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  • 23 Jan 2017
    At the moment, I've been reading Ed Catmull's book Creativity Inc. and I have been enjoying it very much. Here I am copying 7 core principles from Pixar that have helped them shape a creative culture with the work they do. I think it is something never much discussed in most studios how to creative a positive environment for its employees and this book is an essential read in bettering your own self-improvement.   For nearly twenty years, Pixar has dominated its industry, producing fourteen consecutive #1 box office hits, garnering 30 Academy Awards®, and generating $8.3 billion in worldwide ticket sales. The quality of Pixar’s product is obviously unparalleled. But how did a small hardware company struggling to stay afloat turn into the creative powerhouse it is today? The essential ingredient in the studio’s success is the unique environment that Pixar’s president and co-founder Ed Catmull and his colleagues have built. Based on philosophies that protect the creative process and defy convention, these principles should be at the heart of any work environment that strives for originality, fosters problem-solving, and pushes its employees to new heights. Here are 7 of his core principles:   1 Quality is the best business plan. Quality is not a consequence of following some prescribed set of behaviors. It is a mindset you must have before you decide what you are setting out to do. You can say you are going to be a company that never settles, but saying it isn’t enough: You must live and breathe it.   2 Failure isn’t a necessary evil. It’s a necessary consequence of doing something great. Uncouple fear and failure. Making mistakes should never strike fear into employees’ hearts. When it comes to creative endeavors, a goal of zero failure is worse than useless. It is counterproductive. The truth is, the cost of preventing errors is often far greater than the cost of fixing them.   3 People are more important than ideas. When hiring, give an applicant’s potential to grow more weight than her current skill level. What she will be capable of tomorrow is much more important than what she can do today. Why? Because if you give a good idea to a mediocre team, they will screw it up. But give a mediocre idea to a great team, they will either fix it or come up with something better. That’s why people matter.   4 Prepare for the unknown. Unforeseen, random events happen. And when they do, don’t waste time playing the blame game. To think one can control or prevent problems or guard against randomness by making an example of someone is naïve and wrongheaded. Instead, empower employees at every level to own the problems and give them the freedom to fix them without asking permission.   5 Do not confuse the process with the goal. Making the process easier, better, faster, and cheaper is something we should continually work on—but it is NOT the goal. Making something great is the goal.   6 Everybody should be able to talk to anybody. Communication structures should never mirror organizational structure. A chain of command is essential, but making sure that everything happens in the “right” order and through the “proper” channels is not efficient.   7 Give good notes. Truly candid feedback is the only way to ensure excellence. When giving notes, be sure to include: A good note is specific. A good note does not make demands. Most of all, a good note inspires.   Reference Ed Catmull. (2014) Creativity Inc. Available from: http://www.creativityincbook.com/7-core-principles/
    247 Posted by Tyrone Owens
  • At the moment, I've been reading Ed Catmull's book Creativity Inc. and I have been enjoying it very much. Here I am copying 7 core principles from Pixar that have helped them shape a creative culture with the work they do. I think it is something never much discussed in most studios how to creative a positive environment for its employees and this book is an essential read in bettering your own self-improvement.   For nearly twenty years, Pixar has dominated its industry, producing fourteen consecutive #1 box office hits, garnering 30 Academy Awards®, and generating $8.3 billion in worldwide ticket sales. The quality of Pixar’s product is obviously unparalleled. But how did a small hardware company struggling to stay afloat turn into the creative powerhouse it is today? The essential ingredient in the studio’s success is the unique environment that Pixar’s president and co-founder Ed Catmull and his colleagues have built. Based on philosophies that protect the creative process and defy convention, these principles should be at the heart of any work environment that strives for originality, fosters problem-solving, and pushes its employees to new heights. Here are 7 of his core principles:   1 Quality is the best business plan. Quality is not a consequence of following some prescribed set of behaviors. It is a mindset you must have before you decide what you are setting out to do. You can say you are going to be a company that never settles, but saying it isn’t enough: You must live and breathe it.   2 Failure isn’t a necessary evil. It’s a necessary consequence of doing something great. Uncouple fear and failure. Making mistakes should never strike fear into employees’ hearts. When it comes to creative endeavors, a goal of zero failure is worse than useless. It is counterproductive. The truth is, the cost of preventing errors is often far greater than the cost of fixing them.   3 People are more important than ideas. When hiring, give an applicant’s potential to grow more weight than her current skill level. What she will be capable of tomorrow is much more important than what she can do today. Why? Because if you give a good idea to a mediocre team, they will screw it up. But give a mediocre idea to a great team, they will either fix it or come up with something better. That’s why people matter.   4 Prepare for the unknown. Unforeseen, random events happen. And when they do, don’t waste time playing the blame game. To think one can control or prevent problems or guard against randomness by making an example of someone is naïve and wrongheaded. Instead, empower employees at every level to own the problems and give them the freedom to fix them without asking permission.   5 Do not confuse the process with the goal. Making the process easier, better, faster, and cheaper is something we should continually work on—but it is NOT the goal. Making something great is the goal.   6 Everybody should be able to talk to anybody. Communication structures should never mirror organizational structure. A chain of command is essential, but making sure that everything happens in the “right” order and through the “proper” channels is not efficient.   7 Give good notes. Truly candid feedback is the only way to ensure excellence. When giving notes, be sure to include: A good note is specific. A good note does not make demands. Most of all, a good note inspires.   Reference Ed Catmull. (2014) Creativity Inc. Available from: http://www.creativityincbook.com/7-core-principles/
    Jan 23, 2017 247
  • 20 Jan 2017
    Make me Care. - Andrew Stanton   Every good opening shot of a film tells you instantly what the story will be about. The opening sequence of a film is the most crucial moment to any story. I heard somewhere you can predict if a story's ending will be good by its beginning. If your feelings are good from the beginning of the movie they will likely remain the same toward the end.  You have to hook your audience from the very beginning, otherwise, nobody will care and switch off to something else. For instance, here is an example of a good opening.... Recently I have been watching Lemony Snicket's A Series of Unfortunate Events on Netflix; it is not the example I am going to share with you here rather, I am going to share the extract from its source, the original novel:   If you are interested in stories with happy endings, you would be better off reading some other book. Inthis book, not only is there no happy ending, there is no happy beginning and very few happy things in themiddle. This is because not very many happy things happened in the lives of the three Baudelaireyoungsters. Violet, Klaus, and Sunny Baudelaire were intelligent children, and they were charming, andresourceful, and had pleasant facial features, but they were extremely unlucky, and most everything thathappened to them was rife with misfortune, misery, and despair. I’m sorry to tell you this, but that is howthe story goes.     As you can read here, the first paragraph tells you everything you need to know - who the characters are, their situation/conflict and the tone of the overall story. As the ending sentence puts it: "...that's how the story goes". What I like most is that it's a good trick, telling people what not to do, just makes them want to do the opposite.  For further exploration and more variety of good opening shots in movies, here is a good video, explaining the importance of the opening shot of a movie: Opening Shots Tell Us Everything. My favourite opening sequence of a movie has to be Stranger Than Fiction - Opening Scene -  watch the video in the link. I think I will talk a bit about why that is...   Framing and composition instantly capture your attention, the layout depicts different moments from Harold's life and activities all at once, in the style of a comic strip. I remember an analysis that someone had said the style for this type of framing is a glimpse of Harold's view/perspective -  meaning, we glimpse inside his mind.        Also, when you think about it Harold does not function like a normal human being would, at the beginning of the story; so, in this case the framing is structured to represent how his mind and habits work. As the story continues we see less and less of this, when Harold's attitude and mindset change.          