Animating under the camera with sand or paint on glass is a tricky feat. Here a host of experts offer their tried and true methods.
A digital opera in three dimensions, combining the theatrical direction of Robert Wilson, the music of composer Philip Glass and the 3-D stereoscopic animation of Kleiser-Walczak Construction Company (KWCC).
Mark Langer relates Walt Disney's role inmaking the atom our friend through his relationships with major Americanarms manufacturers, the U.S. government and the production, Our FriendThe Atom.
Wilson Lazaretti discusses Nleo de Cinema de Animao de Campinas' experiences teaching animation to Amazon Rainforest natives.
Um artigo de Wilson Lazaretti descrevendo suas aventuras ao ensinar animao para os indenas da floresta amazica.
An article by Aline Moens describing her involvement with an animated project in a rural African village in conjunction with Belgium's Atelier Graphoui, an animation studio that works on pro-social projects.
Un article d'Aline Moens, de l'Atelier Graphoui, studio d'animation belge qui a parcicipdivers projets socio-culturels en Afrique et en Bolivie.
An article by Christian Coppin describing his experiences with an animated film project about drug awareness that links Bolivia with Europe. The project was completed with Belgium's Atelier Graphoui, an animation studio that works on pro-social projects.
We asked three companies, Magic Lantern Limited, Transom Technologies and Liquid Light Studios, to describe how they are utilizing animation in unexpected places and for unexpected purposes.
Un article de Christian Coppin qui a animdes ateliers de cina d'animation avec des enfants, des adolescents et des adultes dans des contextes li la consommation de drogue, la fois en Bolivie et en Europe. Ce projet a menpar l'Atelier Graphoui, studio belge d'animation qui travaille sur des projets sociaux-culturels.
Film Roman's Mike Wolf outlines the pre-production process of prime time animation and focuses on the features that make prime time special.
Wild Brain's Dave Marshall, co-director of FernGully 2, discusses how he tailored the pre-production process of FernGully 2 to guarantee the best final film for the budget.
Independent German filmmaker Kirsten Winter describes her unique pre-production process of working with composer Elena Kats-Chernin, while developing her visuals.
How does one build an armature from scratch and end up with a professional foam puppet? Tom Brierton is here to take us through the steps and offer advice.
Educators Amy Kravitz, Roger Noake and Rolf Bhler offer points of view regarding the student dilemma of choosing a direction for thesis films.
Julie Pesusich, of Liquid Light Studios, discusses the formation of a startup CGI company and their current co-production with Mexican director Jorge Ramirez-Suarez.
The worlds of live-action and animation are meeting in today's effects-driven blockbusters. Christopher Zack investigates how this is influencing the craft of screenwriting.
Michael Hirsh explains firsthand the recipe for success that has NELVANA's co-productions filling the airways on both sides of the Atlantic and beyond.
Once upon a time there was a world without video tape...Karl Cohen takes us back in time to the days when 16mm film reigned.
When one thinks of animated videos, one thinks of Disney. Ilene Hoffman takes us inside to meet the key players behind the phenomenon that has influenced the entire industry.
The power of the video tape is just beginning to be realized in Kenya. Justus Olielo tells us how it is being done.
It is no secret that Japan consumes a massive amount of animated entertainment, but just how big is the home video market? Fred Patten puts it all in perspective.
Everybody's favorite animated race car driver is turning 30. With all eyes on Speed and crew, we decided to interview J.J. Sedelmaier about his award winning Volkswagen commercial and Elizabeth Moran's new book, Speed Racer: The Official 30th Anniversary Guide.