Ronnie del Carmen explained \"Dug was created very early in the development of the movie idea, even earlier than Russell\", but little was known about his character on top of his supporting role, such as how or why he spoke. It was kept this way in Up because the writers wanted to keep the focus on Carl. After further developing Dug, it was decided that stories could be told about him beyond the film due to his lovable personality. The purpose of Dug's Special Mission was to tell Dug's story, as he \"arrives in Up talking about being on a special mission, and we never talked about it again in the movie\", which made Carmen inquisitive. He worked with Pete Docter and Bob Peterson on the film, and noted \"their involvement was crucial since the three of us were always part of telling the larger story of the movie\", and so they had similar sensibilities toward the Up universe. While Docter offered suggestions on the direction the short could go, Peterson provided insight into how Dug should be animated through his \"funny nuances\" because, Carmen explains, \"as animators we gravitate to communicating visually and through behavior\". Peterson was the person who created, voiced, and wrote most of Dug, and during the recording he improvised and experimented, with many of these humorous takes ending up in the final film. Carmen noted \"there were many lines and quips that Bob Peterson did during recording that I could have used but had to leave out.\" An extra reference for the animation was Carmen's own German Shepherd when he was growing up. Added inspiration for the Dug scenes came from various Pixar crew members, including John Lasseter.
The arcade room consists of 7 video games, a 9' shuffleboard table, XBox 360, HD 720p movie projector with 8' screen and DirecTv HD receiver. The XBox can also receive over 600 of the latest movies that I update monthly. Enjoy.
Each film magazine would typically yield 160 color and 200 black and white pictures on special film. Kodak was asked by NASA to develop thin new films with special emulsions. On Apollo 8, three magazines were loaded with 70 mm wide, perforated Kodak Panatomic-X fine-grained, 80 ASA, b/w film, two with Kodak Ektachrome SO-168, one with Kodak Ektachrome SO-121, and one with super light-sensitive Kodak 2485, 16,000 ASA film. There were 1100 color, black and white, and filtered photographs returned from the Apollo 8 mission. 153554b96e