The narration is the most important element of the story, the narrator is not simply an ominent figure off screen, we eventual get to meet the narrator of the story, as they are a character. Later as the movie continues, there is a moment when the fourth wall is broken... (here is a video explaining this concept) How to Break the Fourth Wall. However, instead of noticing the audience's presence, the character (Harold) realises the presence of this "voice of god". I think it was a genius piece of storytelling when I first saw the movie. The narration is there for a very important reason, as without it the story would be very bleak and depressing... I think. It's that subtle reminder to the audience that they are watching a story, not real life.              I care about the character and I am interested and want to learn more about him. However, the very first image we see when we are introduced to the world isn't Harold... but his wristwatch. In the introduction to a story usually, the main character is introduced within the first 30 secs or so. We see Harold's wristwatch first because this is the central piece of what the story really is all about; it is also a clue as to what will happen later in the story. But what I really like about this opening shot is how much it resembles Stanley Kubrick's 2001: Space Odyssey opening scene. We notice that Kubrick's story centres around life on earth, but, with Stranger Than Fiction the camera zooms into view of the wristwatch... telling us the story is centred around it. Even the narration clearly states this in the opening scene: "...that was of course before Wednesday... on Wednesday Harold's wristwatch changed everything".     What's your favourite opening shot of a film? Make a comment, I would like to know...     References Elements of Cinema. (2017) Documentary Form. Available from: http://www.elementsofcinema.com/film_form/documentary_filmmaking.htm Now You See It. (2015) Opening Shots Tell Us Everything. Available from: https://www.youtube.com/watch?v=CZhFtd1QZWc&t=138s
    87 Posted by Tyrone Owens
  • Make me Care. - Andrew Stanton   Every good opening shot of a film tells you instantly what the story will be about. The opening sequence of a film is the most crucial moment to any story. I heard somewhere you can predict if a story's ending will be good by its beginning. If your feelings are good from the beginning of the movie they will likely remain the same toward the end.  You have to hook your audience from the very beginning, otherwise, nobody will care and switch off to something else. For instance, here is an example of a good opening.... Recently I have been watching Lemony Snicket's A Series of Unfortunate Events on Netflix; it is not the example I am going to share with you here rather, I am going to share the extract from its source, the original novel:   If you are interested in stories with happy endings, you would be better off reading some other book. Inthis book, not only is there no happy ending, there is no happy beginning and very few happy things in themiddle. This is because not very many happy things happened in the lives of the three Baudelaireyoungsters. Violet, Klaus, and Sunny Baudelaire were intelligent children, and they were charming, andresourceful, and had pleasant facial features, but they were extremely unlucky, and most everything thathappened to them was rife with misfortune, misery, and despair. I’m sorry to tell you this, but that is howthe story goes.     As you can read here, the first paragraph tells you everything you need to know - who the characters are, their situation/conflict and the tone of the overall story. As the ending sentence puts it: "...that's how the story goes". What I like most is that it's a good trick, telling people what not to do, just makes them want to do the opposite.  For further exploration and more variety of good opening shots in movies, here is a good video, explaining the importance of the opening shot of a movie: Opening Shots Tell Us Everything. My favourite opening sequence of a movie has to be Stranger Than Fiction - Opening Scene -  watch the video in the link. I think I will talk a bit about why that is...   Framing and composition instantly capture your attention, the layout depicts different moments from Harold's life and activities all at once, in the style of a comic strip. I remember an analysis that someone had said the style for this type of framing is a glimpse of Harold's view/perspective -  meaning, we glimpse inside his mind.        Also, when you think about it Harold does not function like a normal human being would, at the beginning of the story; so, in this case the framing is structured to represent how his mind and habits work. As the story continues we see less and less of this, when Harold's attitude and mindset change.          The narration is the most important element of the story, the narrator is not simply an ominent figure off screen, we eventual get to meet the narrator of the story, as they are a character. Later as the movie continues, there is a moment when the fourth wall is broken... (here is a video explaining this concept) How to Break the Fourth Wall. However, instead of noticing the audience's presence, the character (Harold) realises the presence of this "voice of god". I think it was a genius piece of storytelling when I first saw the movie. The narration is there for a very important reason, as without it the story would be very bleak and depressing... I think. It's that subtle reminder to the audience that they are watching a story, not real life.              I care about the character and I am interested and want to learn more about him. However, the very first image we see when we are introduced to the world isn't Harold... but his wristwatch. In the introduction to a story usually, the main character is introduced within the first 30 secs or so. We see Harold's wristwatch first because this is the central piece of what the story really is all about; it is also a clue as to what will happen later in the story. But what I really like about this opening shot is how much it resembles Stanley Kubrick's 2001: Space Odyssey opening scene. We notice that Kubrick's story centres around life on earth, but, with Stranger Than Fiction the camera zooms into view of the wristwatch... telling us the story is centred around it. Even the narration clearly states this in the opening scene: "...that was of course before Wednesday... on Wednesday Harold's wristwatch changed everything".     What's your favourite opening shot of a film? Make a comment, I would like to know...     References Elements of Cinema. (2017) Documentary Form. Available from: http://www.elementsofcinema.com/film_form/documentary_filmmaking.htm Now You See It. (2015) Opening Shots Tell Us Everything. Available from: https://www.youtube.com/watch?v=CZhFtd1QZWc&t=138s
    Jan 20, 2017 87
  • 19 Jan 2017
    Whenever I mention teamwork I always like to bring up this scene from The Simpsons: Together We form A Mighty - Simpsons It's been a while since I last create one of these book lists, I was planning on listing a different selection of books relating to the next level of an animation student... however before I got into the extreme books. I want to first present the fundamentals of teamwork. Collaborating as a team is essential and gaining the experience for this is important to get as soon as you can and as often as you can from the very beginning.  Over the past few months I have collected new books and these are books I would never usually consider reading before... but I caught a bug, and found I could not stop indulging deeper into the subject. I really had an aspiration to transform my skill in the area of teamwork. So, I search for new methods and techniques in order to improve. Now I wish to share some of the best finds I found on my journey:   1. The Book of Leadership: How To Get Yourself, Your Team and Your Organisation Further Than You Ever Thought Possible, Anthony Gell. If you want to learn how to be an inspirational and motivational leader, or how to get people to believe and follow you then this book is a great guide. I like books like this, they're not only good guides for improving skills, but also improving manners and character.    2. Start with Why: How Great Leaders Inspire Everyone To Take Action, Simon Sinek. This book teaches me that what is often missed within the ideation process is that not enough people ask why. It looks into the structure of organisations such as Disney and Apple; questioning the reasons what makes these company's ahead of their game.Reason being they ask why... unless you know why you will never know how.   3.Team Of Teams: New Rules of Engagement For A Complex World, General Stanley McChrystal I haven't really gotten around to reading this book entirely, I have only been skim-reading some of the chapters that interest me. It is a book demonstrating a military formula of team management, teams of teams; which is basically a new structure used within organisations to achieve faster and effective results.    4. How To Be Like Walt: Capturing The Disney Magic Every Day of Your Life, by Pat Williams.  Ok, so I'm a bit of a Walt Disney obsessive... I get it... I mention the company a lot - although, this title is misleading, it is not a book about how to be like Walt it is a book that value his personal treats. Demonstrating how you can take some of his values and representations: imagination, honesty, perseverance, optimism and vision. I also bought the audiobook version for this book and I highly recommend it. I listen to it every day as I am out and about, making my usual daily commute to university.    Where to find these books and what it'll cost:    The Book of Leadership - Amazon price [Kindle] £9.49 and [Printed Copy] £11.19 (I think it is far cheaper to buy this book online than it is in stores which are full price of £13.99)   Start with Why - Amazon price [Kindle] £6.49 and [Printed Copy] £7.99   Teams of Teams - Amazon price [Kindle] £6.49 and [Printed Copy] £6.99   How to Be Like Walt - Amazon price [Kindle] £9.23 and [Printed Copy] £11.40      
    62 Posted by Tyrone Owens
