Friday, December 11, 2009
Check it here.
Check also their Podcast in iTunes. Here is the feed: http://www.speakingofanimation.com/feed/podcast/
Tuesday, December 8, 2009
Saturday, December 5, 2009
Friday, December 4, 2009
A collaborative blog of artists from the art department of PDI/DreamWorks in Redwood City. The artists choose a topic each month and submit their interpretations. The blog is not officially associated with DreamWorks and is for the artists to explore their own personal work and have fun.
Found @ Cartoon Brew.
Thursday, December 3, 2009
By the way, my friend Dhar Jabouri is the one with the AM shirt in the back =oD.
Eric Goldberg talks about Ken Harris
Eric Goldberg talks about the benefits of pose to pose in CG animation
Eric Goldberg talks about the benefits of pose to pose in CG animation part 2
Eric Goldberg - What's missing in CG and hand drawn reels.
I found the name of the owner of these videos: Jeremy Hopkins!
Friday, November 27, 2009
Wednesday, November 25, 2009
Monday, November 23, 2009
The Cat Piano - Eddie White and Ari Gibson, directors (The People’s Republic of Animation). A Cat Writer tells about a fiendish piano made of cats. When the keyboard is struck, spikes go through the cats’s tales, making them “sing”.
French Roast - Fabrice O. Joubert, director (Pumpkin Factory/Bibo Films). A man in a French Restaurant loses his wallet. He sits at the table drinking coffee after coffee until a homeless man kindly pays his check. There is a subplot about a bank robber who is really an old lady wearing a mask.
Granny O’Grimm’s Sleeping Beauty - Nicky Phelan, director, and Darragh O’Connell, producer (Brown Bag Films) - see clip above! An old lady tells her frightened grand daughter of not being invited to Sleeping Beauty’s christening party.
The Kinematograph - Tomek Baginski, director-producer (Platige Image). The “inventor” of cinema has his own camera made of wood, stereo sound with two Victrolas, and a two-layer color process before the Lumiere brothers experiments, however, his beloved wife dies of consumption and he abandons his apparatus, just as the Lumiere’s breakthrough is being announced in the street by newsboys.
The Lady and the Reaper (La Dama y la Muerte) - Javier Recio Gracia, director (Kandor Graphics and Green Moon). The Grim Reaper keeps trying to collect the soul of an old woman. She is brought back to the living numerous times by her well-meaning young doctor. The old woman really wants to die and join her beloved husband however, so she electrocutes herself towards the end of the film.
Logorama - Nicolas Schmerkin, producer (Autour de Minuit). Mo-Cap. Imagine a world made up entirely of advertising characters, such as the Michelin tire guys, Bob’s Big Boy, Esso Oil Drop and an evil Ronald MacDonald who shoots everybody with a machine gun.
A Matter of Loaf and Death - Nick Park, director (Aardman Animations Ltd.) Wallace, the baker, meets his dream girl, the Lite Dough Girl, who has put on a bit of weight since her days as an advertising model for flour. She has killed twelve baker husbands and wants to make Wallace the 13th. Of course Gromit sees through her flirtatious act and manages to stop her from killing Wallace. Gromit has a romance with the Dough Girl’s French Poodle into the bargain.
Partly Cloudy - Peter Sohn, director (Pixar Animation Studios). Clouds make the babies out of bits of water vapor and give the infants to embattled storks who deliver the kids to their parents. One cloud gets stuck with making the “prickly” critters, such as crocks, porcupines, sharks, etc.
Runaway - Cordell Barker, director (National Film Board of Canada). A passenger train has a hard time scaling a mountain and runs out of coal, the passengers throw all their clothes in the firebox and half the passenger cars to get steam up.
Variete - Roelof van den Bergh, director (il Luster Productions). A man juggles plates on poles with the various elements of his life on top of the plates, such as girlfriend, school teacher, best buds, parents, wife, children, etc. Eventually he can’t sustain the numerous spinning plates and all collapse, clearing the way for the next generation.
For the original post at Cartoon Brew go to http://www.cartoonbrew.com/shorts/the-academy-shorts-short-list.html
Thursday, November 19, 2009
I hope I'm not committing any infringement by putting 2 of his drawings here.. I just wanted to spread the word and work of this fantastic artist!
His blog here.
Sunday, November 15, 2009
Also 3 other shorts got my attention:
Madagascar, Carnet de Voyage
The Man in the Blue Gordini
Saturday, November 14, 2009
This is one of the trailers of a short film that my friend/teacher Dalton Grant made together with a great team of people, even though I haven't had the opportunity yet to watch the film I'm sure it's going to be a big success!!
For more info about the film go to it's site: http://www.thewaytoheavenmovie.blogspot.com/
Wednesday, November 11, 2009
Tuesday, November 10, 2009
Modding The Mouth...
