A large musical number in the episode "The super Speedy cider Squeezy 6000" paid homage to the song " ya got Trouble " from Meredith Willson's musical, The music Man. 28 34 Before the show was approved, hasbro and faust had planned for episodes to be 11 minutes long, to which faust conformed in her first full-length script, "The ticket Master which was part of the pitch bible. However, faust preferred more traditional 22-minute episodes, and Hasbro eventually agreed to this. The initial production stages were very tight, requiring a schedule twice as fast as faust had previously experienced, and frequent remote communication between the los Angeles writing offices and the animation studio in Vancouver. At times, the two teams would hold "writer's summits" to propose new ideas for characters and situations, at which the animation team would provide suggestions on visuals, body language, and characterization. Faust estimates that the time to complete one episode was one year; at one point, the team was simultaneously working on various stages of all 26 episodes of the first season, and when the second season was approved, that number rose temporarily. Episodes then aired about a month after completion.
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8 The voice work is performed prior to the animation, with the animators in the room to help provide direction; according to libman, this allows herself and the other actors to play the character without certain limitations. Libman noted that for recording her lines as the hyperactive pinkie pie, "I learned that I can go as over the top as I want and they the animators rarely pull me back." 26 Daniel Ingram at everfree northwest 2012 The series' background music. The production team identifies specific parts of the episode where they want music cues, allowing Anderson to create appropriate music for each. 8 Ingram works alongside Anderson's compositions to create vocal songs that mesh with the background music while filling out the show's fantasy setting. 29 The composition of the music and songs far precedes the broadcast of the episode; for example, songs for the show's third season that began airing in november 2012 were composed in 2011. 29 Ingram considered that songs from previous shows of my little pony were "a little bit dated" and decided to bring more interesting work to the Friendship Is Magic series. 30 Such changes include making songs with more emotional depth than typical for children's animation, and tending to write songs that can be enjoyed musically outside of the context of the episode. 30 Ingram's songs have "became bigger and more epic, more Broadway and more cinematic over time" 28 believe with Hasbro blessing the effort to try "something groundbreaking for daytime television according to Ingram. 29 Lyrics and overall musical themes may be suggested by the writers; two examples include songs written by Amy keating Rogers, who is a self-professed Stephen Sondheim fan. 31 The song "The Art of the Dress" in the first-season episode "Suited for Success" is inspired by "Putting it Together" from the musical Sunday in the park with george, while the season one finale's song, "At The gala is based on Sondheim's Into the.
21 For example, the ponies' manes and tails are generally fixed shapes, animated by bending and stretching them in curves in three dimensions and giving them a sense of movement without the high cost of individual animated hairs. 12 The storyboard artists and animators also need to fill in background characters for otherwise scripted scenes as to populate the world. According to writer Meghan McCarthy, many of the small nods to the fandom, pop culture references, or other easter eggs would be added at this point by the studio. 22 Once the pre-production work was approved and completed, the episode would then be animated. Though Studio b estate performed the initial animation work, the final steps were passed to top Draw Animation in the Philippines, an animation studio that Studio b had worked with in the later part of season one and beyond. 23 24 The voice casting and production is handled by voicebox Productions, 25 with Terry Klassen as the series' voice director. Faust, Thiessen, and others participated in selecting voice actors, and Hasbro gave final approval.
8 Each episode also generally includes a moral or life lesson, but these were chosen to "cross a broad spectrum of personal experiences and margaret not just to suit children. 10 Because intellectual property issues had caused Hasbro to lose some of the rights on the original pony names, the show includes a mix of original characters from the toy line and business new characters developed for the show. 12 jayson Thiessen, supervising director (left and Shaun Scotellaro sethisto the founder of the fansite Equestria daily, at Bronycon 2011 Completed scripts were sent to Studio b for pre-production and animation using Macromedia flash Professional. Thiessen's production team was also allowed to select key personnel subject to hasbro's approval; one of those selected was art director Ridd Sorensen. The Studio b team would storyboard the provided scripts, incorporating any direction and sometimes managing to create scenes that the writers had believed impossible to show in animation. The animators would then prepare the key character poses, layout, background art, and other main elements, and send these versions back to the production team in Los Angeles for review by hasbro and suggestions from the writers. Thiessen credited much of the technical expertise in the show to wooton, who created Flash programs to optimize the placement and posing of the pony characters and other elements, simplifying and economizing on the amount of work needed from the other animators.
