Tim Miller talks about parlaying commercial success at Blur Studios into a flourishing shorts program.
Category: AWN Profiles
In celebration of April Fools, the Career Coach looks at all the wisdom written about foolishness and applies it to career matters.
Karen Raugust looks into how HIT uses direct-to-video releases to establish a hook for promotions and product extensions.
Marisa Materna talks with the artists behind Gang of Seven, a collective of animators who have pooled their talent to form their own privately owned studio.
Bruce Shutan reports that it was back to basics for the 2005 Super Bowl spots, which continued the trend of seamless vfx.
In Part 3, Christopher Panzner focuses on new financing issues as he looks at how independent producers have to be a vertically-integrated individual as well as a little of a cowboy to survive in the industry.
Alain Bielik uncovers the demonic inspirations and digital challenges of bringing Hellblazer to the big screen as Constantine.
Karen Raugust looks into how studios are reevaluating licensing strategies in the face of toy industry struggles.
Alain Bielik speaks with ILM and Tippett Studio about raising the digital bar when it comes to cartoony CG antics in Son of the Mask.
Christopher Panzner chronicles the ride taken to bring The Magic Roundabout to the big screen in CG.
In the second part of our Polar Express production diary, animation supervisor David Schaub chronicles the performance capture and "MoCap/Anim" processes.
Mary Ann Skweres looks at how invisible visual effects are becoming a crucial part of the industry, but are still being overshadowed by the flashy f/x.
In pitching animation, not only do you need the passion, have a thorough understanding about your property and know the broadcaster and their needs, you need to demonstrate what your story it about. Your pitch materials are your sales tools.
The Pitch Bible is a tool that helps convey your concept. It is a tool to help you present and is a leave-behind to trigger the decision makers memory.
There are no hard and fast rules about what form a pitch bible should take. At its very best, it should reflect the concept of the project, whether it is a television, feature or home entertainment project, to help the buyer visualize the story as you pitched it. The size, color, number of pages, how it is put together is up to you, the creator, to determine what best conveys your creation.
Animation World Network has begun its new series of content galleries to highlight the work being done in commercials, music videos, trailers, indents, interstitials and the like.
Isaac Kerlow looks at recent human 3D character animation developments in The Incredibles and The Polar Express.
In a VFXWorld exclusive, Motoyoshi Tokunaga tells how he transformed the former Walt Disney Animation (Japan) into the indie Answer Studio.
Gianluca Dentici takes us on a trip to Italy to discover what the visual effects community is like in Rome and beyond.
Rick DeMott interviews veteran voice actor/director Lia Sargent about how someone goes about making a living in the world of voice acting.
Joe Strike talks to Tad Stones about his thirtysome years in animation, from Eric Larsons training program at Disney, his work on EPCOT, the influence of Jeffrey Katzenberg, Disney TV Animation and now his new project, Brer Rabbit, at Universal Cartoon Studios.
Chris Landreth discusses with Greg Singer many of the artistic and personal issues that have made Ryan such an acclaimed short on the festival circuit this year.