  • Whenever I mention teamwork I always like to bring up this scene from The Simpsons: Together We form A Mighty - Simpsons It's been a while since I last create one of these book lists, I was planning on listing a different selection of books relating to the next level of an animation student... however before I got into the extreme books. I want to first present the fundamentals of teamwork. Collaborating as a team is essential and gaining the experience for this is important to get as soon as you can and as often as you can from the very beginning.  Over the past few months I have collected new books and these are books I would never usually consider reading before... but I caught a bug, and found I could not stop indulging deeper into the subject. I really had an aspiration to transform my skill in the area of teamwork. So, I search for new methods and techniques in order to improve. Now I wish to share some of the best finds I found on my journey:   1. The Book of Leadership: How To Get Yourself, Your Team and Your Organisation Further Than You Ever Thought Possible, Anthony Gell. If you want to learn how to be an inspirational and motivational leader, or how to get people to believe and follow you then this book is a great guide. I like books like this, they're not only good guides for improving skills, but also improving manners and character.    2. Start with Why: How Great Leaders Inspire Everyone To Take Action, Simon Sinek. This book teaches me that what is often missed within the ideation process is that not enough people ask why. It looks into the structure of organisations such as Disney and Apple; questioning the reasons what makes these company's ahead of their game.Reason being they ask why... unless you know why you will never know how.   3.Team Of Teams: New Rules of Engagement For A Complex World, General Stanley McChrystal I haven't really gotten around to reading this book entirely, I have only been skim-reading some of the chapters that interest me. It is a book demonstrating a military formula of team management, teams of teams; which is basically a new structure used within organisations to achieve faster and effective results.    4. How To Be Like Walt: Capturing The Disney Magic Every Day of Your Life, by Pat Williams.  Ok, so I'm a bit of a Walt Disney obsessive... I get it... I mention the company a lot - although, this title is misleading, it is not a book about how to be like Walt it is a book that value his personal treats. Demonstrating how you can take some of his values and representations: imagination, honesty, perseverance, optimism and vision. I also bought the audiobook version for this book and I highly recommend it. I listen to it every day as I am out and about, making my usual daily commute to university.    Where to find these books and what it'll cost:    The Book of Leadership - Amazon price [Kindle] £9.49 and [Printed Copy] £11.19 (I think it is far cheaper to buy this book online than it is in stores which are full price of £13.99)   Start with Why - Amazon price [Kindle] £6.49 and [Printed Copy] £7.99   Teams of Teams - Amazon price [Kindle] £6.49 and [Printed Copy] £6.99   How to Be Like Walt - Amazon price [Kindle] £9.23 and [Printed Copy] £11.40      
    Jan 19, 2017 62
  • 19 Jan 2017
    To make sense of the disparate while retaining the ability to function. - F. Scott Fitzgerald    Brief Note: I'll keep this entry short and provide some excellent resources that you can look into further, part of learning is the reward of discovering the facts for yourself. Just like stories never give you 2 + 2.    I am not an expert of storytelling, but I have always had an interest in learning what makes a great story work and how to execute the perfect formula. I used to write my own short stories... however, I feel they were never any good mainly because I never fully understood how to tell a story before; in my course, I collaborate with a team to create student films... some good others not so good. I recently watched a video on YouTube called "There Are No Film Prodigies", (there is a link below if you're interested) straight after completing yet another student film. After finalising my research for a report, in which I investigated the potential of immersive storytelling in VR as the new form; I collected a lot of interesting research that has broadened my mind to telling stories, and how we conceive them. I am still an amateur, excited to continue my journey and explore even further down the rabbit hole.    Here are some interesting books specifically on storytelling that I have learned and gained knowledge from:   The Writer's Journey: The Mythical Structure, by Into the Woods: How Stories Work and Why We Tell Them, by John Yorke.   It's one thing to have a good idea, but without a strong execution, your ideas can fall flat. This is something I've learned when telling my own stories is that ideas are easy to come by, everyone has their grand idea of the stories they wish to tell... but 99% of the time those ideas will not become successful without a plan to execute them.   An artist to follow: Matthew Luhn [ex-Pixar Story Consultant], has a twitter page you can follow. I do and it is great, his tweets are helpful tips that explain how a story works and also explaining full-proof formulas of execution for successful stories.          Have you ever read a book and really felt like you were there and that the characters were real... watched a movie and dreamed you could do exactly what the hero can and achieve the impossible. Yeah, me too... a story can connect us consciously or unconsciously. All life is a story, as experiences we share with one another every day of our lives, which is later passed as oral storytelling. Storytelling is as old as human communication, itself, and was conceived from our understanding and making sense of the world.  Why it matters to us is because it encourages a sense of purpose, understanding, and moral values which make us aspire to be great and do better. Or, simply why stories matter is because it arouses the pursuit of happiness, and the belief that the impossible is possible - it plays off our desires. My favourite combinations are good food and a story, that is why I love Ratatouille so much, I think it's genious... these were the same reasons why the director made the movie too.     Recommended Blogs to follow: Mark Kennedy, Story Artist for Disney, this is his blog covering every topic about film and story - sevencamels.blogspot.co.uk   Lastly, I will leave you with the words from an expert storyteller, John Green Why Stories Matter - John Green (NerdCon: Stories 2015)   References:    Matt Luhn, (2017) Flashbacks. [Twitter] Available from: https://twitter.com/MatthewLuhn/status/819958766770667520 The Art of Storytelling, (2017) Why Story Matters. Available from: http://theartofstoryproject.com/the-story/why-story-matters/  The Royal Ocean FilmSociety, (2016) There Are No Film Prodigies. Available from: https://www.youtube.com/watch?v=1Ei5oatPaCI  
    207 Posted by Tyrone Owens
  • To make sense of the disparate while retaining the ability to function. - F. Scott Fitzgerald    Brief Note: I'll keep this entry short and provide some excellent resources that you can look into further, part of learning is the reward of discovering the facts for yourself. Just like stories never give you 2 + 2.    I am not an expert of storytelling, but I have always had an interest in learning what makes a great story work and how to execute the perfect formula. I used to write my own short stories... however, I feel they were never any good mainly because I never fully understood how to tell a story before; in my course, I collaborate with a team to create student films... some good others not so good. I recently watched a video on YouTube called "There Are No Film Prodigies", (there is a link below if you're interested) straight after completing yet another student film. After finalising my research for a report, in which I investigated the potential of immersive storytelling in VR as the new form; I collected a lot of interesting research that has broadened my mind to telling stories, and how we conceive them. I am still an amateur, excited to continue my journey and explore even further down the rabbit hole.    Here are some interesting books specifically on storytelling that I have learned and gained knowledge from:   The Writer's Journey: The Mythical Structure, by Into the Woods: How Stories Work and Why We Tell Them, by John Yorke.   It's one thing to have a good idea, but without a strong execution, your ideas can fall flat. This is something I've learned when telling my own stories is that ideas are easy to come by, everyone has their grand idea of the stories they wish to tell... but 99% of the time those ideas will not become successful without a plan to execute them.   An artist to follow: Matthew Luhn [ex-Pixar Story Consultant], has a twitter page you can follow. I do and it is great, his tweets are helpful tips that explain how a story works and also explaining full-proof formulas of execution for successful stories.          Have you ever read a book and really felt like you were there and that the characters were real... watched a movie and dreamed you could do exactly what the hero can and achieve the impossible. Yeah, me too... a story can connect us consciously or unconsciously. All life is a story, as experiences we share with one another every day of our lives, which is later passed as oral storytelling. Storytelling is as old as human communication, itself, and was conceived from our understanding and making sense of the world.  Why it matters to us is because it encourages a sense of purpose, understanding, and moral values which make us aspire to be great and do better. Or, simply why stories matter is because it arouses the pursuit of happiness, and the belief that the impossible is possible - it plays off our desires. My favourite combinations are good food and a story, that is why I love Ratatouille so much, I think it's genious... these were the same reasons why the director made the movie too.     Recommended Blogs to follow: Mark Kennedy, Story Artist for Disney, this is his blog covering every topic about film and story - sevencamels.blogspot.co.uk   Lastly, I will leave you with the words from an expert storyteller, John Green Why Stories Matter - John Green (NerdCon: Stories 2015)   References:    Matt Luhn, (2017) Flashbacks. [Twitter] Available from: https://twitter.com/MatthewLuhn/status/819958766770667520 The Art of Storytelling, (2017) Why Story Matters. Available from: http://theartofstoryproject.com/the-story/why-story-matters/  The Royal Ocean FilmSociety, (2016) There Are No Film Prodigies. Available from: https://www.youtube.com/watch?v=1Ei5oatPaCI  