Larson, and dave polsky. The writing process began with faust and Renzetti coming up with broad plots for each show. The two would then hold a brainstorming session with each episode's writer, allowing the writer to script out scenes and dialogue. Faust and Renzetti then worked with the writer to finalize the scripts and assign some basic storyboard instructions. Hasbro was involved throughout this process and laid down some of the concepts to be incorporated into the show. Examples of Hasbro's influence include having Celestia be a princess rather than a queen, making one of the ponies focused on fashion, and portraying toy sets in relevant places within the story, such as Rarity's boutique. 8 13 In some cases, hasbro requested that the show include a setting, but allowed faust and her team to create its visual style, and Hasbro then based the toy set on it; an example is the ponyville schoolhouse. Faust also had to write to the E/i educational and informational standards that Hasbro required of the show, making the crafting of some of the situations she would have normally done on other animated shows more difficult; for example, faust cited having one character call.
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17 18 Hasbro approved the show with faust as Executive producer 19 and asked her to complete the pitch bible. In order to do so, faust brought in Martin Ansolabehere and paul Rudish, who had worked on other animated shows with her. Faust credits Rudish for the inspiration of the pegasus ponies controlling the weather in Equestria, as well as the character of Nightmare moon during this period. Faust also consulted Craig McCracken, her husband and also an animator and creator of The powerpuff Girls and Foster's Home for Imaginary Friends. After seeing the initial version of the pitch bible, hasbro requested more character designs from faust's team; subsequently, faust brought aboard dave dunnet and Lynne naylor to further refine the background and character styles. 8 On completion of the pitch bible, hasbro and faust began looking at studios for the animation.
Studio b productions (renamed to dhx media on September 8, 2010, after its parent company, along with dhx's other subsidiaries 20 ) had previously worked on Macromedia flash -based animations and on shows that featured a large number of animals, and faust felt they would. Studio b requested that jayson Thiessen be the director, a choice faust agreed with. She, thiessen, and James wootton led the completion of a two-minute short to pitch the final product to hasbro, resulting in the company's sanctioning the full production. Faust estimates that from being initially asked to develop the show until this point took roughly one year. 8 Production The show is developed at Hasbro Studios in Los Angeles, where most of the writing staff is located, and at dhx media vancouver in Vancouver, British Columbia, for the animation work. A sample storyboard from the episode "Call of the cutie containing pencil sketches of the main characters, rendered backgrounds to establish settings, and instructions for the Flash animators, such as the panning biography shot shown in the second panel faust's initial writing staff at Hasbro Studios. These included Amy keating Rogers, cindy morrow, meghan McCarthy, chris savino, charlotte fullerton,.
Licht considered that faust's style was well suited to that line, and asked her to consider "some ideas where to take a new version of the franchise". 8 12 faust was initially hired by hasbro to create a pitch bible for the show, allowing her to get additional help with conceptualization. 8 faust said she was "extremely skeptical" about taking the job at first because she had always found shows based on girls' toys to be boring and unrelatable. 13 my little pony was one of her favorite childhood toys, 12 but she was disappointed that her imagination at the time was nothing like the animated shows, in which the characters, according to faust, "just had endless tea parties, giggled over nothing and defeated. With the chance to work on my little pony, she hoped to prove that "cartoons for girls don't have to be a puddle of smooshy, cutesy-wootsy, goody-two-shoeness". 13 to do this, she incorporated into the design of the characters and the show many elements that contradicted idealized stereotypes of girls, such as diverse personalities, the message that friends can be different and can get into arguments but still be friends, and the.
