ANIMA Brussels ushered in the year of the sheep in grand style with the Belgian premier of Shaun the Sheep Movie on their opening night. Aardman Studio is back doing what it does best, pure entertainment in flawless claymation. The 85 minute film brings Shaun and his fellow sheep to the big screen with all of the usual suspects from the television series.
I spent a considerable time exploring the tree from all seemingly accessible angles, and I am convinced that it, in return, did no less.
A selection of intimate writings that didn’t make it into the final ‘Lipsett Diaries’ animated short.
FMX 2015 conference on animation, effects, games and transmedia to spotlight ‘Minions’ and ‘Assassin's Creed 4.’
The legendary animator talks in-depth about bringing hand-drawn animation to the virtual world of Motorola’s advanced mobile phone.
Despite many great VFX-driven films ahead, Steve bemoans the state of the VFX “business” responsible for their visual magic.
Chuck Peil, co-founder of Reel FX, talks about his studio’s evolution from animation and visual effects service house to mainstream animated feature film studio, the recently released ‘The Book of Life’ and more as part of AWN’s series of exclusive video interviews from FMX 2014.
The Montreal Stop-Motion Film Festival - 25th, 26th and 27th of September 2015 announces their Call for Entries, ending June 28, 2015.
Don Parker, senior director on Autodesk’s Shotgun team, talks about the software’s use on 300: Rise of an Empire as well as how integrating production technologies impacts a studio’s ability to manage movie production as part of AWN’s series of exclusive video interviews from FMX 2014.
David Morin, a driving force at Autodesk in virtual production standards and technology, talks about the growing significance and future role of virtual production technologies in moviemaking as part of AWN’s series of exclusive video interviews from FMX 2014.
Conference on animation, effects, games and transmedia announces ‘Game of Thrones,’ ‘VFX in Commercials’ and ‘Animation Wild 'n Strange’ program events, as well as Tech Talks covering the latest innovations in filmmaking.
Are we not all but puppets conceived for someone’s reasons, then delivered onto a stage, on which to learn, evolve, conform or rebel, impact on or be impacted, trampled on and shaped by the others?
Daniel Gregoire, CEO of leading previs firm Halon Entertainment, talks about the previs of World War Z, its vital role in story development, visual development and more as part of AWN’s series of exclusive video interviews from FMX 2014.
Some nightmares breathe…Randall Kaplan’s indie film delving into our deepest fears and darkest desires seeks backing for completion of animatic.
Oscar-winning animation director Chris Landreth talks about his hyper-real narrative style, his new comedic short ‘Subconscious Password,’ his ‘Making Faces’ facial animation masterclass, and more as part of AWN’s series of exclusive video interviews from FMX 2014.
Daily Beast piece on co-creator Sam Simon’s passing reminds us how quickly the show’s irreverent humor became a cultural force to be reckoned with.
40 student artists craft film about a raccoon, a candy shop and an impulse that just can’t be denied.
Amos talks about Talenthouse, which showcases over 3.1 million creative artists, his difficult path to launch the site as well as his one-love philosophies on life and art.
As part of AWN’s Professional Spotlight series -- a series of exclusive video interviews shot during FMX 2014 – Max Solomon, an animation supervisor at Framestore, talks about the animation, previs and onset virtual technology used on the Oscar-winning film ‘Gravity.’
Jan Pinkava, an Oscar-winning director at Google’s Advanced Technology and Projects group (ATAP), discusses new digital storytelling platforms and technologies, today’s animated film business and more as part of AWN’s series of exclusive video interviews from FMX 2014.
The 38th International Animated Film Festival Cinanima, 10 through 16 November, 2014 in Espinho, Portugal is one of the oldest and most respected animation festivals in the world. It has the reputation for screening not only the best of current animation, but is also a major showcase for Portuguese animation. The Grand Prix winning film at the festival qualifies for submission to the Academy Awards and the Cartoon D’ Or. Portugal has a rich literary history and a centuries old connection to the sea, and that is often reflected in their animation. When coupled with the country’s long years of isolation from the rest of Europe, I feel it often makes Portuguese animation difficult for other cultures to appreciate. With the exception of a few well-known Portuguese animators such as Regina Pessoa, Abe Feijo, Jose Miguel Ribeiro, and Joanna Toste, comparatively little animation from this country has been seen at other festivals in the past. There are numerous excellent animators such as Zepe (Jose Pedro Cavalheiro) whose films are well-known in his own country but seldom seen in the rest of the world.