The word is ANIMATION , not ANIMATIONS

Online I notice a lot of confusion and imprecision of terminology when discussing traditional hand drawn animation , so I thought it would be useful to post a reference document with a glossary of commonly used terms .

Click here to access Traditional Animation Glossary of Terms

First, let’s define Animation:

Animation - ( *never “Animations”) - - The act, process, or result of imparting life, interest, spirit, motion, or activity. - The quality or condition of being alive, active, spirited, or vigorous. - The art or process of preparing animated cartoons. - An animated cartoon : A series of drawings that bring inanimate objects and characters to life.

*Animation is an “uncountable noun” , therefore it does not have an extra “s” added for “Animations”. Unlike countable nouns, uncountable nouns are substances, concepts, etc. that we cannot divide into separate elements. We cannot "count" them. For example, we cannot count "milk". We can count "bottles of milk" or "litres of milk", but we cannot count "milk" itself , so for example , we do not speak of “bottles of milks” . Or another example is "music" ... we don't speak of "musics" . Neither would we speak of "animations" , but rather animation.

For professional animators trained in the traditional animation discipline hearing the term "Animations" is like fingernails on a chalkboard.

My friend and colleague, storyboard artist and animator Eddie Pittman also addressed this on his Substack recently.  Eddie wrote: 

In the animation world—at least the one I grew up in, back when we carved our drawings on stone walls and ran around with flickering torches to watch them move—the word “animation” is a mass noun (or so says grammar experts). Like the words “furniture”, “software”, or “music.”

I mean, you wouldn’t say: “I listened to some musics today.” You would say: “I listened to music.”

In the same way, you don’t traditionally say: “I make animations.” You say: “I make animation.”

So when I hear someone say: “I love Pixar’s animations,” that’s nails-on-a-chalkboard wrong. Why does it bother me so much? Animation isn’t a product—like a collection of little wiggly things you can count like…wiggly things. It’s a discipline. A craft. A performance. It’s acting. It’s dance. Built one painstaking drawing at a time.

When I started in animation, back in the 90s—long before GIFs, social media, and those motion UI widgets that make websites (and the viewer) feel like they’re having mild seizures—animation meant more than interchangeable widgets that wiggle. It was, as Frank and Ollie told us, the illusion of life.

And it was singular. Always singular.

https://eddiepittman.substack.com/p/a-small-grammatical-hill-i-will-cheerfully

 

Eric Goldberg animating at the Richard Williams Studio

 UPDATE:  I found it.  It's posted here on this wonderful animation resource page by Daniel Aguirre Hansell:

https://emeraldtoneanimation.weebly.com/vintage-stuff.html

It is from a magazine called The Movie: Illustrated History of Cinema ,No. 33 ,1980.

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Master animator Eric Goldberg animating a commercial at the Richard Williams Animation Studio, circa 1980.

I used to own a copy of the British film magazine this image appeared in (it was an article about the Richard Williams studio) ,but I've lost it over the years or it's buried in one of my boxes of animation "schtuff" from days gone by. If anyone who sees this happens to have a copy of the magazine, please scan the article at high-res. and post it. I'd love to see it again. The entire article is now posted below, courtesy of Daniel Aguirre Hansell.

Animator Eric Goldberg at his animation desk Richard Williams Studio early 1980's

Click on the images to open in another tab to view larger.

Hand Drawn Animation is not "2D" animation

Before the mid-to -late 1990's I never heard anyone refer to hand drawn animation as "2D" .  In fact , most of us were endeavoring to draw our characters with solid construction so the illusion of the character existing in 3-dimensional space was convincing.  

In traditional hand drawn animation it's all about making the drawings look dimensional , as if these characters exist in real space.  They're not "2D" characters existing on a flat plane.   We draw characters with 3D shapes, not 2D shapes: Cubes , Spheres, Cones, Cylinders , not  squares, circles, triangles, rectangles.

