. The concept of the project was to encourage children to live healthy active lifestyles with promotional videos showing easy exercises that kids can follow along with, designed in the setting of the Disney classic The Lion King. The project was an immense success, and at only 23, Lossada showed one of the largest and most renowned production companies in the world, Disney, that she was extraordinarily talented.

After the success of Be Inspired with the Lion Guard, Disney wanted to team up with Lossada once again, this time with the spot Be Your Best with Miles, featuring the character Miles from Miles from Tomorrowland, a popular children’s show for the network. This segment is a 2-minute spot in which cartoon Miles and “real” Miles are compared side to side, teaching us how to live a healthy lifestyle by following a healthy diet and exercising frequently.

“The way children eat from a very young age impacts their growth and health throughout their childhood, and for the rest of their lives. A healthy diet and good nutrition are critical in preventing some of the issues and illnesses that are caused by bad nutrition, such as nutrient deficiencies, poor bone health, increased risk of injuries, poor academic performance and increased risk of eating disorders. Teaching children how important a healthy nutrition is and also the importance of a vigorous fitness routine throughout their childhood years will lay a base for a healthier and fulfilling life,” said Lossada.

The music video with exercises are currently being aired on Disney Junior worldwide. Each exercise video has over 60,000 views on YouTube alone, and the music video “Teke Ruka Teleza” has over 250,000. Such success could not have been possible without Lossada’s contributions.

Working with her team at Big Machine, Lossada helped design and animate the main title for the spot. Additionally, she needed to create modern and stylized split-screen graphics for the spot and also a UI/UX interface graphic that explained what audiences were seeing on screen. She did all this using her own unique style, as she is known for her distinctive artistry. Her artwork speaks strongly to people, and with Be Your Best with Miles, it has resonated with children around the globe.

While creating the video spots, all of Lossada’s skills were put to use, from designing to illustrating and even animating. Not only was she leading the team, but she was also working on the live action set as well, ensuring her graphics would perfectly transition with the live footage.

To generate ideas and inspiration for the project, Lossada watched an episode of Miles from Tomorrowland. Upon doing so, she noticed there were many simple shape designs in the show, primarily hexagons. This is therefore the primary element seen throughout the whole Lossada’s work on Be Your Best with Miles. She used it for overlay shots, for example the scene where Miles analyzes a breakfast kitchen, for transitional designs between live-action Miles and character Miles, and lastly for the split screens where they are seen together. Such attention to detail is what makes Lossada one of the best, and while working on Be Your Best with Miles, her co-workers were able to see all of talents really shine. Not only does she have the technical skills when it comes to mastering any software, but she also possesses the innate natural ability to design and illustrate.

“Working on Be Your Best with Miles was very fun. Mainly, because we had to find activities and exercises performed by the live-action Miles and compared it to the 3D character Miles,” said Lossada.

No matter what she takes on, Lossada puts everything she has into her work. This is not for the accolades or awards, but for a passion for what she does. She is a perfectionist in the best way. When people enjoy what she has produced, she knows she is doing what she was meant to do.

“I take a great deal of pride in my work and do everything I can to ensure every aspect of each project I touch is perfect, so it truly means a lot when people acknowledge the quality of my projects.  Seeing the look of astonishment on their faces as they wonder how exactly I animated and designed these various projects makes all of the hard work worthwhile. I have always believed that the entertainment industry, particularly the creative side of the business, can convey powerful emotions and messages. It is my goal to use my knowledge and skillset to bring these feelings and experiences to the general public and leave an everlasting mark on the industry,” said Lossada.

She is already well on her way. Watch Lossada’s tremendous work in Be Your Best with Miles here.

Advertisements

Q & A with Leading Film Editor Sunghwan Moon

IMG_5092
Korean Film Editor Sunghwan Moon

Today Korean-born film editor Sunghwan Moon is living out his childhood dream of working on large-scale narrative film productions, but, as is the way with turning most worthwhile dreams into reality, his rise to the top didn’t come without a lot of hard work and effort on his part.

After spending several years as a lead editor for movie and TV series trailers including the ones for the film Kong-Zi, the series Iris and the promos for the film 71- Into The Fire and those for the Disney and Disney Jr. channels in Korea, Moon moved to Los Angeles to attend American Film Institute, a prestigious conservatory program that only accepts a maximum of 14 film editors from around the world every year. A major stepping-stone in his career, Moon received his master’s in film editing from AFI, which allowed his to make further connections in the American film industry while making his mark as a leading editor for films.

