DOCSLIB.ORG

Tipsandtricks Volume2.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tipsandtricks Volume2.Pdf Animation Tips & Tricks VOLUME II - 2009 EDITION BY: AnimationMentor.com Founders and Mentors AnimationMentor.com Cofounders SHAWN KELLY CARLOS BAENA with features by AnimationMentor.com Mentors KEITH SINTAY AARON GILMAN and special guest WAYNE GILBERT FOREWORD What’s your favorite hobby? Your favorite past-time? What’s your favorite thing to sit around with your friends and talk about? For me, it’s animation. I love doing it, I love seeing it, I love learning more about it, and I love talking about it. Seeing something brought to life is always a magical experience for me, regardless of whether or not I happened to be involved in the process. So, the idea that someone out there might be interested in my thoughts on this stuff is absolutely surreal, because I’m just doing what I love, and talking about my favorite subject, and against all odds, you keep coming back for more! No matter how much time I spend (waste?) talking about fried chicken, Bacardi Anejo, or whatever other random thing pops into my mind, you still haven’t abandoned me, and for that I owe you a great big thank you!! This year was such a fun year for Animation Mentor’s newsletter and our Tips & Tricks blog and Carlos Baena’s blog. All of the content in this book originated in one of those spots, and the most exciting difference in this book over last year’s book is that we have a bunch of amazing guest writers! Our awesome contributors include Aaron Gilman, Keith Sintay, Wayne Gilbert, and Carlos Baena. Aaron and Keith are animators and Animation Mentor mentors extraordinaire. Wayne is my mentor and the reason why I am an animator at ILM. And Carlos and is not only one of the most talented animators I know, but cofounder of Animation Mentor and one of my closest friends. So fun to get to collaborate with these guys! It’s been such a cool experience for me (and you, I’m sure!) to get to hear the thoughts and tips of such an impressive cast of animators who have been contributing throughout the year. It’s been really humbling and fun to be a part of such a knowledgeable group, and all of us at Animation Mentor are so thankful to these animators who have been so generous in sharing their golden nuggets of animation wisdom with us! The other big change between this year’s book and last year’s book is that the blog really created more of a dialogue, and allowed us to more directly answer reader-submitted questions and thoughts. For me, this elevated the whole idea to a new level, and I just wanted to give a quick thank you to all the people out there who have been writing comments on the blog and sending in their questions to the newsletter! You guys rock!! This ebook literally wouldn’t exist without you guys. And last but not least, I just want to give a big thank you to the greatest school staff the planet has ever seen, and especially Eunice Park and Michael Dauz for keeping the blog and newsletter not only up and running, but better every day! So, what follows is our second official collection of animation articles written by a bunch of people who are probably a little too passionate about this stuff for our own good. Hope you have as much fun reading it as we had writing it! Be sure to swing by the blog and say hello! Shawn :) AUTHOR BIOS SHAWN KELLY Cofounder of AnimationMentor.com Animator at Industrial Light & Magic http://www.animationtipsandtricks.com Shawn Kelly realized his dream to animate films with the help of three mentors who took a personal interest in his career. Convinced that animation lovers everywhere should have the same opportunity, he cofounded AnimationMentor.com, an online animation school with student/mentor relationships at its core. Kelly works with Bobby Beck, AnimationMentor.com’s CEO and President, and cofounder Carlos Baena to help define and shape the school’s overall direction. Kelly balances his Animation Mentor role with his work as a senior animator at Industrial Light & Magic (ILM) in San Rafael, Calif. Born in Santa Rosa, Calif., and raised in Petaluma, Kelly set his sights on working at ILM at age five when the movieStar Wars hit the big screen. Under the tutelage of animators Bill Hennes and John Root, he studied drawing and computer software throughout high school, attended community college, and Academy of Art University in San Francisco. A summer internship at ILM introduced Kelly to another influential mentor, animation director Wayne Gilbert. It was through Gilbert that Kelly realized that he wasn’t learning what he needed at school. Kelly left the academy in 1996 for a job as a character animator at former video game and educational company Presage Software, but continued his studies with Gilbert twice a week. In 1998, Kelly