Carl Beu

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What is your name and your current occupation?
My name is Carl Beu, and I’m a background painter on Motorcity!
What are some of the crazier jobs you had before getting into animation?
I drew portraits at events and theme parks for a few years. You never knew who you were gonna draw, or what their expectations were. I drew everyone from biker gangs & 90 year-old grannies to Punk rockers and screaming babies.
What are some of your favorite projects you’re proud to have been a part of?
I’ve been fortunate enough to have worked with an absolutely amazing crew on every animation project I’ve been on so far, but Motorcity in particular has been pushing the bar very high. It’s exciting to be on such an ambitious show!

How did you become interested in animation?
When I was in high school, I attended the CSSSA summer program for animation at Cal arts. That experience, and the Continue reading

Dan Schier

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What is your name and your current occupation?
Dan Schier, working at Nickelodeon as a character designer.
What are some of the crazier jobs you had before getting into animation?
The earliest jobs I had as a kid were the craziest. My best friend and I waded through crayfish infested lakes, retrieved and resold golf balls in stealthy, makeshift wholesale locations. We did alright for kids, and it was tax free! My first official job was a paper boy. The crazy part is that I was loosing money because customers hid from me when I attempted to collect, or didn’t pay me on time. So I had to cover them adults at age 16. Bye, bye golf ball money. First artistic job was at Disneyland doing caricatures and portraits in New Orleans Square spring/summer of ’97. It was fun to have a license to stare at pretty girls.

 

What are some of your favorite projects you’re proud to have been a part of?
I guess I’m proud of and enjoyed each project on different levels. Working on Dora makes me feel good because it’s a very well intentioned show that aims to teach kids instead of the opposite. My first job on Disney’s “Atlantis” is probably a favorite. I was still idealistic at that point. It’s also when I first met my wife who worked in Backgrounds. Our crew was a lot of fun and we were working on the main character, Milo. I remember when I first started and was looking at development art and inspirational art from things like 101 Dalmatians I felt like I had arrived, and was so excited about the prospects I had fantasized about.

How did you become interested in animation?
I always drew and loved watching cartoons-particulary Looney Toons and Disney, and some Hanna Barbera…actually, I liked anything that was good and entertaining. I basically gravitated toward Continue reading

How Pixar creative genius John Lasseter became the next Walt Disney and built a $10 billion empire

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Business Insider has an article up about how Pixar creative genius John Lasseter became the next Walt Disney and built a $10 billion empire.

No studio can match the creativity, heart, and cleverness found in all Pixar films, and it seems those principles can be traced back to Lasseter

“You want the movies to touch people,” Lasseter said in an interview for Pixar’s 30th anniversary this year. “Make ’em funny, make ’em beautiful, make ’em scary, but in the end you want that heart of the movie to be so strong.”

Lasseter’s and Pixar’s success are linked. He cofounded the animation studio that has now made nearly $10 billion worldwide. He championed computer animation at a time when the technology was still quite infantile. He created and directed “Toy Story,” which started it all (more than 250 computer-animated films have been made since). He kept asking questions that resulted in better animation all around and better Pixar films.

Corey McDaniel

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What is your name and your current occupation?
Corey McDaniel – Lead Animator at Titmouse in Vancouver.

What are some of the crazier jobs you had before getting into animation?
I used to work at a seafood restaurant on the weekends around my senior year in high school. Because of this, I do not eat seafood any more. I also interned at a training facility for a Honda manufacturing plant while taking some college classes. Because of this, I do not eat Hondas any more.

What are some of your favorite projects you’re proud to have been a part of?
I got to work on an original series called Gundarr with my buddy Ted Wilson for a couple years, funded by Mondo Media. It was a total blast. We basically got paid to write, animate & voice whatever we wanted. I’m also super excited to be animating on Breadwinners for Titmouse. I love cartoons that aren’t ashamed of the fact that they’re cartoons, & Breadwinners definitely fits that mold. I’m currently working with two talented British chaps on a game I came up with called Cloudface. Together we form the unstoppable team FUTUREBEARD. Making a game is hard work, but it’s been very eye opening and super fun!

Where are you from and how did you get into the animation business?
My dad was in the ARMY, so I grew up Texas, Colorado, Germany & Alabama. I went to JSU in Alabama for 4 years & got out of there with a BFA in Graphic Design, but I didn’t want to live in Alabama, so I started hunting around for animation schools. My first try was Cal-Arts, but Continue reading

Learning Animation 2016

2000px-Animation_disc.svgWant to learn how to be an animator? In 2016 it’s not as hard as it once was. Years ago, you needed pencils, xerox machines, white out, pencil sharperers, X-Acto blades, tape, animation cels, animation paper, cel paint oh yes and an Oxberry camera! Never mind that there were not many animation school options to choose from. Fear not however, as the digital age is here to help you and thousands of tutorials are available allowing you to learn quite a bit about animation and the various techniques out there. there are also many digital options open to the animator in 2016 allowing you to cast away all those costly supplies once needed.