What is "2D" about this kind of thinking ?  -- 

These drawings by Preston Blair reminded me of why we didn't ever think of our work as "2D".   I still do not like the term "2D animation".   I prefer the term hand drawn animation or traditional animation.

I'm reminded of Gene Deitch's video from 2009 where he discussed this at length. 

The speech was called "Quo Vadis Animation?"

Gene Deitch:

“The core of my speech is a pitch for the survival and eventual return to primary favor of “drawn animation.” (Don’t provoke me by mentioning the term “2D” in my presence!)

“I am here to raise a cheer for what I prefer to call Drawn Animation. We who have been raised on the tradition of animated drawings, attempting create what Frank Thomas and Ollie Johnston called, “The Illusion of Life,” have been more and more pushed aside and given the demeaning title of “2D” animators.   I am quick to remind you that anything projected onto a flat movie screen is essentially 2D. It’s a meaningless term. I repeat that the entire world of graphic art, every drawn or painted style can be animated in any fanciful way, which in turn would lead to the widest range of storytelling and endless visual variety.”

The entire speech is on Cartoon Brew in written form:

https://www.cartoonbrew.com/ideas-commentary/gene-deitch-quo-vadis-animation-18033.html

Unfortunately the video of Gene delivering this talk is no longer available to view on Cartoon Brew.  It's marked on Cartoon Brew as a "private video" . That's a shame , because it is worth revisiting , or watching for the first time if you've never seen it. 

Fortunately some kind soul re-posted the video here:

https://www.youtube.com/watch?v=sxo5xxcBwkc

Inbetweening for Traditional Hand Drawn Animation

INBETWEENING is an essential skill .  Good inbetweens make the animation flow smoothly , but bad inbetweens can kill a scene.

Here is a playlist of 7 videos I've found on YouTube which cover how to do inbetweening . 

A lot of the so called "tutorials" on inbetweening found on YouTube are actually pretty bad , but these tutorials are good ones . The first six cover inbetweening . The seventh tutorial , titled "Animation Drawing Clean-up", is more of a "digital inking" tutorial , since it doesn't really cover cleaning-up sequential animation drawings (dealing with issues of maintaining consistency of volume and line weight from drawing to drawing) , but it's a good tutorial on how to approach cleaning-up a rough drawing .

http://youtu.be/U2H6tTLEITA?list=PLpyXxVvCbmX8LAj6PTnQpA5mNwfwV17Zb

The fifth video in the playlist is an excerpt from a longer DVD tutorial by Scott Petersen.   I'd recommend purchasing the full set of DVD lessons from Scott -

http://www.goldenstreetanimation.com/#!animation--drawing-training-dvds/c6he

For those of you using the program TVPaint Animation here's a print tutorial I put together on inbetweening in TVPaint :

Inbetweening in TVPaint (click link to view)

The Animation Meat site has a good tutorial called "10 Steps To A Perfect Inbetween".

Also see this tutorial called "Clean Up Hints" .




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Justin Murphy to produce independent animated feature film

Animator/director Justin Murphy is in the process of developing an independently produced animated feature film called "Dawgtown" .

Justin originally developed "Dawgtown" as his MFA thesis project at Academy of Art University.

The animation in Dawgtown will be traditional, hand drawn animation, but will be produced digitally with TVPaint Animation , with Background art in Adobe Photoshop , and also some CG elements (vehicles and props) .

