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ANIMATION INSIDERS W orkflow e dition ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 ACKNOWLEDGEMENT/ 5 INTRODUCTION/ 7 MIKE NGUYEN 8 EMILE GHORAYEB 12 PABLO NAVARRO 16 JASON RYAN 40 JASON MORTINSEN 46 ANA MARIA ALVARADO 50 RENO ARMANET 54 JASON SCHLEIFER 70 PEDRO BLUMENBAUM 76 ANTHEA KEROU 88 GABRIELE PENNACCHIOLI 92 MATT STRANGIO 94 VICTOR NAVONE 102 CONCLUSION/ 107 LIST OF CONTENT SPECIAL THANKS/ 109 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- 4 5 I would like to extend our most sincere thanks to the extraordinary ani- mators who were involved with this book. You generously shared with us your knowledge and vision about animation. Your passion for what you do easily shows, and without you, Animation Insiders would never have seen the light of day. Thank you ACKNOWLEDGEMENTS PATRICK BEAULIEU ACKNOWLEDGEMENTS ANIMATION INSIDERS / ANIMATION LEDGEMENTS ACKNOW- LEDGEMENTS 4 5 When I was in school, it was very difficult to get valuable learning mate- It is still incumbent on you to formulate good ideas for your shots. rials about animation. It seemed like the teachers were continually Strong, clear and concise ideas are the most important currency in ani- passing on notes that were just a copy of a copy that had been around mation. When you see a well-executed idea, it almost makes you say, for years. There were only two or three fundamental books on this genre, “Why didn’t I think of that?” When I started at Pixar in 1997, I was in including the likes of The Illusion of Life and Timing for Animation. Now awe in front of the top animators. Seeing the work of Doug Sweetland there is so much to choose from – almost too much. or Mark Oftedahl helped me understand what a good idea was. What I noticed about their best work was that great ideas take time to evolve. Animation Insiders offer a new approach by compiling the various work The germ of a good idea comes from so many places. It can be a stray methods of many different artists. In the industry, this is what we call knot in a spline that makes you see a gesture in a new light, or an odd “gold.” Back in the old days, many artists in the field of special effects mannerism that catches you off guard. The point is: always search for and animation did not want to give away their secrets. At Disney, the the best possible idea and never give up until you have dragged it out of INTRODUCTION nine old men did not pass on their knowledge and expertise until the your work. The best animators use every resource to enhance their work. end of their careers. Fortunately, this philosophy has changed and I trust this book will be one of many in your arsenal that enable you to education has become more open and shared. My students always push your work to the next level. DUCTION inspire me, because the great ones push the medium further, bringing something fresh and new to their work. Every artist must develop his ANDREW GORDON or her own style; no one way is right. It’s really what works for you that ultimately wins out. This book allows you to peer into the artistic appro- aches of professionals, so that you can gain some insight into the way they go about solving specific problems. ANIMATION INSIDERS / ANIMATION INTRO 6 7 When I was in school, it was very difficult to get valuable learning mate- It is still incumbent on you to formulate good ideas for your shots. rials about animation. It seemed like the teachers were continually Strong, clear and concise ideas are the most important currency in ani- passing on notes that were just a copy of a copy that had been around mation. When you see a well-executed idea, it almost makes you say, for years. There were only two or three fundamental books on this genre, “Why didn’t I think of that?” When I started at Pixar in 1997, I was in including the likes of The Illusion of Life and Timing for Animation. Now awe in front of the top animators. Seeing the work of Doug Sweetland there is so much to choose from – almost too much. or Mark Oftedahl helped me understand what a good idea was. What I noticed about their best work was that great ideas take time to evolve. Animation Insiders offer a new approach by compiling the various work The germ of a good idea comes from so many places. It can be a stray methods of many different artists. In the industry, this is what we call knot in a spline that makes you see a gesture in a new light, or an odd “gold.” Back in the old days, many artists in the field of special effects mannerism that catches you off guard. The point is: always search for and animation did not want to give away their secrets. At Disney, the the best possible idea and never give up until you have dragged it out of INTRODUCTION nine old men did not pass on their knowledge and expertise until the your work. The best animators use every resource to enhance their work. end of their careers. Fortunately, this philosophy has changed and I trust this book will be one of many in your arsenal that enable you to education has become more open and shared. My students always push your work to the next level. DUCTION inspire me, because the great ones push the medium further, bringing something fresh and new to their work. Every artist must develop his ANDREW GORDON or her own style; no one way is right. It’s really what works for you that ultimately wins out. This book allows you to peer into the artistic appro- aches of professionals, so that you can gain some insight into the way they go about solving specific problems. ANIMATION INSIDERS / ANIMATION INTRO 6 7 BIOGRAPHY WORKFLOW MIKE NGUYEN Mike Nguyen received his Bachelor of Fine Arts in Character Animation NTERESTINGLY, I like to approach the animated process from the inside out, allowing at the California Institute of the Arts in 1988. Since then, he has worked inward natures to dictate surface outcomes. The animated process relies primarily in the feature animation industry in the USA as a character THE ONLY STRENGTH heavily on the inner senses and seeks to communicate this “sensed” animator in various studios, including Walt Disney, Warner Bros and OF FORCE impression – not so much things in “actual” but in how things “feel” DreamWorks Animation. Among the films he had worked on are Beauty with roots from everyday life reality. Animated worlds, too, have their and the Beast and the critically acclaimed The Iron Giant, as a super- THAT REMAINS THE own set of reality and physics; they mirror the real world and have a vising animator. In 2000, he co-founded July Films, an independent SAME REGARDLESS degree of variation in physical attributes such as the time element, the theatrical animation production company, and his directing debut OF STYLING, velocity of movement and the exaggerated nature of mass. INSIDERS / ANIMATION was the theatrical animated feature entitled My Little World, currently in production. He has also been a character animation instructor at REAL OR IMAGINED, the California Institute of the Arts since 1994. His primary interest is IS EMOTION. hand-drawn animation filmmaking medium, and his goal is to reflect beautiful thoughts toward this life on Earth. MIKE NGUYEN 8 9 BIOGRAPHY WORKFLOW MIKE NGUYEN Mike Nguyen received his Bachelor of Fine Arts in Character Animation NTERESTINGLY, I like to approach the animated process from the inside out, allowing at the California Institute of the Arts in 1988. Since then, he has worked inward natures to dictate surface outcomes. The animated process relies primarily in the feature animation industry in the USA as a character THE ONLY STRENGTH heavily on the inner senses and seeks to communicate this “sensed” animator in various studios, including Walt Disney, Warner Bros and OF FORCE impression – not so much things in “actual” but in how things “feel” DreamWorks Animation. Among the films he had worked on are Beauty with roots from everyday life reality. Animated worlds, too, have their and the Beast and the critically acclaimed The Iron Giant, as a super- THAT REMAINS THE own set of reality and physics; they mirror the real world and have a vising animator. In 2000, he co-founded July Films, an independent SAME REGARDLESS degree of variation in physical attributes such as the time element, the theatrical animation production company, and his directing debut OF STYLING, velocity of movement and the exaggerated nature of mass. INSIDERS / ANIMATION was the theatrical animated feature entitled My Little World, currently in production. He has also been a character animation instructor at REAL OR IMAGINED, the California Institute of the Arts since 1994. His primary interest is IS EMOTION. hand-drawn animation filmmaking medium, and his goal is to reflect beautiful thoughts toward this life on Earth.