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ANIMATION WORLD MAGAZINE - ISSUE 4.2 - MAY 1999
Animation 101: A Mixed Lesson |
book review by Bob Miller
A
Bright Start
Ernest Pintoff's Animation 101 is more of a "what it's all about"
than a "how to" book. Its primary value lies in the 20 essays by
various luminaries in the industry, like directors John
Lasseter, Nick Park, Bill Hanna, Bill Melendez, Bretislav Pojar, Pablo
Ferro and Bruno Bozzetto. Also contributing: Noel Blanc (Mel's son), Herbert
Klynn, anime expert Fred
Patten, Cartoon Network executive Linda
Simensky, writers Emru Townsend, John Callahan, Al
Brodax, Jules Engel and Debra Kaufman. Even
Marvel's Stan Lee
offers his point of view.
The book includes a biography of its Oscar-winning author, and a handy list
of recommended animation schools. Notably, Pintoff's list of recommended films
includes Pocahontas, The
Fox and the Hound and The Black Cauldron.
A Turn For The Worse
Unfortunately, the rest of the book is somewhat
flawed.
"From Disney to Bakshi" is a chapter that is spotty in its coverage,
focusing on Disney, Warners, Hanna-Barbera and Ralph Bakshi. Oddly, he continues
his animation history in a chapter devoted to the animation process.
Animation historians would have a field day correcting the errors in this
paragraph alone:
"The various anatomical positions of Hanna-Barbera animated characters
have become standardized and as a result, their model sheets include every
movement, even indicating looks of shock, and every character's entry and
exit. To produce a new sequence, it is sufficient for an animator to simply
draft a storyboard, then feed it into a computer for the ability to generate
computer generated animation. Animators no longer have to sketch repetitive
movements, but they merely make lists of numbers already stored in a computer's
memory. This technique has been used successfully with the likes of Rod Rocket,
Space Ghost,
Crusader Rabbit, King Leonardo and Deputy Dawg."
In his chapter on classic voice-over artists, Pintoff devotes two paragraphs
on Mel Blanc, nine paragraphs on Stan Freberg, five paragraphs on Chuck McCann,
and only brief mentions of Mae
Questel, June Foray, Pat Carroll, Patti
Deutsch, Daws Butler, Paul Frees and Julie Kavner. No mentions of Frank Welker,
Don Messick, Bea Benederet, Jim Cummings, Paul Winchell, Rob Paulsen, Maurice
LeMarche, Tress MacNeille, Nancy Cartwright or many other worthy voice talents.
Pintoff claims exposure sheets are "also known as bar sheets." Several
definitions in his glossary are awkward ("High concept ideas usually
have a conceptual premise and narrative that can be reduced to a catchy phrase
or striking image"...), incomplete ("Timing is the process of altering
the density and color values of a film from shot to shot..."), and/or
inaccurate ("A pencil test is a film or video sample of preliminary action
and animation, drawn on paper, before it is converted to cel by computer.")
Mr. Pintoff, the computer eliminates the need for cels.
I am sorry that I can't recommend this book unless one is interested in its
essays or the biography of the author.
Animation 101, by Ernest Pintoff. Studio City, California: Michael
Wiese Productions, 1999. 170 pages. ISBN: 0-941188-68-X ($16.95)
Bob Miller is an animation buff and animator currently working for Stretch
Films in New York City.
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.