    Jan 19, 2017 207
  • 03 Jan 2017
    Hello! I am of the hope that this will become a community that I am looking for.  I am not really looking for fans here.  What I am looking for is support and guidance.  About a month ago I found some animations on YouTube that I found funny and easily consumable.  Very soon this became an obsession, then when talking to a friend about my art and youtube it became a plan.  About two weeks ago I bought a Wacom tablet and started watching every tutorial I can get my hands on.  In the early morning yesterday I release my first attempt at a flash animation.  Not a lot going on in it, and just talking about the ridicule things people say when online dating. I know it can be better and I will continue to learn and grow from here.  Only time and practice will help.  Here I will post sketches, journal entries and thoughts.  I hope to talk to you, get feedback and make some friends.   Thank you so much for reading! -Alice A. Holmes (aah animations)
    47 Posted by Alice Holmes
  • Hello! I am of the hope that this will become a community that I am looking for.  I am not really looking for fans here.  What I am looking for is support and guidance.  About a month ago I found some animations on YouTube that I found funny and easily consumable.  Very soon this became an obsession, then when talking to a friend about my art and youtube it became a plan.  About two weeks ago I bought a Wacom tablet and started watching every tutorial I can get my hands on.  In the early morning yesterday I release my first attempt at a flash animation.  Not a lot going on in it, and just talking about the ridicule things people say when online dating. I know it can be better and I will continue to learn and grow from here.  Only time and practice will help.  Here I will post sketches, journal entries and thoughts.  I hope to talk to you, get feedback and make some friends.   Thank you so much for reading! -Alice A. Holmes (aah animations)
    Jan 03, 2017 47
  • 22 Oct 2016
                                                          Level up! Now that you have made it passed the beginner stage... what next? What books do you choose to progress your skills and learning further? The next set of books will help you. Walt Disney Studios: The Archive Series - this series of books might take a while to collect, as you need to own all four and they aren't cheap; I own three, at the moment, and hope to get the last in the series soon. I will say, these books cover a lot about the pipeline of animation from story, design, layout and Animation. And you don't need to read a thing... except, of course, the introductions written by John Lasseter; which is only a page or two long, and I will say before flicking through the pages read those introductions first. The pictures in these books will blow your mind! The Writer's Journey: Myth Structure For Writers, Christopher Vogler - yeah, this one isn't an animation book, but has come in very useful over the years and still is by my side. As animator's, directors and filmmakers it is important to know how to tell a story and how to tell it well... Vogler takes influence from another resource of books that innovated storytelling, from the creator of the Hero's Journey Joseph Campbell's The Hero with A Thousand faces and The Hero's Journey. The Nine Old Men: Lessons, Techniques and Inspiration from Disney's Great Animators, By Andreas Deja - I got this book recently, and it was a fantastic read I loved it! It explores the works of the Nine Old Men, individually, and has great tips on their methods and how they structured their animation shots. Wish I could have been alive to see that happen.. but this book is close enough.  They Drew as They Pleased: The Hidden Art of Disney's Golden Age (The 1930s), by Didier Ghez - This book is awesome if you want to learn more about your animation history, but this series this one is the first and the rest are still to be published. With amazing never before seen sketches by the artists forgotten in the golden age of animation, finally, resurface through this book. Like the Nine Old Men book, the chapters address each artist's work individually. Oh gosh, the pictures in this one are unbelievable and so cool!!! What imaginations these people had. The book also gives an insight of their lives and how they came to work at the Disney studios, which for me when I was on placement came to very useful -  one reason was an example of a job application letter one artist wrote to Disney. Harry Potter: From Page To Screen Complete Filmmaking Journey - honestly this book is so huge that I haven't read it entirely, but, the images are so incredibly inspirational. Plus it's a heavy book too... where do I sit comfortably to read it! This one isn't entirely focused on animation, though there are some amazing images of how they made the special effects and creature designs which you just have to see. There is a lot of costumes and set design photographs to look at while the book explains the ideas and use of the scenes created for the film. It covers all eight films and then characters; then finally the props.  Film Directing Shot by Shot: Visualizing from Concept to Screen, by Steven D. Katz - this book is a good one for both animation and film, and if you want to tell a story you need to know how to tell one visually.  The Art of Ray Harryhausen, by Ray Harryhausen and Tony Dalton - Ray Harryhausen was a genius and his movies are phenomenal achievements that have inspired both animation and film for ages now. The book looks at his life and the masterpieces created by Harryhausen, and it's written by the main man himself. (Funny story: I think someone bought me the same book one Christmas, so, I have two versions of this book, another title for it is Ray Harryhausen: An Animated Life, both books cover the same content... which isn't a big deal to me because I usually buy two version of books any, if they have different illustration covers. One I like to preserve the other I use a lot). Also one of the books has a foreword by Peter Jackson and the other book has a foreword by Ray Harryhausen. Walt Disney: The Triumph of the American Imagination, by Neal Gabler - I've had this book for ages, I bought it on a trip to Disney World Florida and I've loved it ever since; it's a reminder to me and a big inspiration. It covers the entire life and career of Walt Disney, and it is so informative in its research, definitely an incredible read to learn the history of animation's biggest innovator. You probably think you already know Walt Disney's life story from documentaries... but in fact... you don't until you read this book. It covers the trials and tribulations of his success story - the ups and downs - in great detail. It will inspire you!                 I will stop here for now and continue with more books in another post. What I've learned when it comes to searching for books on animation, is that you don't need read only the how-to books or the making-of books; any form of a book focused on animation or not, has something truly worthwhile to read and you learn so much from them. Knowing what came before helps to inspire and motivate our own projects and creativity is the first step to being original. So, like my lecturers tell me (all the time), read everything and anything you can get your hands on! I hope this post will inspire and interest anyone who reads it. Definitely give these books as try and take note of what you learn from them. I hope you enjoy! :)
    157 Posted by Tyrone Owens
  •                                                       Level up! Now that you have made it passed the beginner stage... what next? What books do you choose to progress your skills and learning further? The next set of books will help you. Walt Disney Studios: The Archive Series - this series of books might take a while to collect, as you need to own all four and they aren't cheap; I own three, at the moment, and hope to get the last in the series soon. I will say, these books cover a lot about the pipeline of animation from story, design, layout and Animation. And you don't need to read a thing... except, of course, the introductions written by John Lasseter; which is only a page or two long, and I will say before flicking through the pages read those introductions first. The pictures in these books will blow your mind! The Writer's Journey: Myth Structure For Writers, Christopher Vogler - yeah, this one isn't an animation book, but has come in very useful over the years and still is by my side. As animator's, directors and filmmakers it is important to know how to tell a story and how to tell it well... Vogler takes influence from another resource of books that innovated storytelling, from the creator of the Hero's Journey Joseph Campbell's The Hero with A Thousand faces and The Hero's Journey. The Nine Old Men: Lessons, Techniques and Inspiration from Disney's Great Animators, By Andreas Deja - I got this book recently, and it was a fantastic read I loved it! It explores the works of the Nine Old Men, individually, and has great tips on their methods and how they structured their animation shots. Wish I could have been alive to see that happen.. but this book is close enough.  