fulfilled his lifelong dream and landed a job at ILM. Since that time, he has worked on numerous films including Day After Tomorrow, where he was on the team that animated the wolves; War of the Worlds, for which he animated tripods and probes; and Star Wars: Episode III – Revenge of the Sith, where he helped develop and animate the vulture droids and animated Yoda in a pivotal sword fight. Kelly worked as a Lead Animator on Transformers, and his additional credits include The Incredible Hulk, Star Wars: Episode 2 – Attack of the Clones, and AI: Artificial Intelligence. He just completed work on Indiana Jones 4, and is currently a Lead Animator on Transformers 2: Revenge of the Fallen. Kelly received the 2007 award for the ‘Best Single Visual Effect of the Year’ by the Visual Effects Society (VES), an organization dedicated to advancing the arts, sciences and the application of visual effects. Kelly’s winning effect was for the desert highway sequence of Transformers, in which Bonecrusher skates through traffic, destroys a bus, and fights Optimus Prime. Kelly has developed curriculum and taught at the Academy of Art University and was on the team that earned the 2000 CLIO award for Best Computer Animation for a Pepsi/Star Wars Alien campaign. Kelly currently lives in San Anselmo, Calif., where he reads a lot -- especially comics – and writes short films. CARLOS BAENA Cofounder of AnimationMentor.com Animator at Pixar Animation Studios http://www.carlosbaena.com Carlos Baena knew he wanted to be an animator after watching two films:Toy Story and The Nightmare Before Christmas. He was moved by the storytelling, the characters, and the animation. After Baena began studying animation, he experienced a deeper level of storytelling that he wanted to share with others. As a cofounder of the online school AnimationMentor.com, Baena is helping to bring animation education to students around the world, inspiring them to make films. Baena works with fellow cofounders, Bobby Beck, AnimationMentor.com’s CEO and President, and Shawn Kelly to define and shape the school’s overall direction. Baena balances his cofounder responsibilities with his full-time animator job at Pixar Animation Studios in Emeryville, Calif. Born on the Canary Islands and raised in Madrid, Baena came to the United States to attend the University of San Francisco and the Academy of Art University. Upon graduation in June 1998, he landed a job animating commercials at Will Vinton Studios in Portland, Oregon. Four months later, he returned to San Francisco to work on spots and short films at Click 3X and WildBrain, Inc. Baena continued to hone his craft, doing character animation tests and wearing out his VCR’s slowmo toggle. The imagery he created helped him secure a position at Industrial Light & Magic (ILM) in March 2001. At ILM, Baena worked as an animator on Jurassic Park 3, Men in Black 2, and Star Wars: Episode 2-Attack of the Clones. Captivated by fantasy and comedy, Baena left ILM for Pixar in 2002 where he has worked on the filmsFinding Nemo, The Incredibles, Cars, and Ratatouille, the short filmBoundin’ , and Andrew Stanton’s WALL-E. In Cars, Baena animated several scenes with the two Italian cars Guido and Luigi (two of the characters that were the most fun for him to animate) and received a 2007 Annie Award nomination for Best Character Animation for his work. Baena’s current projects at Pixar include Toy Story 3, which is scheduled for release in 2010. Baena currently lives in San Francisco, Calif., where he spends his leisure time studying and making short films, composing music, skateboarding, and perfecting his animation craft. WAYNE GILBERT Animation Director Writer http://www.anamie.com Wayne Gilbert graduated from Sheridan College in the mid-1970s. He started work at a small studio on a television special titled Witch’s Night Out, then on to Nelvana where he animated and/or illustrated backgrounds on five more TV specials, a pile of commercials and was the background department head on the feature film Rock and Rule. After leaving the studio life to freelance he taught and coordinated the Classical Animation Program at Sheridan College. While teaching he made two short films – Bottoms Up and Traffic Jam, which screened at Annecy Animation Festival in France. In1996 he was recruited to help set up the Walt Disney Canada studio in Toronto then headed to Industrial Light & Magic (ILM) where he worked for seven years and transitioned to CG animation and completed two more short films – CPU and the award winning Let GO. Gilbert returned to Canada in 2005 to work as senior animation director at Electronic Arts Black Box on the award-winning new IP ‘Skate.’ While at ILM, Disney and EA his responsibilities included designing and delivering professional development classes for animators.