Kickstarter page: http://kck.st/1fk6Bgs

Facebook page for the movie: https://www.facebook.com/DawgtownTheMovie


 

Dawgtown is the story of a young Pitbull named Max who is taken from his owner and thrown into the brutal world of underground dog fighting. As a competitor in the most well-funded pit-fighting organization in the world, he becomes a sign of hope to the others, and must lead them in a dangerous fight for freedom. It’s Gladiator meets Animal Farm. “I’ve been researching this subject for years,” says director Justin Murphy, “and talking with various rescue organizations. In order to protect their anonymity, I cannot name them, but they’ve been involved in some high-profile rescues, including busting up Michael Vick’s operation.” Refreshing about Dawgtown is that it is being produced in the style and technique of traditional hand-drawn animation, which audiences are seeing less and less of these days with the proliferation of CG. “This is indie filmmaking,” Murphy continues, “it’s done all the time with live action, why can’t it be done with animation? We have the talent on board, and the technology makes it affordable now. This is PG-13 material, and it deals with socially relevant issues about animal cruelty and the abuse of power.” The filmmakers are seeking to raise the $75,000 in pre-production money through Kickstarter. This will enable them to hire the actors needed for the voiceover (one of which includes an internationally known talent) and complete the storyboards for the entire film. The project runs from September 20 - October 20. A portion of this fundraising effort will go towards Pitbull rescue organization efforts.

Michel Gagne's Secret Production Blog for "The Saga of Rex"

Michel Gagne is making an animated film based on his graphic novel , “The Saga of Rex” .   He is funding the film through Kickstarter.

http://www.kickstarter.com/projects/michelgagne/the-saga-of-rex-the-animated-film-project

Anyone who makes a contribution of $20 or more will gain access to The Secret Production Blog on the making-of the film

Michel writes:

“I will use the Secret Production Blog to share what I learn, divulge my tricks and give a real insight into my process. I want to make this a great tool for animation students to see how I do things—sort of "a crash course in making a classically animated film". Hopefully, potential creators will be inspired to put that knowledge to use in their own future productions... and by the same token, help keep the art of 2D animation alive. I'm going to be learning a lot myself and sharing will make it all the more worthwhile.

If you know of any animation/art schools, students, or enthusiasts that would be interested in getting a real behind the scene look at this endeavor, please let them know and pass the link around. Once again, thank you all for your support!”

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Poe Project on IndieGoGo - Michael Sporn Animation

 UPDATE #2 , May 26, 2012  -   Well, the IndieGoGo site shows that  POE didn't quite reach the funding goal of $13,000, but it got close.    Good luck to Michael Sporn as he continues to press forward with this independent animated feature. 

*However, this just in from Michael Sporn:

http://www.michaelspornanimation.com/splog/?p=3024

"The amount shown on PayPal doesn’t reach the $13,000 goal requested, just $12,225. But several people had difficulty with PayPal and asked to just send me the money directly. With that additional $1450, we’ve definitely reached and passed the goal, and I couldn’t be happier:  $13,675."

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UPDATE #1 , May 25, 2012 -  as of this writing only 8 hours to go.   The POE project is at $12,175 ,  just $825  short of the goal of $13,000.    That's doable if only 55 people give the minimum of $15.00 each.    42 people could put them over the top with $20.00 each. 

I just donated to this project and I recommend my readers consider it.

More information in the video and at this link:

The Poe Project on Kickstarter    IndieGoGo

"The Animatic, above, is a rough representation of animation in progress. It helps us tell the story. We hope to turn the many segments started into completed animation to be able to thrust the feature film, POE, into complete production. The  money raised through Kickstarter IndieGoGo will do that for us and help satisfy the needs of the possible distributors and financiers who are already interested."

Director Michael Sporn has worked in animation since the early 1970's , first working with other notable Directors such as John Hubley and Richard Williams , and then running his own studio since the late 1970's . He also has one of the premier animation blogs which I highly recommend you bookmark and check frequently if you don't already have it:

Michael Sporn's Splog

A new Animation Pencil Test capture station: SIMPLICITY CAM 5e HD DOCUMENT SCANNER

As seen on the TVPaint Community User Forum :

This relatively new image capture station , the Simplicity Cam 5e HD Document Scanner by Recordex-USA may be of interest to online students who are looking to purchase an image capture station or scanner for digitizing their animation drawings --

This unit is compatible with both Windows and Mac OS .

Capture resolution up to 2560 x 1944 (which is actually higher than Academy Full Aperture 2K Film res. of 2048 x 1556).