13 Elements of the characters' personalities and the show's settings were based on her own childhood imagination of the ponies' adventures, in part inspired by the animated shows that her brothers would watch while growing up, such as Transformers and. Joe ; 14 she considered that she was making Friendship Is Magic "for me as an eight-year-old". 15 faust still aimed for the characters to be "relatable" characters, using stereotypical "icons of girliness" (such as the waif or the bookworm) in order to broaden the appeal of the characters for the young female audience. 16 faust stated that as she provided Hasbro with more of her ideas for the show, she was inspired by their positive response to the non-traditional elements. Faust had initially pitched the show to include "adventure stories" in a similar proportion to "relationship stories but recognizing the younger target audience, as well as the difficulty of basing complex plots on the adventure elements, she trimmed back this content, focusing more on exchanges. The show still incorporates episodic creatures intended to be frightening to children, such as dragons and hydras, but it places more emphasis on the friendships among the characters, displayed with a comedic tone. By the time the show was approved, faust had developed three full scripts for the series. 8 faust began to work out concept sketches, several of which appeared on her deviantArt page, including ponies from the original series (Twilight, Applejack, firefly, surprise, posey and Sparkler which later provided the core for the main cast of the show.
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5 6 It was followed by various direct-to-video releases, which featured later designs up to the third incarnation of the franchise. 7 Just as Michael bay 's film had helped to boost the new Transformers toy line, hasbro wanted to retool the my little pony franchise and update it to better suit the current demographic and taste of young girls. 8 According to margaret loesch, ceo of Hub Network, revisiting properties that had worked in the past was an important programming decision, influenced to an extent by the opinions of the network's programming executives, a number of whom were once fans of such shows. 9 Senior Vice President Linda Steiner also stated that they "intended to have the show for appeal to a larger demographic with the concept of "co-viewing" of parents with their children being a central theme of the hub Network's programming. 10 Central themes that Hasbro sought for the show included friendships and working together, factors they determined from market research in how girls played with their toys. 11 lauren faust, developer and initial showrunner of my little pony: Friendship Is Magic. Animator and writer lauren faust approached Hasbro, seeking to develop her girls' toys property "Galaxy girls" into an animated series. 12 faust, who had previously worked on Cartoon Network's The powerpuff Girls and Foster's Home for Imaginary Friends, had been pitching original animation aimed at girls for years, but had always been rejected by studios and networks because cartoons for girls were considered unsuccessful. 13 When she pitched to lisa licht of Hasbro Studios, licht showed faust one of their recent my little pony animated works, Princess Promenade, "completely on the fly".
culture, and have formed the basis for a variety of internet memes. As of March 2018, the show is in its eighth season. A spin-off feature film series, Equestria girls, started in 2013 and has been shown in limited theatrical screenings prior to television broadcast and home media release. A feature-length film adaptation directly based on the tv series, titled. My little pony: The movie, was theatrically released on October 6, 2017 in the United States. Contents, origin, hasbro, inc. Has produced several incarnations and lines of toys and entertainment related to the my little pony franchise, often labeled by collectors as "generations". 3 4, the animated series, my little pony tales which premiered in 1992 was the toy line's most recent television series before. Friendship Is Magic, featuring the pony designs of the first toy line.
Meghan McCarthy as showrunner. The show follows a studious anthropomorphic unicorn pony named Twilight Sparkle as her mentor Princess Celestia guides her to learn about friendship in the town of Ponyville. Twilight becomes close friends with five other ponies: Applejack, rarity, fluttershy, rainbow Dash, and Pinkie pie. Each of the ponies represent a different facet of friendship, and Twilight discovers herself to be a key part of the magical artifacts known as the "Elements of Harmony". The ponies travel on adventures and help others around. Equestria while database working out problems that arise in their own friendships. The series has become a major commercial success, becoming the most highly rated original production in the hub Network's broadcast history and leading to new merchandising opportunities for Hasbro, including books, clothing, collectible trading cards, and comics.
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This article is about the television series. For the other media in the franchise, see. My little pony (2010 toyline). My little pony: Friendship Is Magic is a children's animated fantasy television series created 2 by, lauren faust for, hasbro. The series is based. Hasbro 's, my little pony line of toys and animated works and is often referred by collectors as the fourth generation G4 of the franchise. The series premiered on October 10, 2010, on The hub cable channel. Hasbro selected animator lauren faust as the creative director thesis and executive producer for the show. Faust sought to challenge the established nature of the existing my little pony line, creating more in-depth characters and adventurous settings; she left the series during season 2, to be replaced.