Start with fixing that giant overbite on the Original Norman... Make Curves visible again and place the Teeth back in the head so they don't collide with the head mesh.
1. Grab the Jaw Controllers and move them up or back as the case may be.
2. And SCALE the jaw Controllers to fit your head.
3. Select the "boca-burger" mouth shape surrounding the jaw and hit the "f8" key to view the mesh in COMPONENT MODE.
4. Now, select all verts of the object in component mode and move it back, and scale it, to fit into the head.
1. Grab all vertices of the mesh in Component Mode and move it up (TY).
You may want to open the jaw and check to see that it looks right.
Got it from aauAnimationClub
Monday, November 9, 2009
Saturday, November 7, 2009
Friday, November 6, 2009
Tuesday, November 3, 2009
Great tool to track arc and space in animation, it updates itself as you change your animation... sweet tool!
Download it here.
PART 2 - FRAMECOUNTERS
Animation is a frame-by-frame art form. It's important to have control over each and every frame that's in your animation. And when you're critiquing someone's work, it can be invaluable to be able to be able to refer the animator to a specific frame or range of frames in their animation. Instead of trying to talk in a roundabout way, vaguely referring to an area of someone's piece by mentioning a bit of the dialogue near the frame in question, or a gesture that occurs slightly after the note you're trying to address, imagine if the previous video had actually been posted like this:
Hey hey hey! Now I can happily frame back and forth through this animation, and get down and dirty with my critiques. With the addition of a framecounter, I can now post a response something a little more like this:
Monday, November 2, 2009
This is a 2D rig tutorial using Anime Studio Software which I find very useful, I'm gonna give it a try on my short film, I have little cut-out girls that need to be animated this way...
Tuesday, October 27, 2009
Monday, October 26, 2009
Sunday, October 25, 2009
Well I couldn't embed the video so here is the link.
Friday, October 23, 2009
Wednesday, October 21, 2009
Brendan Body put up an AWESOME tutorial and deconstruction of a bouncing ball. Don't be fooled by the "basic" animation idea, because he nicely demonstrates how a bouncing ball principle can be applied to a walk (human, squirrel or dinosaur). Go check it out! (thanks Brecht for the tip!!)
Monday, October 19, 2009
Saturday, October 17, 2009
found @ Gobelins site
Thursday, October 15, 2009
Wednesday, October 14, 2009
Tuesday, October 13, 2009
The CTN Expo 2009 is going to take place in November 20th to 22nd at the Burbank Convention Center (Los Angeles).
From CTN Expo's website:
Be a part of the only dedicated Expo for animation talent in the USA—located in the #1 market, Burbank California, this event fills a substantial void by providing highly focused conference programming, workshops, recruiting, presentations and networking opportunities designed to connect animation artists, studio executives and industry leaders both locally and internationally.
Launched in 2004 CTN (The Creative Talent Network) is a virtual community of animation artists from some of the highest grossing films in the history of animation who come together once a year to showcase their work and connect with other creatives. As the leaders of this community our mission is to empower the talent and engage with studios and educators. Making meaningful connections that propel talent into positions within the animation, games and surrounding industries is at the heart of what we do.
“Great ideas and meaningful connections happen most often in the hallways and casual gatherings of creative and talented people!.” says Tina Price founder of CTN and award winning animator, industry pioneer and 24 year former animation professional with the Walt Disney Animation Studios. The CTN Animation Expo is a unique event that brings these creative talents together by providing a collaborative arena in the heart of the animation market to promote employment, education and industry growth — and have some FUN doing it!
Artist panels / interviews
Special exhibits and demonstrations
2D and 3D demonstrations
Speed Talent Recruiting Mixers
Privileged access Networking
Leaders of the Industry Discussions
One on One Critiques
“Jobs come and go and projects fail or flurish but the one thing that remains constant is the talent is still talented.” ~Tina Price the Owner of The Creative Talent Network.
more info @ CTN Expo's site
November 11–15, 2009
Landmark's Embarcadero Center Cinema
One of the most fertile practices in contemporary film and television, animation occupies a unique space between artistic, experimental, commercial and industrial media. The five-day San Francisco International Animation Festival celebrates San Francisco’s prominence as a hub for one of the most creative cinematic forms.
more info @ San Francisco Film Society
Friday, October 9, 2009
Tuesday, October 6, 2009
Let's read what Malcon has to say...
How to give awesome Critiques!