Manual control of White Balance and Exposure.

Max. capture area of 12.75" x 17.25" (so this will capture the usable drawing area on 12 Field [12"w x 9"h ] and 16 Field [16" w x 12.75" h] animation paper.)

Image capture is much faster than scanning on a Flatbed scanner , but the capture resolution of the Simplicity Cam 5e is equivalent to using a scanner and the resolution is much higher than most webcams or mini-dv cameras that are typically used for pencil testing on a down-shooter.


Confirmed to work with TVPaint Animation running under Windows and Mac OS. (potentially works with any other pencil test software such as Digicel Flipbook, or Toki Line Test, or ToonBoom Pencil Check. But check with the Tech Support Dept. of the software you are using to be sure it meets the specifications for capturing images into your software)

NOTE: You'll need to add a peg bar and the base of the unit will need to be bolted down to a table top or a board so it can't be knocked over or jarred out of position (the base is weighted, but it needs to be completely locked down for animation) . 

This reseller has it listed for $178.00 (price visible if you add it to the cart) -   http://www.provantage.com/recordex-sc5e~7RCDX005.htm

Lists for $199.00 from this reseller: http://www.fullcompass.com/product/403224.html

More information about this image capture station can be found HERE:

http://animation-studio-stuff.blogspot.com/2011/12/new-animation-pencil-test-capture.html


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The Lion King roars again

To mark the special occasion of the re-release of "The Lion King" to theaters (in "3D" ) master animator Andreas Deja has posted some pencil tests of his wonderful animation of Scar from "The Lion King" :

I have to say as someone who worked on this film back in 1993- '94 I'm feeling a bit of pride (pun intended) in the fact that The Lion King  was the #1 Film at the Box-office in the U.S.A over this past weekend . It took in close to $30 million dollars (which is nearly twice what industry analysts had projected) .

If you haven't seen it yet go see it now while you have the opportunity to see it on the Big Screen (as it was intended to be seen !).    It's actually playing in some theaters in conventional "flat/2D" projection, so if 3D projection is not your thing you can see it in it's original form.



So now the debate starts: Is it successful because it is "3D-ized 2D" film and the only way for hand-drawn animation to succeed in a big way at the box-office it to jump on the 3D bandwagon, or does common sense tell us that it is successful because a compelling, well told story with appealing characters and top knotch animation will always be a success whether it's done in hand-drawn , computer, or stop-motion ? (I say the latter is the rule , despite some notable exceptions that should have been hits, but were not , like The Iron Giant).


While I think the 3D conversion was done well for the most part and it didn't hurt the original animation overall ,  I think Jerry Beck of Cartoon Brew summed up the 3D conversion of The Lion King best:

“Is this trip really necessary”?  No.   3-D adds nothing new to the greatness of Disney’s Lion King.

But anything that returns hand drawn animation to the big screen, and to the attention of the public, is a good thing.  [bold emphasis added by me -DN]

At various times during both screenings I kept thinking how fantastic a new drawn film, designed and shot for 3-D, would be. I hope the public, and the animation community, will one day have a chance to find out."

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*UPDATE: Andreas Deja has posted even more of his Scar animation and some drawings on his blog: http://andreasdeja.blogspot.com/2011/09/more-scar.html

Where are all the Traditional Hand Drawn Animated films ? (and why study traditional animation?)

When people make the claim: "There are no traditional animation jobs" or "2D is dead" you should realize that what they mostly mean is that the model of big-budget feature length 2D Animation that flourished for a time in the U.S. film industry from roughly 1985 - 1999 and then finally crashed and burned in the years between 2000 - 2003 (for a variety of reasons, both economic and artistic, too complicated to go into here) is no longer viable.