They Drew as They Pleased: The Hidden Art of Disney's Golden Age (The 1930s), by Didier Ghez - This book is awesome if you want to learn more about your animation history, but this series this one is the first and the rest are still to be published. With amazing never before seen sketches by the artists forgotten in the golden age of animation, finally, resurface through this book. Like the Nine Old Men book, the chapters address each artist's work individually. Oh gosh, the pictures in this one are unbelievable and so cool!!! What imaginations these people had. The book also gives an insight of their lives and how they came to work at the Disney studios, which for me when I was on placement came to very useful -  one reason was an example of a job application letter one artist wrote to Disney. Harry Potter: From Page To Screen Complete Filmmaking Journey - honestly this book is so huge that I haven't read it entirely, but, the images are so incredibly inspirational. Plus it's a heavy book too... where do I sit comfortably to read it! This one isn't entirely focused on animation, though there are some amazing images of how they made the special effects and creature designs which you just have to see. There is a lot of costumes and set design photographs to look at while the book explains the ideas and use of the scenes created for the film. It covers all eight films and then characters; then finally the props.  Film Directing Shot by Shot: Visualizing from Concept to Screen, by Steven D. Katz - this book is a good one for both animation and film, and if you want to tell a story you need to know how to tell one visually.  The Art of Ray Harryhausen, by Ray Harryhausen and Tony Dalton - Ray Harryhausen was a genius and his movies are phenomenal achievements that have inspired both animation and film for ages now. The book looks at his life and the masterpieces created by Harryhausen, and it's written by the main man himself. (Funny story: I think someone bought me the same book one Christmas, so, I have two versions of this book, another title for it is Ray Harryhausen: An Animated Life, both books cover the same content... which isn't a big deal to me because I usually buy two version of books any, if they have different illustration covers. One I like to preserve the other I use a lot). Also one of the books has a foreword by Peter Jackson and the other book has a foreword by Ray Harryhausen. Walt Disney: The Triumph of the American Imagination, by Neal Gabler - I've had this book for ages, I bought it on a trip to Disney World Florida and I've loved it ever since; it's a reminder to me and a big inspiration. It covers the entire life and career of Walt Disney, and it is so informative in its research, definitely an incredible read to learn the history of animation's biggest innovator. You probably think you already know Walt Disney's life story from documentaries... but in fact... you don't until you read this book. It covers the trials and tribulations of his success story - the ups and downs - in great detail. It will inspire you!                 I will stop here for now and continue with more books in another post. What I've learned when it comes to searching for books on animation, is that you don't need read only the how-to books or the making-of books; any form of a book focused on animation or not, has something truly worthwhile to read and you learn so much from them. Knowing what came before helps to inspire and motivate our own projects and creativity is the first step to being original. So, like my lecturers tell me (all the time), read everything and anything you can get your hands on! I hope this post will inspire and interest anyone who reads it. Definitely give these books as try and take note of what you learn from them. I hope you enjoy! :)
    Oct 22, 2016 157
  • 17 Feb 2011
    I'm so glad of intrudicng you my new website, THE ANIMATOR'S CORNER! Is about latest animation news, trailers, short films, curiosites, articles about films.... And from time to time interviews to consolidated animators working in the industry. Go, take a look, and say your opinion. Thanks! www.theanimatorscorner.weebly.com   Martin
    179116 Posted by Martin C. Amoros
  • I'm so glad of intrudicng you my new website, THE ANIMATOR'S CORNER! Is about latest animation news, trailers, short films, curiosites, articles about films.... And from time to time interviews to consolidated animators working in the industry. Go, take a look, and say your opinion. Thanks! www.theanimatorscorner.weebly.com   Martin
    Feb 17, 2011 179116
  • 20 Feb 2011
    I want to apply for the Art & Production Associate Program at Disney for story as my first choice, visual development as my second choice and animation (traditional) or character design as my third choice, and the story internship at Pixar. The thing is I've only made a portfolio once and that was three years for my Drawing I class as a final grade. I don't know exactly where to begin. I don't know what the size of the portfolio should be. I know I can't send originals, but should the copies be the same size as the originals or can the size change? The description for the Pixar internship says to send a "sample flatwork portfolio (demonstrating your storyboard skills)," so does that mean I only send storyboards or no? I'm sorry that I'm looking completely clueless but I would appreciate the advice. Thank you!
    97173 Posted by Danette Marie Albino
  • I want to apply for the Art & Production Associate Program at Disney for story as my first choice, visual development as my second choice and animation (traditional) or character design as my third choice, and the story internship at Pixar. The thing is I've only made a portfolio once and that was three years for my Drawing I class as a final grade. I don't know exactly where to begin. I don't know what the size of the portfolio should be. I know I can't send originals, but should the copies be the same size as the originals or can the size change? The description for the Pixar internship says to send a "sample flatwork portfolio (demonstrating your storyboard skills)," so does that mean I only send storyboards or no? I'm sorry that I'm looking completely clueless but I would appreciate the advice. Thank you!
    Feb 20, 2011 97173
  • 20 Dec 2011
     by Ben Andrews for CTVA 301 at California State University of Northridge. Author's Note: I have optimized this media experience with embedded video and hyperlinks to additional content. Enjoy!     The concept of stop-motion animation is not new one. This medium for capturing and displaying motion predates the earliest forms of cinemas on film. Stop-motion although not new, is still incredibly relevant. It has endured as a part of cinema special effects history, been refined as a unique genre of cinema and enjoyed long lasting success in television. Now the advent of the Internet has created a new channel in which stop-animation takes form. YouTube has emerged as a powerful new channel of distribution for commercial, professional and amateur stop-motion work, and the artists has flourished and taken new forms in ways that the limits of television and cinema previously prohibited. In examining stop-motions place within this new channel several layers of questions must be examined.  The first layer that must be addressed is an understanding of the medium of stop-motion animation. How does it work? What makes it popular? How has it taken form in traditional media outlets? How has it been studied in an academic fashion? The second layer of discussion must illuminate the functionality, limits, promises and academic criticism of YouTube. How does this new channel function? Which works receive mass distribution? What defines the difference between amateur and profession content? The third and final layer is a qualitative and quantities examination of a cross-section of commercial, professional, and amateur videos on YouTube. How many views do they have? How long is there running time? What type of overall trends do they exhibit in regards to style and themes? What types of intertextuality can be found between other videos within YouTube, television and cinema? How has YouTube affected the careers of the artists? In The Art of Puppetry in the Age of Media Production Steve Tillis offers a clear definition of the principles of stop-motion animation, a brief glimpse at their history and an explanation of the categorization as media figures and tangible puppets. Stop-motion animation achieved through the manipulating a material object into a pose, capturing the frame onto film (or in modern cases digitally), manipulating it again into a slightly different pose and repeating the process to create a sequence. When the still frames are played back at speed in sequence the illusion of the object in motion is portrayed to the viewer (Tillis, 191).  Stop-motion puppets have had a long history in cinema appearing J. Stuart Blackton’s short film The Haunted Hotel in 1907 and in the 1933 classic King Kong. (Tillis, 190-191) Other modern examples of stop-motion puppetry in films include Wallace in Gromit: Curse of the WereRabbit (2005), The Corpse Bride (2005), Fantastic Mr. Fox (2009) and Coraline (2009). Stop-motion has clearly enjoyed success in cinema for over 100 years. In addition to a long running presence in film, stop-motion has prevalent in American television with the characters of Gumby and the Pillsbury Doughman (Tillis 191). Stop-motion puppets are defined as media figures as they are used to represent characters through signification rather than using a living a person to portray the character (Tilis, 185). While a live actor can easily portray a naturalistic character, media figures have the ability to create surreal characters that are only limited by the imagination of the artist who creates them (Tilis, 182-183).  The long-running success of stop-motion can invariably be contributed to the creation of such surreal and imaginative films. Marian Quigley discusses one such popular film Chick Run, directed by Nick Park, in Poultry in Stop-Motion: The Challenges of Technology of Chicken Run. The film generated $224 million in ticket sales worldwide and was the third highest grossing English film in the United States. The film’s success can be attributed not only to the strong storytelling but also because of Aardman Animations distinct style (Quigley 117). The style of Chicken Run is decidedly unpolished in comparison to CGI films such as Toy Story. While the process is much more arduous (a day’s shooting to create 10 seconds of footage), the traditional method gives the film a qualitatively different feel. The handcrafted elements, the physicality of the models, and lighting similar to that of live-action films creates a higher degree of naturalism (Quigley 117-119). Quigley goes beyond discussing the technical challenges and stylistic values of the film, and focuses the majority of her essay on the film itself as a media text.  