Schools
In the US there are many solid animations schools to choose from but in my opinion the best of them is Cal Arts here in Los Angeles mostly for the connections it has to the studios. Pixar, Disney and DreamWorks all harvest students from there yearly. There are many others around the country as well such as The School of Visual Arts in New York City and Full Sail in Florida. In Paris, Goeblins seems to produce some fantastic animators and I drool over the shorts their students make yearly. I personally went to a small school called the Joe Kubert School located in New Jersey which is also a good solid place to learn. A decent list of animation schools can be found on AWN and while it can be daunting because there’s so much, it’s a good place to start. I believe most of art school is what you choose to put into it and the plain old ‘pencil mileage’ that you put into your craft anyway so the school does’t matter as much to a focused student.

But what if you can’t relocate or don’t have money to go to a school? There are still options open to you to pursue. One is Animation Mentor.com which will allow you to learn remotely and is run by well respected animators and artists. If you can’t afford that, I would suggest simply studying animation frame by frame and copying what you see. While Youtube doesn’t do frame by frame you can easily download stuff and watch it with Quicktime. DVDs work as well.

Traditional Animation
Of course the old school way of tradition paper and pencil is still a viable way to learn but it’s getting harder and harder to finds supplies. Animation paper and peg bars can be purchased at Cartoon Color and other places around the web and you can film your scenes frame by frame but you’ll still need a computer to digitally put them together. An excellent free option is Monkey Jam which turns your webcam into a pencil test system. You could also use as digital camera and film your scene frame by frame but that’s not the best approach. Honestly most studios expect you to understand how to animate digitally so you’re going to have to learn this eventually.

Hardware
Most gaming PCs are powerful enough to produce animation both 2D and 3d, and even iMacs and Mac Books can do it. Most studios use Wacom Cintiqs to draw with but they’re mega expensive and not for everyone. There are also cheaper knockoffs of Cintiqs such as Yiyinova, Bosto Kingtee and X-Pen but you get what you pay for and they are not as good as Wacom’s flagship offering.Fortunately there are some cheap options out there to help you. Many studios use Pen tablets such as Wacom’s Intuos line which allow you to draw on a pad and look at your monitor. They’re not for everyone and I’ve never been able to effectively use one well but many people do amazing things with them. Another cheap option is purchasing a Motion Computing LE 1700 for a few hundred bucks and installing Sketchbook Pro which has a timeline that you can animate with.

Software
Software-wise, there are a number of free options out there such as Plastic Animation Paper and Pencil. If you have deep pockets, you can’t go wrong with Toon Boom Harmony which is used by Disney, Starburns Industries, Bentobox and many other studios to produce 2d animation. Toon Boom even offers a subscription so you can pay as you go. Finally you can also subscribe to Adobe Animate and while it’s not the greatest to draw with, there are many studios currently using the software to produce network TV such as Titmouse and Renegade Animation. Globally there is Mukpuddy, and Boulder Media.

If you’re into 3d animation it’s hard to go on the cheap but Autodesk now offers subscriptions for it’s Maya, and 3D Studio Max softwares so you can sign up with them and pay monthly. In contrast Blender is a solid 3d animation program and it’s free but most studios use the Autodesk software so you’re eventually going to have to learn their interfaces somehow.

All in all there are many options open to an artist seeking to learn animation in 2016 and so you have less and less excuses to not pursue your dreams, so stop reading this and get out there! (and don’t forget to come back and do an interview for us once you’re established!)

Frans Vischer

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What is your name and your current occupation?
Frans Vischer. I am an animator at Walt Disney Feature Animation.  I am also an author/illustrator. I have two children’s books published, Fuddles and Jimmy Dabble, and another book being published next year.

What are some of the crazier jobs you had before getting into animation?
In high school I did weekend janitorial work at a Montessori school, and I was a lousy busboy at a Mexican restaurant, spilling trays and breaking lots of plates. I delivered pizza for a single night after my 2nd year at Cal Arts, (when thankfully an animation job came through.)

 

What are some of your favorite projects you’re proud to have been a part of?
“Who Framed Roger Rabbit?” “Cats Don’t Dance” “Back To Neverland,” “Back to Neverland” “Michael and Mickey” “The Night of the Living Duck,” (a Daffy Duck short.)

 

How did you become interested in animation?
When I was thirteen, my mother sent some of my drawings to the Disney studio. Don Duckwall, the aptly named animation department production manager, wrote back inviting us to visit the studio whenever we were in the area. We lived in Cupertino, in Northern California, and the following summer we vacationed in Southern California, and made part of our plans to visit the Disney studio in Burbank. I met Mr. Duckwall, as well as Ed Hansen, who would succeed him in the job, (and later become my boss.) I also met a number of animators, who inspired me to make my own animated films. My parents bought me a used 8 mm. camera, and my dad built a light box with a set of pegs, and I jumped right in and started experimenting.

Where are you from and how did you get into the animation business?
I was born in Rotterdam, The Netherlands. When I was eleven, my family moved to the United Sates. During high school I met Chuck Jones at a talk he gave at a junior college. I wanted to show him one of my Continue reading