Yes, perhaps that particular model of traditional animation production is "dead" (or maybe "just resting, pining for the fjords") and is not likely to come back the way it was in the 1990's. There will continue to be hand-drawn animated features , but those will probably be for a niche market , smaller indie films, not necessarily major feature animated films like 'Beauty & the Beast' , 'Aladdin', 'The Lion King' , or even slightly smaller scale films like 'Lilo & Stitch'. It's possible that there could be a break-out hand drawn animated hit again on that scale , but it doesn't seem likely, at least not in the short run. (but never say never ... things couldn't have been much more "dead" than in 1985 - '86 when a couple of films came out that I think changed everything: The Great Mouse Detective and An American Tail . Momentum picked up after those , leading to Who Framed Roger Rabbit, The Little Mermaid and beyond ...)

BUT that is not the only viable model of traditional hand-drawn animation production , and it never was the norm. Hand-drawn animation doesn't need to be "saved" or make a "comeback" , because it never really went away. I think there will continue to be smaller scale feature films like "The Secret of Kells" or "The Illusionist" , as well as more truly independent micro productions (one-person , creator driven features or features made by a very small crew) such as "My Dog Tulip" , "Sita Sings the Blues" , "Idiots & Angels" and Nick Cross's forthcoming "Black Sunrise"



There is so much hand-drawn animation still being done for advertisements , short films, games, and web applications (including iPhone/iPad and other tablet apps). And whether it's drawn with pencil on paper or using a Cintiq tablet in an app like TVP Animation , the traditional drawing-based skill sets are still essential to telling a story through images.

Here are a few projects I've seen recently which remind me of how hand-drawn animation is being used in the real world outside of mainstream "Hollywood" features:

Story Corps latest oral history animated piece , "Miss Devine" :



Clever animated advertisements animated by Jason Doll :







Music video animated by Anthony F. Schepperd for Blockhead's 'The Music Scene'.

"The Music Scene" from Anthony Francisco Schepperd on Vimeo.

TIJI Television Network "Colours" :



These are just a few randomly chosen examples from among many. IF you can think beyond "When I graduate I've got to go to work at a giant studio like Disney/Pixar/Dreamworks/BlueSky/CartoonNetwork/Nickelodeon " [not that there's anything wrong with that] you can find a world of opportunity out there for animation. (in particular the hand-drawn variety) .

CTN Expo - Behind the Scenes with Independent Filmmaker Mike Nguyen

Here is another inspiring video from a presentation given at the CTN Animation Expo .

If you haven't attended CTN Expo before it is highly recommended . CTN is only 3 years old , but has THE place to be for people interested in character animation.  This year's CTN Expo will be Nov. 18 - 20, in Burbank, CA.

Animator/director Mike Nguyen has been working on the independent animated feature film "My Little World" for many years now (working on it part-time between other jobs).  


Mike Nguyen primary interest is the hand-drawn animation film making medium and aims to reflect beautiful thoughts toward this life on Earth.

Mike received his BFA in Character Animation at the California Institute of the Arts in 1988. Since then, he has worked primarily in the feature animation industry as a Character Animator in various studios, including Walt Disney, Warner Bros., and DreamWorks Animation.

For more about Mike please visit : http://www.ctnanimationexpo.com/mike-nguyen/


Mike's blog "Rainplace" is one of the best animation blogs on the web.   Mike discusses the "how to" of animation in great depth, but also the "why" of animation , with a very creative/spiritual emphasis, using examples from his own work.

As in this post on "Rough Pass as Thumbnailing" where he discusses taking animation from a first rough pass to a "tied down" version of the roughs :

All Images Copyright Mike Nguyen/July Films. Go to his blog , "Rainplace" to see many more examples like this. 

THE RABBI'S CAT - LE CHAT DU RABBIN - animated feature film

Another hand-drawn feature length animated film from France ! LE CHAT DU RABBIN .  I'll say it again:  thank goodness the French did not get the silly memo (or they ripped it up)  from Hollywood that decreed "2D is dead".

Trailer for THE RABBI'S CAT  -


THE RABBI'S CAT - LE CHAT DU RABBIN - TRAILER from Banjo Studio on Vimeo.