She discusses the plot elements, characters, pop culture references and the films intertexuailty to the world of cinema. This clearly indicates an acceptance of stop-motion as an intellectually valuable and viable form of cinema, not simply a special effect technique. Furthermore director Nick Park’s more recent stop-motion film Wallace in Gromit: Curse of the WereRabbit won the Academy Award for Best Animated Feature Film in 2006. Another example of such academic and critical attention afforded to a stop-motion film is Adrienne Kertzer’s article Fidelity, Felicity, and Playing Around in Wes Anderson’s Fantastic Mr. Fox. She discusses the adaptation of Roald Dahl’s children’s novel Fantastic Mr. Fox to a stop-animated feature length film. Kertzer considers the film’s fidelity to the source material and discusses in depth the concept of fidelity vs. artistic license in adaptation (Kertzer, 6). Kertzer compares author Roald Dahl and director Wes Anderson (Kertzer, 7). Kertzer also discusses the marketing of the film, Felicity Dahl’s involvement and the intertextuality of the film with the source text and Wes Anderson’s other films (Kertzer, 9). Danny Birchall proves that YouTube can be a place for serious academic texts to flourish in his article The Avant-Garde Archive Online. Prior to broadband Internet, the technology that has made video sharing sites such as YouTube viable, avant-garde (or “art-films”) could really only find distribution through smaller circles of academia and the art scene. YouTube offers a worldwide, free distribution channel for these works and a much larger audience, thus expanding the availability of public access to these works. This new technology has shifted the distribution of avant-garde work from academic channels to commercial and personal channels. This makes avant-garde material easy to find on various sites (including YouTube). However there are still challenges as the material quality and context various across the web. Some videos are uploaded in low quality or in incomplete segments. UbuWeb and Luxonline have also emerged as online archives of avant-garde video. UbuWeb is one of the preferred sites for avant-garde material, however it does not have any of the features that YouTube boasts such as being user friendly and allowing users to upload their own content. Luxoline is focused only on British avant-garde films. Two main factors emerge as the driving force of putting avant-garde video material online through YouTube, enthusiasts and artists that want to share their content with the world and archives such as BFI and the National Film Board of Canada that partner with YouTube to put up full quality content to reach new audiences. While the archive will remain incomplete, and artists that do not move to make their work available online risk being forgotten and the trend towards using YouTube as distribution for artist work continues to be solidified. Alexandra Juhasz’s article Learning the Five Lessons of YouTube: After Trying to Teach There, I Don’t Believe the Hype further discusses the nature of YouTube and its position within academia.Much of the hype in academia centers on YouTube as a DIY platform. The promise of web 2.0 is that it revolutionizes the possibilities for punk and amateur work to find a mass audience. Juhasz refutes this notion and offers five lessons about the nature of YouTube. The first lesson is that YoutTube is not democratic, but rather ruled by popularity and that fringe elements of expression are removed. Videos with better production quality that speaks to mainstream culture and are simply entertaining but not weird or thought-provoking rise to the top as the most viewed videos (Juhasz 146). This equates to a mob-rule that provides no provisions for minority views as they are made virtually impossible to find, or are flagged and banned (Juhasz 147). The second lesson examines the function of YouTube and the forms its content take. YouTube is essentially a postmodern television set that delivers mindless distraction in short form videos. The three elements that make a video popular or entertaining are humor, spectacle and self-referentiality. This constitutes a new signature form of video distinct to YouTube that focuses on easy to understand sensations rather than complex meanings (Juhasz 147). The third lesson regards the distinction between professional and amateur videos. Professional videos are marked by corporate values of high production value and usually come in the form of commercial, music videos or movie segments. Amateur videos are marked by a disregard to production quality and use low-end technology to capture mundane content about daily life in the form of vlogs or videos of extreme events caught on video (Juhasz, 148). Fourth lesson: YouTube does not offer community, and is messily organized. It is made for distraction rather than action. The point is not really do find something you are looking for based on some sort of community but rather to wander somewhat aimlessly supporting advertising dollars (Juasz, 149). The fifth lesson is that you can still use YouTube how you want to. There is still plenty of room for the niche content even if it never rises to the top of the site (Juhasz 149). Nick Salvato also discusses YouTube hailed image of a channel that democratizes the circulation of videos in his article Out of Hand: YouTube Amateurs and Professionals. He discusses the criticisms against YouTube leveled by Andrew Keen in his book The Cult of the Amateur: How Today’s Internet Is Killing Our Culture. Andrew Keen’s criticisms are rallied against the very thing YouTube promises to do, give a voice to amateurs. Keen believes this erodes culture and truth and that common person contribute mediocre content, while corporations and big media produce professional creative content (Salvato, 68). Technology has long limited the common person to consuming media, as devices for consuming media (projectors and VCRs) were much cheaper than those for producing it (camcorders) (Salvato, 71). Digital video recorders and the advent of user friendly video editing and video sharing have turned us into content producers. This new technology has also opened up new form of exhibition of homemade content. Where as homemade content had little exposure other than humorous videos submitted to America’s Funniest Home Videos, YouTube offers a new channel for mass distribution of all forms of video content (Salvato, 72).             A young woman awakes to behold the impending doom of the world. She flees from the destruction that is gobbling up matter itself like a tornado. She runs across a micro-landscape over the top of a spinning pen, leaping from pinhead to pinhead, and riding a bumblebee. When she reaches the end of the line she turns to face the force of doom and wielding two needles dives into the whirlwind and is seemingly lost in the cloud of violence until she emerges victorious knitting the chaos into a blanket for herself and returning to her sleep. Camera pans to show a shot of the Nokia N8 rigged above the scene. The commercial Dot. The World’s smallest stop-motion animation character shot on a Nokia N8 blurs the lines of short story film and commercial. The project was created by Aardman and Sumo Science as a demonstration of the Nokia N8’s micro-lens smart phone camera that can photograph a character as small 9mm using CellScope technology. The video is longer than the typical television ad at 1:37 and was created specifically for the web. The unique approach of the ad has not gone unnoticed, since its original upload on August 31st 2010 it has received over 2,983,946 views on YouTube. In addition to audience appeal, it has also received critical and academic acclaim from the academic conference TED. It was selected as one of the 10 winners of TED’s Ads Worth Sharing Competition. The commercial also has a making of feature available online Dot. The making of. which details the labor-intensive process of stop-motion animation that was used to create the film. It has also spawned a sequel Gulp. The world's largest stop-motion animation set, shot on a Nokia N8 which similarly aims to use spectacle and demonstration as a form of product advertising.               The music video Her Morning Elegance/Oren Lavie depicts a dreamlike sequence of a woman (actress Shir Shomron manipulated like a puppet) sleepwalking through various worlds created out of pillows, sheets and clothing all shot from a single perspective directly above her above bed. This creative stop-motion directed by Oren Lavie, Yuval and Merav Nathan has received over 21,327,442 views on YouTube since its original upload January 19th, 2009. It also received a Grammy Nomination for best music video in 2010 and won numerous awards in Film Festivals such as the L.A. Film Festival, SXSW, Stuttgart Festival of Animated Film, Asif - Tel Aviv animation festival and others. There is also an accompanying making of video HER MORNING ELEGANCE behind the scenes on QuarterPastWonderful’s YouTube channel, which explains the process of planning, storyboarding and shooting the video. Because this is a music video its length is directly related to that of the song length of 3:37. Due to the incredible popularity of this video on YouTube there have been several videos that either parody, or borrow from its style creating a fascinating web of intertexuality and self-referentially on YouTube. Her Morning Elegance / Oren Lavie - Official Parody tells the story of a day in the life of an overweight transvestite prostitute and brilliantly mimics the sleepwalking in bed-sequences of the original albeit in a cruder execution. The student film/ stop-motion music video World in Front of Me - Kina Grannis Music Video cites Her Morning Elegance as the inspiration for the video in its description. There are also numerous fan made replicas of the original music video. While these videos give credit to the hypotext from which they are drawn other media that are clearly taken from this source do not. One such video is an Australian commercial by Target, Every Colour You Can Dream Of, depicts a women sleeping in bed, awaking and then flying through a landscape of colorful clothing products until she returns to her sleep, which is essentially the same plot as Her Morning Elegance and uses the same signature above the bed angle. The only real departure is that the landscape of interaction is expanded beyond the bed. Because this commercial actually exists online only through various unofficial channels, the most popular video of the upload being teajay74’s Target Dreaming Girl Commercial, there is no citation of the original material by the ad agency. The anonymous YouTube user enlilify pays tribute to the source material by titling an unofficially uploaded commercial her morning elegance FAKE. This commercial created by Lowe Adventa Russia for Russian mobile-phone provider Beeline so obviously mimics the style of Her Morning Elegance that it appears that reason alone is the only reason it has been uploaded to YouTube.                 