Load more

Recommended publications
  • Meet World-Class 3D Animation Professionals at Cyberport
    For immediate release Meet World-class 3D Animation Professionals at Cyberport Animation Camp 2011 Behind-the-scene heros from Pixar, Lucasfilm and Rising Sun to share their tips on making stunning 3D animation and scenes Hong Kong, 5 December 2011 - Cyberport Animation Camp 2011, Hong Kong’s leading seminar on digital entertainment development organized by Hong Kong Cyberport IncuTrain Centre, will be held on 12 December 2011 at Hong Kong Cyberport. FREE registration is now available at http://ac.cyberport.hk. Seats are limited, act NOW! Cyberport Animation Camp 2011 provides the opportunities for local animators and industry professionals to learn from the global leading 3D animation studios including Lucasfilm Singapore, Pixar Animation Studios and Rising Sun Pictures, who have involved in the production of blockbusters such as Cars 2, Toys Story 3, Pirates of the Caribbean: On Stranger Tides, Star War series, Harry Porter series and The Lord of the Rings: The Return of the King. Leaders from the 3D animation world include Mr. Ken Huff, Technical Trainer at Lucasfilm Singapore; Ms Wen-Chin Hsu, Lighting Technical Director at Pixar Animation Studios; and Mr. Ian Cope, Visual Effects & Stereoscopic Producer at Rising Sun Pictures, will be sharing with the audience an engaging talk covering topics on the latest 3D animation and visual effect, the latest stereoscopic 3D animation trend, as well as rewarding experience of working in an overseas animation studio from an Asian’s perspective. “We're thrilled to have these top-notch speakers coming to Cyberport Animation Camp 2011,” said Dr. David Chung, Chief Technology Officer of Hong Kong Cyberport Management Company Limited.
    [Show full text]
  • Jobs and Education
    Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation.
    [Show full text]
  • Top Questions About Character Animation
    Top Questions About Character Animation What are some of the exciting aspects of character animation, and how is it different than other computer animation forms? The phrase computer animation is often used as a catch-all for many computer generated effects including spinning logos, Flash programming on the Web or special effects in movies. These are not character animation. Character animation is the process of giving life to a character, whether it is a dog that can talk, a drawn person or an animated object. Character animation creates personality. How long does it take one person to create one minute of animation? This is difficult to pinpoint, but it can take one animator about 16 – 20 weeks of full-time work to produce 60 seconds of animation.1 At Pixar Animation Studios, due to their high level of quality control, animators have been known to work on two minutes of film for a year or more. How many animators typically work on an animated feature film? It depends on the studio and its needs, so anywhere from 20 – 80 animators could be working on an animated feature film. What is the biggest myth about character animation? A lot of people believe that the computer does all of the work for the animator, but the reality is that the animator is only using the computer as a tool to create detailed animation frame by frame. What are some of the most challenging aspects of character animation? Character animators work in fun, collaborative, exciting and detailed environments. They need to have a high level of patience while working with the tiny movements of a character frame by frame.
    [Show full text]
  • 2D Animation Software You’Ll Ever Need
    The 5 Types of Animation – A Beginner’s Guide What Is This Guide About? The purpose of this guide is to, well, guide you through the intricacies of becoming an animator. This guide is not about leaning how to animate, but only to breakdown the five different types (or genres) of animation available to you, and what you’ll need to start animating. Best software, best schools, and more. Styles covered: 1. Traditional animation 2. 2D Vector based animation 3. 3D computer animation 4. Motion graphics 5. Stop motion I hope that reading this will push you to take the first step in pursuing your dream of making animation. No more excuses. All you need to know is right here. Traditional Animator (2D, Cel, Hand Drawn) Traditional animation, sometimes referred to as cel animation, is one of the older forms of animation, in it the animator draws every frame to create the animation sequence. Just like they used to do in the old days of Disney. If you’ve ever had one of those flip-books when you were a kid, you’ll know what I mean. Sequential drawings screened quickly one after another create the illusion of movement. “There’s always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation.”Matt Groening About Traditional Animation In traditional animation, animators will draw images on a transparent piece of paper fitted on a peg using a colored pencil, one frame at the time. Animators will usually do test animations with very rough characters to see how many frames they would need to draw for the action to be properly perceived.
    [Show full text]
  • MONSTERS INC 3D Press Kit
    ©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor .
    [Show full text]
  • COPYRIGHTED MATERIAL 20 084908 Bindex.Qxp 2/24/09 3:08 PM Page 482
    20_084908_bindex.qxp 2/24/09 3:08 PM Page 481 Index COPYRIGHTED MATERIAL 20_084908_bindex.qxp 2/24/09 3:08 PM Page 482 (Previous page: Kung Fu Panda’s Shifu (Facing page: Office Noise characters. (Madagascar: Escape 2 AfricaTM and uses proven teaching techniques to © 2008 The Animation Workshop, © 2008 DreamWorks Animation LLC, make Po realize that he is a kung fu and Karsten Madsen, Mads Herman used with permission. Previous page: master. Notice the clear silhouettes, Johansen, Laerke Enemark, Torben S. Kung Fu PandaTM and © 2008 telling body language, and easy-to- Christensen.) DreamWorks Animation LLC, used read facial expressions.) with permission.) 482 INDEX 20_084908_bindex.qxp 2/24/09 3:08 PM Page 483 Index • A • Aliasing effects, 30, 82, 298, 300 329, 343–347 AAF file format, 468 and antialiasing, 282 file formats, 356–358 character. See Character Aardman Studios, 33 spatial, 281–282 getting ready, 358–360 animation Abel (Robert) and Associates, temporal, 282 getting started, 86–89 crowd, 394, 396, 400 19, 20, 21 Alias Research, 29 hand-drawn, 296 dynamics simulation, A/B roll editing, 448 Alien Song, 28, 29, 241 history of. See Computer 374–382 Absolute position, 343 Aligning, 148, 164 graphics, history of facial. See Facial animation Absolute values, 101 Alpha channel, 267, 437, 445 information sources, 16 flock, 383–386 Abyss, The, 20, 23 Altitude, 241 limited, 311–312 fundamental, 295–305 Academy of Motion Picture Ambient light, 222, in live action movies, 27, goal-oriented, 386–390 Arts and Sciences (AMPA), 229–230, 231, 239,
    [Show full text]
  • Animschoolcatalog.Pdf
    1 AnimSchool Classes Conducted Online in Live Web Meetings 209 W 520 N Orem, UT 84057 Phone: 801 765 7677 Fax: 801 221-4882 Contact: [email protected] Hours of Operation: 9 am – 6 pm Mountain Standard Time Publication Date: September 2017 Revision Date: Table of Contents Chapter 1 - About Us 1.1 Online School for 3D Animation Skills Chapter 5 1.2 Founder and Mission 1.3 Our Instructors 5.1 Express Classes: Take a Single Class at AnimSchool 1.4 Enrolling in AnimSchool 5.2 Requirements for Admission 5.3 Enrollment Denial Chapter 2 - Apply 5.4 Enrollment Agreement 5.5 Site Use Agreement 2.1 Registering for a Class at AnimSchool 2.2 Class Structure Chapter 6 2.3 Class Instruction 2.4 Interaction with Instructor 6.1 Withdrawal and Cancellation 2.5 Class Size 6.2 Taking a Break While Term is Underway 2.6 Instructor Surveys 6.3 Class Cancellation or Instructor Substitution 2.7 General Reviews 6.4 Class Switching 2.8 Art Classes 6.5 Instructor Absence 6.6 Unplanned Instructor Absence Chapter 3 - Programs 6.7 Instructor Withdrawal 6.8 Term Breaks 3.1 12 Month Programs 6.9 Leave of Absence 3.2 3D Animation Program Track 3.3 3D Character Program Track Chapter 7 3.4 Registration Status 3.5 What a Certificate at AnimSchool Will Offer You 7.1 Standards of Progress 3.6 Clock Hours 7.2 Standards of Conduct 3.7 Explore: Switch Programs if Needed 7.3 Probation 7.4 Termination/Dismissal Chapter 4 - Graduation 7.5 Attendance and Assignment Submission Standards 7.6 Assignments 4.1 Grading System 7.7 Use of AnimSchool Character Rigs, Tools and 4.2 Graduation
    [Show full text]
  • School of Filmmaking Courses Animation
    School of Filmmaking Courses Animation FAN 1101: Introduction to Animation I (1 credit) This course will introduce the student to the history, accomplishments, and potential of the field of animation, as well as to animation as an art form and unique storytelling device. Hand-drawn, stop-motion, and computer-generated animation will be explored, as well as the role and tasks involved in using each. Students will learn the Twelve Principles of Animation and put them into practice through three simple hand-drawn animation projects that will be spaced throughout the semester. A weekly series of animation screenings will acquaint the student with the art form as well. FAN 1102: Introduction to Animation II (1 credit) This course will continue the student's introduction to the field of animation through exercises and screenings. Students will continue to hone their animation skills via three slightly more advanced hand-drawn animation projects that will be spaced throughout the semester. Students will also learn about the set up of current animation production facilities and how they are run. Prerequisite(s): FAN 1101 FAN 2100: Animation Lab (1 credit) This elective will serve as a forum for the exploration of the basic principles and various forms of traditional animation (cut-out, 2-D, stop-motion, or puppetry). Available to students outside the animation concentration. Course work will culminate in a final animated project. Graded Pass/Fail. FAN 2101: Animation Foundations I (3 credits) This two-semester series of courses provides an introduction to the fundamentals of animation utilizing traditional 2D and 3D animation techniques.
