A result of poor Parenting? Note the Film "Step Brothers."

I disagree with Ed Hooks regarding Grave of the Fireflies. For a start, a version was made in live action for Japanese television. But more, there is nothing in that story that transcends reality. For me, that is the essence of animation. Character and story are essential - and I found Grave of the Fireflies to be very moving - but to make best use of animation there has to be something more than what we see around us, whether it be talking animals or abstract shapes.

Since the article mentions creators it seem appropriate to mention that For the Birds was created by Ralph Eggleston while working as an art director at Pixar and Madame Tutli Putli was the creation of Chris Lavis and Maciek Szczerbowski sponsored by The National Film Board of Canada. The article implies that it won an Oscar, it did get a nomination but lost to Peter & the Wolf by Suzie Templeton.

Since the article mentions creators it seem appropriate to mention that For the Birds was created by Ralph Eggleston while working as an art director at Pixar and Madame Tutli Putli was the creation of Chris Lavis and Maciek Szczerbowski sponsored by The National Film Board of Canada. The article implies that it won an Oscar, it did get a nomination but lost to Peter & the Wolf by Suzie Templeton.

SOLD OUT

Hi,

This is Kaki Flynn, the workshop organizer.

I'm happy to report the George Scribner OIl Painting Workshop is sold out (of course)!

Looking forward to seeing all of the participants, most of whom are traveling from out of town to take this workshop with Scribner.

For upcoming workshops with him, please contact Scribner at:

ScribnerArt.com

Before "Insektors", there was "Les fables géométriques" from 1989 to 1991 and "Les Quarxs" in 1991 (you can catch come episodes of both series on youtube). Unlike "Insektors", there was no recurring characters but these 2 series (french series, like Insektors) may be the first real full CGI TV series.

Great article!

Thanks Ed for a great article!

I think this whole next generation of animators feels allot like a processed herd of button pushers rather than an inspired creative force.

There is obviously a desire for a creative workforce to consist of those readily able to take leadership but the ways in which allot of the university and online animation courses are run seems to be flushing out independent thought on key principles and an animators ability to make judgement calls for themselves, according to their own sensibilities instead of favouring a "house style". This currently means that allot of performance showreels emerge with identical timing/pacing and a take on humour that may as well have been cloned from one graduate to another.

Like any creative industry animation flourishes on innovation and at the moment 3D animation has become incredibly stale. I think with allot of the larger studios investing in middle eastern / asian workflow solutions this could change in an unforeseen way, it would be brilliant for Asian creative and cultural views on comic timing etc to impact western feature animation.

Great news from Hungary! See you there!

Why any student would "Pay for the Priviledge to work on our DD Films" is beyond me. These students are being raped, all under the disguise of "industry experience" If you are doing work for a company, you should be payed. Not the other way around.

Probably had to do with the fact that Henry Selick is a total psycho. Disney was foolish to work with him in the first place. Good riddance.

Um. Did you read the interview that you just so blatantly commented on?

As an immersive medium, such as for ride simulations, high frame-rate really delivers a very visceral experience, but conveys a very unpleasant analog video/soap opera feel when used in conjunction with dramatic material. I observed this firsthand through a series of Showscan demonstrations, which showed a spectrum of examples with the medium. I am curious to see how a higher frame-rate works with 3D, but have not taste for it in regard to any other film I watch in the cinema.

Wow! Well worth the sleepless nights!! I briefly studied with Karl Paolino, and have always wanted to get into animation. Inspired buy your tenacity and talent. Thanks for the backstage look!

I have a key master, multi cel set-up from a Tom and Jerry cartoon which has Tom driving a green forklift while chasing Jerry who is flying a small, yellow plane. I am trying to find out who made this (HB, Deitch, etc...) and the name of the specific cartoon.
I know it is not a Chuck Jones piece. The notations on the bottom of each cel include the letters, "TJ."
Can anyone tell from this description if you recognize the cartoon?

lol what the gory this sucks the movie

Interesting stuff.

Looking at it from a scripting perspective, and accepting the old adage that "if it ain't on the page, it ain't on the stage", how do you determine the correct balance in a "native" story to allow it to be true to itself and its roots, and, also be "international" in scope? Too many times I've seen great stories diluted into amorphous puddles of story-like sludge all in the name of global marketability. What's the winning formula? Is there a winning formula? Or, is it all just a matter of "feel"?

Perhaps, given your long experience working in this arena, you could address this in a future post?

It must have a very good storyline for them to move forward to big screen. I also read about this Lee Space graphic novel that is going to have a game development.

We have not only just used the application of adobe for this film,we have created more than 10ce of pluggins for flash, for eg:rendering hundreds of layers in a que without a mannal setting of guiding and rendering every particular layer which takes hours and hours because this film has contains lots of crowd shots in it.thanx to our flash pluggin developers to make such a wonderful tools.which helped a lot in this film to render multiples of layers in a single click.