The trend of pushing the boundaries of stop-motion animation music videos on YouTube continued with Coldplay - Strawberry Swing and In Your Arms - Kina Grannis. The music video for Coldplay - Strawberry Swing tells the story of a man (portrayed by Coldplay front man Chris Martin) who awakes to discover a princess has been captured by an evil squirrel and leaps into action as a superhero, battling obstacles against a surreal chalk animated landscape to rescue her. The video is set to Coldplay’s song Strawberry Swing with a running time of 4:14. It was created by professional animation production company Shynola and since its original upload on emimusic’s official YouTube channel it has received over 5,090,788 views. The video also received nominations for Best Animation in a video at the 2009 UK Music Video Awards and Breakthrough Video at the 2010 MTV Music Video Awards. There is no making accompanying making of video, however an interview of the video’s creators Shynola which discusses the time-intensive process of combining a live person as a stop motion puppet and using chalk to create a mega-sized animated world is available on Coldplay’s website.    The music video for In Your Arms - Kina Grannis created by @radical.media directed by Greg Jardin similarly uses live-musician Kina Grannis as a stop-motion puppet animated against a fantastic surreal background. The animated sequence is achieved through creating mosaic images frame by frame out of jellybeans. The result is a one-of-a-kind colorful and imaginative spectacle, which adventures through fantastic scenes of forests, jungles, caves, mountaintops, oceans and outer space. The video The Making Of “In Your Arms” documents the process in detail following the 22-month project, which took a total of 1,357 hours to shoot with a team of 30 people. Some shots of the film required 5 minutes of set-up while others required hours. The entire sequence was preconceived and digitally animated so the animators would have a guide to follow in constructing each shot. In just over 2 months since its upload on November 2, 2011 the video has received over 3,688,886 views.               Profession stop-motion work however is not the only thing making waves through YouTube. Director Bang-Yao Liu’s Senior Project for Savannah College of Art & Design DEADLINE post-it stop-motion visualizes a student with a deadline battling with his project, procrastination and distractions personified by post-it-notes which form a pixel animation on the wall above his desk. This video has received over 5,282,776 views since its upload June 5, 2009 and run time comes in just under 2 minutes at 1:55. According the behind the scenes video DEADLINE the making of the project required 3 months of planning and 4 days of shooting. The hard work has certainly paid off as Bang-Yao-Liu was commissioned to create a sequel DEADLINE 2: Sticking Close to You a stop-motion project filmed in 11 cities around the world as an advertisement for the office supply company Stick’N.   Another prime example of amateur artists transitioning into the commercial through merit of their YouTube video is director Paul B. Cummings’ Tony vs. Paul. The creators describe it as a “a stop motion battle between two friends turned enemies.” The video took over 2 months to film and edit and uses over 4,000 still shots to create the 5:02 short film. Again live actors are used as puppets that are capable of extraordinary feats such as flight. Since its original upload Nov 16, 2006 the video has received over 6,288,265 views. Paul has since then directed several commercials for television (which he has also made available for viewing on his YouTube channel testricide) including promos for the Office, McDonald’s, Redvines, ButterFinger, New Balance and the Webby’s (an award show dedicated to online video).            While the professional music video Her Morning Elegance inspired many amateur copies and the amateur creators of DEADLINE and Tony vs. Paul have launched professional advertising careers, a fascinating example of amateur work inspiring professional advertisers has emerged. Taijin Takeuchi’s オオカミとブタ -Stop Motion with Wolf and Pig is cited as the source of inspiration for Olympus’ commercial The PEN Story. Takeuchi’s film also known as A wolf loves pork. tells the story of a boy dressed in a wolf suit chasing after a papier-mâché pig. The film exhibits a unique animation style as the stop-animation is photographed, printed and then photographed again interacting with the environment of Takeuchi’s bedroom. The film has received over 3, 421,193 views on YouTube since its upload on April 9, 2009. Runtime is 3:55.    The PEN Story mimics the technique and style of printed photography stop-motion of A wolf loves pork. and heavily foregrounds the hypotext in the opening shot of hands pulling a photograph out of envelope on a desk. The film tells the story of a man’s life and its many stages from childhood to old age and cleverly and creatively interacts with the man’s living room. The commercial was created by German company BIGFISH Filmproduktion through the ad agency DSG Dialog Solutions for Olympus. The video uploaded only 4 months after A wolf loves pork. on July 2, 2009 has received over 3,693,140 views on YouTube. There is also a corresponding video uploaded by DialogSolutions which documents the films production Making of the PEN story and a sequel PEN Giant which use photographs the size of billboards to depict the story. Similar to Nokia’s commercials Dot. The World’s smallest stop-motion animation character shot on a Nokia N8 and Gulp. The world's largest stop-motion animation set, shot on a Nokia N8 Olympus’ commercial act as demonstrations of what the product can create rather than making the ad primarily about displaying the product itself.   The concept of stop-motion continues to prove itself as engaging form of video expression. It has enjoyed long lasting commercial and critical success in the traditional outlets of television and cinema due to its inherently unique and imaginative style. The channel of YouTube has opened up new possibilities for a more democratic mass distribution of video content and although it is still imperfect in protection of the individual voice and organizational structure, which is highly influenced by corporate values and standards, it opens up a pathway to aspiring amateurs and artists to have their work recognized that did not previously exist in film and television. Finally an examination of several popular stop-motion YouTube videos reveals fascinating trends that contribute to this new form of stop-motion media on YouTube include short running time (between 1.5 to 5 minutes), a propensity for stories that deal with themes of sleep and dreams, the success of projects that produce impressive spectacles through time and labor intensive executions of pre-planned sequences, an affinity for whimsical, lighthearted, highly imaginative and creative characters and settings, and an introduction to the extensive use of human-actors as tangible stop-motion puppets. These trends, along with the intertextuality between professional and amateur work and the upward mobility of amateur artists to professionals, phenomena all unique to stop-motion artistry found on YouTube, will undoubtedly inspire continued interest in and academic criticism of stop-motion artistry that shatters the old boundaries of film and television within the powerful new channel of distribution YouTube.  <!--EndFragment-->   Works Cited Birchall, Danny. "The Avant-Garde Archive Online." Film Quarterly 63.1 (2009): 12-14. Print. Bunliu. “DEADLINE post-it stop motion” YouYube.com             YouTube, 5 Jun. 2009. Web. 9 Dec. 2011   Dokugyunyu. “オオカミとブタ -Stop Motion with Wolf and Pig” YouYube.com             YouTube, 9 Apr. 2010. Web. 9 Dec. 2011   Emimusic. “Coldplay Strawberry swing” YouYube.com             YouTube, 23 July. 2010. Web. 9 Dec. 2011   Juhasz, Alexandra. "Learning the Five Lessons of YouTube: After Trying to Teach There, I Don't Believe the Hype." Cinema Journal 48.2 (2008): 145-50. Print.               Kertzer, Adrienne. "Fidelity, Felicity, and Playing Around in Wes Anderson’s Fantastic Mr. Fox." Children’s Literature Association Quarterly (2011): 4-24. Print.   Kina Grannis. “In Your Arms - Kina Granis” YouYube.com             YouTube, 2 Nov. 2011. Web. 9 Dec. 2011   Nokia. “Dot. The world's smallest stop-motion animation character shot on a Nokia N8” YouYube.com             YouTube, 31 Aug. 2010. Web. 9 Dec. 2011   PENstory. “The PEN Story” YouYube.com             YouTube, 2 July. 2010. Web. 9 Dec. 2011   Quarter Past Wonderful. “Her Morning Elegance / Oren Lavie” YouYube.com             YouTube, 19 Jan. 2009. Web. 9 Dec. 2011   Quigley, Marian. "Poultry in Stop-Motion: The Challenge of Technology in Chicken Run." Screen Education 48 (2007): 117-23. Print.   Salvato, Nick. "Out of Hand: YouTube Amateurs and Professionals." TDR/The Drama Review 53.3 (2009): 67-83. Print.               Testricide. “Tony vs. Paul” YouYube.com             YouTube, 16 Nov. 2006. Web. 9 Dec. 2011                          Tillis, Steve. "The Art of Puppetry in the Age of Media Production." TDR/The Drama Review 43.3 (1999): 182-95. Print.    