Prior to working as the editor of the films And The Wind Falls, Tracks, Head Trauma, Together Alone, The Lost Generation and many others, Moon was already well-versed in editing hours of footage into seamless stories for the screen. Earlier on in his career he established himself as a leading international music video editor through his work on the videos for Loveholics’ song “A Good Tain Knows,” Winterplay’s “Cha-Cha,” Shin Seung-hun’s “Love of Iris,” Baek Ji-young’s “Don’t Forget Me,” and K-pop artist Standing Egg’s songs “Kiss Me,” “MAM-E-GEOL-LYEO,” and “NA-O-NEUL-TTA-RA.”

The unfortunate truth is that many people sit around and wait for their dreams to happen to them, believing that their fated break into what ever industry they wish will just come if they are patient– Moon’s story is the exact opposite. Instead, his is one of perseverance and tenacity. After years of slowly working his way to the top and never losing sight of his end goal, all of his dedication paid off. To find out more about how Sunghwan Moon got to where he is today make sure to check out our interview below!                                                                                                         

Where are you from? 

SM: I spent my childhood moving around until third grade due to my father’s job. We lived in a mid sized town called Gwangju, Korea until I was in high school, and then I moved to Seoul for university. After serving three years in the Air Force, I moved to Oakland, CA, before moving back to Seoul where I worked for a while and got married. Now I’m living in the US again.

How and when did you first get into working as an editor?

SM: I’ve always liked filmmaking so I dropped out of the university where I was majoring in Law in Korea and entered a small arts college in Oakland/S.F. in California as filmmaking major. At first, I wanted to be a director, but soon I found out that I enjoyed editing more than any other fields in filmmaking. I kept working that path, and got my first job at a small company that was creating video pieces for mobile services such as Verizon. After that, I ended up working mostly on trailers, promos, and music videos. After doing that for about eight years, I was accepted to AFI and now I work mostly on narrative movies.

What inspired you to pursue this profession?

SM: I always liked watching movies as a child. I would skip school, which I’m not so proud, and go to a theater and watch the same movie again and again. I always wanted to do something related to film. I first wanted to be a film critic, but while attending college, I found that editing was the most fun thing to do. You shape the performance, the rhythm, the emotion– the movie is really created in a cutting room.

How important is formal education to getting a job in the industry?

SM: It’s important in a sense because it can help you make connections. People say how good you are is the most important, but it’s also important whom you know.

Can you describe some of the projects you’ve worked on and some of the challenges you’ve faced?

SM: I was the sole editor on the trailers for Iris, the No.1 hit TV series in Korea in 2009, which consisted of 20 episodes, and I cut the trailers for each episode. The schedule here in the US can be crazy, but in Korea it is very common to shoot an episode in the morning and then air it that same night. I would get the script they were out shooting, and do a paper cut – meaning I would select the lines and shots based on the script, then select the music, then do the basic editing on paper. Once they finished shooting, I’d request the footage and quickly grab what I had pre-selected. Then if I felt I needed something else, I would look into other parts of the footage. This might not be an ideal method, but given such a short time to cut, it worked well for me.

Disney launched the Disney and Disney Jr. channels in Korea in July 2011 and I joined the team in January as the leader of the editing team, as well as a lead editor for the On-Air-Promotions team. We created all the promos/previews for these two channels. As a team leader, I also had to supervise other editors on their work and I really enjoyed working with the other team members. In many cases, creating the promos involved a meeting with the producers and editors since sometimes what the producers imagined in their heads wasn’t possible. We had to create many promos every week with a fairly tight schedule, but everyone collaborated well and it always went well.

I was the editor on the 8 series scripted show Fall Into Me for Lifetime. The story of the series I worked on was pretty classical – a normal girl meets a billionaire who she used to know in high school, but they wanted to give a bit of an ‘indie movie’ feel to it. We had to try to balance between a romantic comedy and an indie movie. I’ve known the director since AFI, so it was easy for both of us to communicate. Although we had never worked together before, we still shared the same education, which provided us with the same basic foundation and let us speak the same language. From a creative point of view, most challenges come from a lack of communication with the director; but that wasn’t the case this time. The director knew what she wanted and she understood what could be done and what she had to let go of.

