Justin Witte of Tiny Markers creates the animation for “Lament,” a stand-out track from Furious Frank’s most recent album, The Map & the Territory from Southern Love Records.
Dedicated to bringing together experts from around the world to inspire, engage, teach, and astound, VIEW, Italy’s leading computer graphics symposium, proudly announces highlights from its upcoming 13th annual confab.
MarVista Entertainment appointed exclusive international distributor for animated preschool television series.
The Pixel Farm Ltd announced the immediate availability of PFDepth: a new, fully integrated toolset for total scene reconstruction, 2D-to-3D conversion and depth map creation.
CelAction announces that seven pitches made using CelAction2D animation software will be at this year’s Cartoon Forum.
With the success of Deathbowl ’98 a symbolic battle had been won. But the war to get this stop-motion slugfest on the air as a regular series still remained.
Z Animation pairs directors Robert Pope and John Vondracek to produce a PSA for Canada’s Recreational Boating and Fishing Foundation.
Animation Legend Ralph Bakshi is searching for one "old-school, traditional, full animation-style” animator for the forthcoming “Bakshi Blues.”
Fred Patten takes an in-depth look at a new book chronicling the history of animation under the Third Reich.
GKIDS announces a distribution agreement with Studiocanal for the U.S. rights to animated feature “Ernest & Celestine.”
I see a lot of TV animation for kids. Sounds pretty enviable, doesn’t it? Well, it is when you stumble upon godsends like the shows Yo Gabba Gabba! Otherwise, it’s a pretty hellish experience being forced to hear god-awful music and watch screaming adult-voiced kids, bad animation, idiotic storylines, and annoying dialogue, writing, and plots that read like they’re were made by a factory of Ned Flanders clones.
Cinedigm Entertainment Group will release “Chico & Rita” on cable VOD, DVD, and on DVD/Blu-ray in a Limited Edition Collector's Set, preceded by an early digital release on August 21.
Dr Toon recounts the pivotal years from 1994-2000, when TV animation underwent crucial changes in production technology.
Growing up, I was a latch key kid, often coming home to an empty house after school. My babysitters’ names were Popeye, Tom, Jerry, Bugs and Daffy. I was literally raised on those old school cartoons with their over the top slapstick violence and impeccable timing.They would leave an indelible mark on me.
It's about an old animator... 90 plus now... and it's written LIKE listening to a 90 year old talk... random and all over the place... like my sister.
Convincing an MTV exec to greenlight a couple of Celebrity Deathmatch shorts seemed like a herculean task. Turns out that would become the first of many battles to get “Celebrity Deathmatch: The Series” on the air.
Learning animation on your own is very doable. This third of the four part series on the tools of the trade looks at vector based softwares for animation.
In the case of Celebrity Deathmatch, I knew I had a solid concept – two celebrities with a score to settle face off in a clay animated wrestling ring…and fight to the death! The pitch could not have been any simpler and yet it had all of the components of great entertainment – pop culture, biting satire, cartoony violence and an animation style that was beloved but seldom seen. And yet it would take MTV over a year to greenlight a pilot!
It’s critical that an international team be formed to lead your project right from the beginning. As the story and characters are developed you must have folks who are knowledgeable about what will and what will not work in the West.
I’ve never been very good at math but there is one equation that I do understand: creativity + ambition + timing + a little luck = success.