    [Show full text]
  • Animation and Machines: Designing Expressive Robot-Human Interactions Ⅰ
    http://dx.doi.org/10.7230/KOSCAS.2017.49.677 Animation and Machines: designing expressive robot-human interactions Ⅰ. Introduction Ⅱ. Expanded animation Ⅲ. Animation and ubiquitous computing Ⅳ. Social Robots: a survey of the state of the art Ⅴ. Cartoons, animators and robots Ⅵ. Conclusion References 국문초록 Joao Paulo Amaral Schlittler ABSTRACT Cartoons and consequently animation are an effective way of visualizing futuristic scenarios. Here we look at how animation is becoming ubiquitous and an integral part of this future today: the cybernetic and mediated society that we are being transformed into. Animation therefore becomes a form of speech between humans and this networked reality, either as an interface or as representation that gives temporal form to objects. Animation or specifically animated films usually are associated with character based short and feature films, fiction or nonfiction. However animation is not constricted to traditional cinematic formats and language, the same way that design and communication have become treated as separate fields, however according to Vilém Flusser they aren’t. The same premise can be applied to animation in a networked culture: Animation has become an intrinsic to design processes and products - as in motion graphics, interface design and three-dimensional visualization. Video-games, virtual reality, map based apps and social networks constitute layers of an expanded universe that embodies our network based culture. They are products of design and media disciplines that are increasingly relying on animation as a universal language suited to multi-cultural interactions carried in digital ambients. In this sense animation becomes a discourse, the same way as Roland Barthes describes myth as a type of speech.
    [Show full text]
  • Örs Bárczy Relevant Skills Work Experience
    First name/Surname Örs Bárczy Tel +36 20 227 7634 Email [email protected] Website www.barczyors.hu Nationality Hungarian Place of Residence Budapest, HUN Showreel & Pass vimeo.com/137701565 LinkedIn linkedin.com/in/barczyors Relevant Skills CG Skills Lighting, Rendering, Compositing, LookDev, Shading and Supervising which are all visible in depth in my showreel and website. Quality Light & Comp I faced multiple artistic challenges while working on various projects for Tim Miller & David Fincher’s: Love Death & Robots, Riot Trailers, Activision: Call of Duty cinematics or Carlos Baena’s unique La Noria short movie. The common in all these projects that the visual guide and quality references required a passionate, high quality lighting and compositing work and complex technical solutions. Team player & well organised I was managing and supervising a team of 5 while working in Puppetworks as a lead artist. I believe the key is the pleasant environment, good production plan, the team member’s individual interest and to never forget to appreciate their valuable work. Work Experience 2019 May – Currently Senior Lighting and Compositing Artist – Joined again to Digic for an unnuanced high quality feature project. Lighting then finalizing the images and the overall mood of the movies. Promoted to Senior role in 2020 April. Digic Pictures, Budapest. Clients: Netflix, Riot, Activision, Ubisoft etc. 2018 Feb – 2019 May Lead Lighting & Compositing Artist - Helping Puppetworks to developing Light & Comp workflow and multistage production system for an unannounced project and some trailers. Started as: LookDev Artist in 2018, then promoted to Lighting Lead. Puppetworks Animation Studio, Budapest. Clients: Frontier, Universal Pictures, THQ Nordic, FunPlus etc.
    [Show full text]
  • The Animated Movie Guide
    THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues.
    [Show full text]
  • AWNMAG5.05 Cover
    Table of Contents AUGUST 2000 VOL.5 NO.5 5 Editor’s Notebook Go Web Young (Wo)Man, Go Web 7 Letters: [email protected] InternetCOMIC BOOKS Animation 8 Your Move… Jacquie Kubin looks at how and why packaged gaming companies are adding on-line elements to their business plans. 12 Alter-Net-ive Worlds How would the world of animation be different if instead of being a new tool the Web was an old one? Get ready for some pretty wild “classics.” Martin “Dr. Toon” Goodman takes us theorizing… 16 The Aesthetics of Internet Animation Think Web tools are restrictive creatively? Think again! Chris Lanier, creator of Wildbrain’s Romanov, explains why, in the vein of comics, they are actually a source of freedom. 2000 20 Is There Life Beyond Flash? Flash is the leading tool for Internet animation, but there are a few other options for production and augmentation. Here industry leaders reveal their secrets from high tech 3D software to good, old-fashioned talent. 23 Getting Started On-Line So you want to get into this Internet game? Two of AtomStudios’ animators, Kwesi Ako Kennedy and James Dalby, not only tell you how, but offer tips for success. ComputerADULT ANIMATION Animation 25 Vancouver’s Mainframe Entertainment Since their first 3D CGI television show, the groundbreaking Reboot, Mainframe Entertainment has been producing quality children’s television. Don Perro goes for a tour and finds they are working on more than television now. 29 Writing for CGI:A Talk With Ian Boothby UGUST Ian Boothby, co-writer of Casper’s Haunted Christmas, gives us some insight on the pitfalls and joys of writing for CGI.
    [Show full text]