So Giving feedback will not only help out the person you’re giving feedback to, It will help you learn also. This seems obvious, but when you break down somebody’s animation and really look at it on a micro-analytical level(yes i think i made that word up… and I like it) Your forcing yourself to think about every action and you end up rationalizing every move. for example, You learn why the weight is off, or how the animator got the weight just right. You can see clearly why the animator made certain decisions, maybe to make an idea read clearly, or even to confuse the audience. By doing these things your animation vocabulary will grow. Not talking about words and definitions, but methods, and or tricks that can take your animation to a higher level. So in my opinion, giving really solid feedback involves breaking down the animation and thinking about why the artist made decisions, and how did the artist accomplish ideas. This applies to all animation, Highly polished feature level, or somebody that is just starting out. You’re going to learn from both and I think it’s Vidal if you want to improve. So if somebody needs feedback on their shot I think it is important to consider a few things in order to give the best, and most beneficial advise to help the animator improve upon their shot.
David Anthony Gibson goes step by step how he animated some of the dock shots in Cloudy with a chance of Meatballs, to have all the pics and video you should go to his blog.
Part 2 is here:
Tuesday, September 29, 2009
Monday, September 28, 2009
Thursday, September 24, 2009
Tuesday, September 22, 2009
Consistency is a big issue at Pixar, because we don't have Character Leads, in the traditional Disney sense. Pixar animators are assigned scenes, not characters, so any animator may animate any character at a given time in the film. This is one of the reasons that dailies are so important. We can all sit down in a room with the Director and Supervisors and see what's being done with the characters. The Director can decide what works and what doesn't, and further define how the character behaves. This helps us to all get on the same page and understand who the character is. Usually one or two animators will demonstrate a knack for a certain character, and their work will become a touchstone for the other animators to reference. These animators will occasionally give lectures to discuss what we've learned and give tips on how to approach a particular character.
We'll also develop model sheets (collections of images of the character in poses that are considered in-character on and on-model) as well as libraries of facial expressions that other animators can use as a starting point. Ultimately it's up to all the animators, Supervisors and the Director to police each other and work towards a consistent portrayal of the character.
found @ animationtipsandtricks.com
Sunday, September 20, 2009
For the compete analysis head to this link.
Portland’s Laika studio (Coraline) has scrapped all its plans for creating CG features and will instead focus on making stop-motion films exclusively. The studio laid off 63 computer graphics employees today, according the website SlashFilm. UPDATE: Studio publicist Maggie Begley wrote in to clarify: “It’s not accurate to say that the studio is abandoning CG altogether. They will continue to use CG opportunistically in stop motion films and will continue to develop CG projects in house for further down the road.”
For more go to Cartoon Brew's blog.
Friday, September 18, 2009
Thursday, September 17, 2009
I finally finished AM class 4, but I gotta say I feel the luckiest person in the world because I had Nicole as my mentor, I learned lots from her... Thanks a lot Nicole!
Wednesday, September 16, 2009
These are a couple of animation terms that get tossed around a lot, and many animators are not completely clear on exactly what they mean (I wasn't completely sure about them myself until well into my animation career). One reason I think they're so hard to pin down is that there's a lot of overlap (not that kind of overlap) between them, and it's hard to talk about one without referencing the other. Kind of like trying to talk about spacing without talking about timing and arcs. But lest I digress, I'm going to talk a bit about rhythm and texture as specifically as I can, and how important they are in your animation. I suppose I should attempt to define these terms before I go much further, so here's how I understand them:
Rhythm - how the actions or "beats" in a shot are spaced out over the length of a scene. You might also call this "tempo". Unlike with music, good animation has an inconsistent rhythm, making it less predictable.
Texture - the variations of timing and poses in your shot. Big and little actions, slow and fast timing, flurries of action and holds. A shot in which all the actions are the same size, have the same timing, and occur in an even rhythm has no texture.
The complete article can be found in http://www.navone.org/blogger/2009/09/rhythm-and-texture.html#links
Tuesday, September 15, 2009
Saturday, September 12, 2009
Great advices to follow...
Networking is a vital career skill. But there are rules to follow. One of the most important is don’t be a networking leech. Do not suck the lifeblood out of your network.
Most people who worry about being too network aggressive usually have a long way to go before being labeled networking parasites. But some cross the line. If any of these people sounds like you, it’s not too late to change.
Here are a few real life examples of networking leeches that were shared by friends.
A girl I met at a party immediately demanded to know the address and contact information of my employer as soon as she found out I was working. I did not even know her.
Then there was the guy who pumped me for information very pointedly every time he saw me and constantly e-mailed me seeking job leads.
Thursday, September 10, 2009
Tuesday, August 18, 2009
Thursday, August 13, 2009
For more information head to http://irongiantproject.blogspot.com/
Monday, August 3, 2009
Monday, July 27, 2009
Monday, July 13, 2009
Thursday, March 26, 2009
Here is my progress reel until now, it includes Class 2, 1 and Maya Springboard with 3 awesome mentors (Mike Walling, Chad Sellers and Chris Caufield)...
I had so much fun in this Class and also got to know closer some new amazing people!