I also edited the film And The Wind Falls, which was a bit of challenge since the story wasn’t typical. It was written in a way so that the story would unfold with subtlety. Things happen to the main character, but so many things are only implied that you will miss them if you’re not engaged completely. I’ve worked with the director before this – we worked on two music videos and then a web series pilot together after this project. We worked hard and I’m glad that our hard work got some recognitions from others including getting a Special Mention at Singapore Short Film Awards.

The director’s vision here was very clear for the film Tracks. He and the DP shot the film in a way so that the camera looks at the main character all the time like a documentary. Our reference movie was Fish Tank, directed by Andrea Arnold. During pre-production, I was very curious about how the director and the editor on Fish Tank worked together. So, I managed to find the editor’s contact info, I emailed him and we ended up having a conversation. We met a little later when he came to the U.S. to edit Still Alice (starring Julianne Moore), and became friends. He told me the story of how he approached Fish Tank, and it helped me a lot. The actor did a great job so I didn’t have to worry about making cuts to the performance, which helped me immensely. As I said, it was shot in a way that the camera never rests, and it keeps following the main character. I tried to respect how it was shot and edit accordingly. And this film got into many festivals around the world including this year’s AFI FEST.

What tools do you use to edit? Avid? Final Cut? Etc. And what are the primary differences?

SM: My main tool is Avid, but I also use other software such as Final Cut Pro and Premiere. The only difference is the speed just because I’m more used to Avid than others. There are certain things that one is better at accomplishing than the others; and I feel Avid is better for cutting narrative films than other programs are.

What is it that you love about working as an editor?

SM: I respect what everyone does in the process of making a film. However, I feel it’s in the cutting room that the film is finally created in its final form. I love the feeling of being able to shape the rhythm, the performance, and finally create the story and the emotion through the film.

Also, if you are lucky and get to work with a good director, you’ll learn a lot while working with them. In a small editing suite, you talk to a director a lot. And you get to learn a lot. I think I’ve been lucky in that sense. So, in a sense, a cutting room is a working place as well as a learning place to me.

What separates you from the rest of the pool of editors in Hollywood? What is your specialty in the field?

SM: I have a background as an editor on trailers/music videos for eight years. I believe it has given me a better rhythmic sense. Also, I have a different cultural background as well, and I am sure it provides a unique point of view on a story.

Can you tell me a little bit about your editing process? Once you get the footage, where do you start?

SM: Once I get the footage, I try to understand what a director wants to achieve in each take and scene. If a director does multiple takes, I try to understand why. Once I get the footage, I don’t rely on the script as much. Yes, I’ll go back to a script to make sure I haven’t missed any small things that are intended for the story; however, I try to see what is actually captured in camera. In general, I believe how the footage is shot tells you how to edit. The footage tells you how to cut.

What is the collaboration process like in terms of working with the other departments on a project?

SM: There is a very popular comment from Jeong-min Hwang, the most famous actor in Korea. He once said something like, “All the other people prepared such a great meal. I did nothing. I just added my fork and knife, and enjoyed the meal. It was all possible because of them who prepared the meal.” I feel pretty much the same. So, I try to maintain solid communication with everyone so that there’s no room for misunderstandings.

Up to how long can it take to complete the editing on a project?

SM: It all depends on a project.

I’ve heard people say an editor can be sitting at their computer for up to 14 hours a day working on something—is this accurate? If so how do you stay focused?

SM: Yes, that’s possible. When I worked for a trailer company, I used to have to work even longer than 24 hours straight many times. I do not have any special way to focus. Since I do what I like to do, I don’t have to struggle to focus. I think all editors like their jobs. But I have to say it’s not healthy and it’s less productive to work for too long without taking a break. You get to be more creative when you take a break.

What projects do you have coming up?

SM: I’m currently working as the assistant editor on the feature film In Dubious Battle, directed by James Franco.

Do you have a passion for working on a specific kind of film or project, if so what kind of project and why?

SM: Although I’m leaning towards feature films, I wouldn’t mind doing a TV series as long as it has a good story. A good story is probably the only thing that matters.