There are several "Making of..." videos on Vimeo:


Making of Le Chat du Rabbin - Banjo - from Banjo Studio on Vimeo.

The film (directed by Joann Sfar  and Antoine Delesvaux) is adapted from the graphic novel by Joann Sfar . 

The studio Autochenille Production was launched in 2007 by Joann Sfar, Antoine Delesvaux and Clément Oubrerie with the aim to make "author-driven, challenging films to appeal to children and adults.".

The Rabbi's Cat was the company's first project. The production was made in collaboration with TF1 and France 3. It was pre-bought by Canal+ and CineCinéma and had a budget of 12.5 million euro. (17.5 million U.S. dollars)

One of the directors' sources of inspiration was American animation from the 1930s, and in particular from the Fleischer Studios, which Sfar described as characterized by multi-ethnical production crews and for portraying darker aspects of society, in cartoons such as Betty Boop and Popeye.    In order to generate more personality for the drawn characters in The Rabbi's Cat, some of the scenes were staged in a Parisian suburb loft in the summer of 2008, with props and the cast fully costumed. As the actors performed and invented their characters' personal motion habits, the design team observed closely and drew what they picked up.

More making-of videos here:

http://vimeo.com/user6584121/videos

New animated feature film: "Moon Man"

Cartoon Saloon studio in Ireland -- makers of The Secret of Kells -- is starting a new hand-drawn animated feature based on the book "Moon Man" by Tomi Ungerer . ( http://www.tomiungerer.com/work/books/moon-man/) . The film is a co-production with Le Pacte Film .

http://www.iftn.ie/news/?act1=record&only=1&aid=73&rid=4283672&tpl=archnews&force=1

In March 2011 Cartoon Saloon started co-production on a new animated feature film version of ‘Moon Man’.   Based on the best selling book by Tomi Ungerer, the feature will be directed by Stephan Schesch. The group is also currently working on a pilot for Disney

‘Moon Man’ will be produced by Stefan Schesch , Le Pacte Film’s Jean Labadie (Himalaya) and Cartoon Saloon’s Ross Murray (Old Fangs) and Paul Young (The Secret of Kells). Irish animators who will work on the project are Cartoon Saloon’s Fabian Erlinghauser (The Secret of Kells), Sean McCarron (Song of the Sea) and Marie Thorhauge (Old Fangs). 

Cartoon Saloon is also working on another new hand-drawn feature film "Song of the Sea" , directed by Tomm Moore (who directed "The Secret of Kells").

"IMPERFECTION" IN ANIMATION is a good thing

Good article:


IMPERFECTION IN ANIMATION by Tom Gasek -
http://www.stopmotionworks.com/articles/imperftanim.htm


Written with reference mainly to traditional stop-motion animation vs. CG ,  but the points are equally valid for hand-drawn vs. CG.


In the constant push to learn new software there develops this illusion in many beginning student's minds that the software is what will really do it for them,  that's what is really important.   They lose sight of animation as an expressive art , that shows the hand of the artist.


(click the image to see image larger)

(*some might say that the high-standard set by animators like Milt Kahl, is "perfection" in animation ,  but it's a skillful illusion-of-perfection, the "illusion of life"  , not a slavish reproduction of realism , because there is enough artistic license and graphic "cheats" in these drawings to keep them from looking too perfect, too realistic.   The human hand of the artist is evident.  There is a warmth and appeal to the drawings that we respond to as humans.)

This is in no way to denigrate the skill level it takes to do appealing, warm CG animation.   If anything the CG animator has the greater task to avoid having the animation look "too perfect".

Inspiration: Master Animators At Work - SYLVAIN CHOMET

In this excerpt from the BBC series "The Secret of Drawing" (2006) director Sylvain Chomet (The Triplets of Belleville  and  L'Illusionniste ) demonstrates his approach to drawing for animation.  The work shown is an early test scene from "The Illusionist"  (released 2010) .  

The entire episode is available here: http://vimeo.com/12397782

 Drawings from "The Illusionist"

Pencil Tests from "The Illusionist"  

Tahsin Özgür - Pencil Tests

I'm grateful to  C. Siemens on the Don Bluth Animation Forum for directing my attention to this remarkable collection of pencil tests by animator Tahsin Özgür.

Here's a sampling:

"For a while my wife, Lale, had a company through which I did some of the best of my animation work. This "animated logo" was meant for that company, but by the time I was finished with the cleanup, she had already closed it down! The model is Lale, of course!"

Here is a short film prepared as part of an exhibition of animation at the Apel Gallery in Istanbul. The format is a "silent movie". Starting around the 00:35 mark it has an amusing "day in the life of an animator" sequence , in which you get a glimpse into Tahsin Özgür's animation work process (continuing my recent theme of posting videos of Master Animator's At Work) , with bits of his animation interspersed with scenes of him drawing at his animation table -

This was prepared for an exhibition at the Apel gallery in Istanbul in 2001. 

More pencil tests by Tahsin Özgür here:

http://vimeo.com/user3233558/videos

Tahsin Özgür's blog




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"L'Illusionniste" an animated film by Sylvain Chomet

Last year I made several posts about Sylvain Chomet's new animated feature , The Illlusionist  ("L'Illusionniste") .    
Time to mention it again. 


Now that the film has received an Academy Award nomination as "Best Animated Feature Film"  and is in a somewhat wider release pattern I wanted to post the release schedule from Sony Classics.   Here is where the film is currently playing or will be opening soon:

http://www.sonyclassics.com/theillusionist/dates.html

If the film is playing in your city or close-by I highly recommend you see this sumptuously animated film.  Especially if classical hand-drawn animation is something you are passionate about then you  owe it to yourself to see and support this beautiful, poignant film on the big screen.

Here is the North American Trailer -

(I suggest that you switch the video settings to HD , watch full-screen).  

 Here is some artwork from the film:

Production Drawings & Backgrounds from The Illusionist


Pencil Tests from The Illusionist

Excellent review of the film by Mark Mayerson:

"The Illusionist" a review by Mark Mayerson

Roger Ebert's review:

"The Illusionist"  reviewed by Roger Ebert

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The North American (Sony Classics) website for the film:

http://www.sonyclassics.com/theillusionist/

The French (Pathé) website for the film :

http://www.lillusionniste-lefilm.com/#/home

Sylvain Chomet at the animation table -

NOCTURNA [English] Part 1 of 8

Part 1 of 8 . See it while you can.

"The Monkey and the Elephant" by Boris Maras

The Monkey and the Elephant by Boris Maras, Sheridan College 2010.

He animated this in 2 months.




From Boris Maras's blog:

"Keeping my film rough was a big decision. Amanda and I were both considering cleaning up and colouring our films, but we would have had to rush the animation so much and we really wanted to learn as much as we could about animation. Keeping them this way, I think we learned a lot about our limits and we have a way better idea for how approach a short film now.
The idea for my film was pretty different up until February, the characters were pretty much the same but the situation they were in was different. It was risky because I had to throw away the animation I had already done and around 25-30 layouts, but I think I made the right decision for what I want to pursue.

I started animating around the middle of February and animated up until our deadline of April 19th. It was the craziest 2 months of my life but I'm really happy with the amount that I learned during the process of making my film and hope I can make another one soon."

2010 Annecy shorts from the Gobelins School

http://www.gobelins.fr/galerie/animation/

Another great crop of student films from the Gobelins School in Paris , made for the 2010 Annecy Animation Festival . All are 1:00 minute or less . Shows that you can do a lot in one minute !

I love the fact that besides the solid animation and design work that these films put a great deal of emphasis on the cinematography . These films are built on a solid foundation of classical animation, but with a modern sensibility in terms of the camera work.