    43696 Posted by Ben Andrews
  •  by Ben Andrews for CTVA 301 at California State University of Northridge. Author's Note: I have optimized this media experience with embedded video and hyperlinks to additional content. Enjoy!     The concept of stop-motion animation is not new one. This medium for capturing and displaying motion predates the earliest forms of cinemas on film. Stop-motion although not new, is still incredibly relevant. It has endured as a part of cinema special effects history, been refined as a unique genre of cinema and enjoyed long lasting success in television. Now the advent of the Internet has created a new channel in which stop-animation takes form. YouTube has emerged as a powerful new channel of distribution for commercial, professional and amateur stop-motion work, and the artists has flourished and taken new forms in ways that the limits of television and cinema previously prohibited. In examining stop-motions place within this new channel several layers of questions must be examined.  The first layer that must be addressed is an understanding of the medium of stop-motion animation. How does it work? What makes it popular? How has it taken form in traditional media outlets? How has it been studied in an academic fashion? The second layer of discussion must illuminate the functionality, limits, promises and academic criticism of YouTube. How does this new channel function? Which works receive mass distribution? What defines the difference between amateur and profession content? The third and final layer is a qualitative and quantities examination of a cross-section of commercial, professional, and amateur videos on YouTube. How many views do they have? How long is there running time? What type of overall trends do they exhibit in regards to style and themes? What types of intertextuality can be found between other videos within YouTube, television and cinema? How has YouTube affected the careers of the artists? In The Art of Puppetry in the Age of Media Production Steve Tillis offers a clear definition of the principles of stop-motion animation, a brief glimpse at their history and an explanation of the categorization as media figures and tangible puppets. Stop-motion animation achieved through the manipulating a material object into a pose, capturing the frame onto film (or in modern cases digitally), manipulating it again into a slightly different pose and repeating the process to create a sequence. When the still frames are played back at speed in sequence the illusion of the object in motion is portrayed to the viewer (Tillis, 191).  Stop-motion puppets have had a long history in cinema appearing J. Stuart Blackton’s short film The Haunted Hotel in 1907 and in the 1933 classic King Kong. (Tillis, 190-191) Other modern examples of stop-motion puppetry in films include Wallace in Gromit: Curse of the WereRabbit (2005), The Corpse Bride (2005), Fantastic Mr. Fox (2009) and Coraline (2009). Stop-motion has clearly enjoyed success in cinema for over 100 years. In addition to a long running presence in film, stop-motion has prevalent in American television with the characters of Gumby and the Pillsbury Doughman (Tillis 191). Stop-motion puppets are defined as media figures as they are used to represent characters through signification rather than using a living a person to portray the character (Tilis, 185). While a live actor can easily portray a naturalistic character, media figures have the ability to create surreal characters that are only limited by the imagination of the artist who creates them (Tilis, 182-183).  The long-running success of stop-motion can invariably be contributed to the creation of such surreal and imaginative films. Marian Quigley discusses one such popular film Chick Run, directed by Nick Park, in Poultry in Stop-Motion: The Challenges of Technology of Chicken Run. The film generated $224 million in ticket sales worldwide and was the third highest grossing English film in the United States. The film’s success can be attributed not only to the strong storytelling but also because of Aardman Animations distinct style (Quigley 117). The style of Chicken Run is decidedly unpolished in comparison to CGI films such as Toy Story. While the process is much more arduous (a day’s shooting to create 10 seconds of footage), the traditional method gives the film a qualitatively different feel. The handcrafted elements, the physicality of the models, and lighting similar to that of live-action films creates a higher degree of naturalism (Quigley 117-119). Quigley goes beyond discussing the technical challenges and stylistic values of the film, and focuses the majority of her essay on the film itself as a media text.  She discusses the plot elements, characters, pop culture references and the films intertexuailty to the world of cinema. This clearly indicates an acceptance of stop-motion as an intellectually valuable and viable form of cinema, not simply a special effect technique. Furthermore director Nick Park’s more recent stop-motion film Wallace in Gromit: Curse of the WereRabbit won the Academy Award for Best Animated Feature Film in 2006. Another example of such academic and critical attention afforded to a stop-motion film is Adrienne Kertzer’s article Fidelity, Felicity, and Playing Around in Wes Anderson’s Fantastic Mr. Fox. She discusses the adaptation of Roald Dahl’s children’s novel Fantastic Mr. Fox to a stop-animated feature length film. Kertzer considers the film’s fidelity to the source material and discusses in depth the concept of fidelity vs. artistic license in adaptation (Kertzer, 6). Kertzer compares author Roald Dahl and director Wes Anderson (Kertzer, 7). Kertzer also discusses the marketing of the film, Felicity Dahl’s involvement and the intertextuality of the film with the source text and Wes Anderson’s other films (Kertzer, 9). Danny Birchall proves that YouTube can be a place for serious academic texts to flourish in his article The Avant-Garde Archive Online. Prior to broadband Internet, the technology that has made video sharing sites such as YouTube viable, avant-garde (or “art-films”) could really only find distribution through smaller circles of academia and the art scene. YouTube offers a worldwide, free distribution channel for these works and a much larger audience, thus expanding the availability of public access to these works. This new technology has shifted the distribution of avant-garde work from academic channels to commercial and personal channels. This makes avant-garde material easy to find on various sites (including YouTube). However there are still challenges as the material quality and context various across the web. Some videos are uploaded in low quality or in incomplete segments. UbuWeb and Luxonline have also emerged as online archives of avant-garde video. UbuWeb is one of the preferred sites for avant-garde material, however it does not have any of the features that YouTube boasts such as being user friendly and allowing users to upload their own content. Luxoline is focused only on British avant-garde films. Two main factors emerge as the driving force of putting avant-garde video material online through YouTube, enthusiasts and artists that want to share their content with the world and archives such as BFI and the National Film Board of Canada that partner with YouTube to put up full quality content to reach new audiences. While the archive will remain incomplete, and artists that do not move to make their work available online risk being forgotten and the trend towards using YouTube as distribution for artist work continues to be solidified. Alexandra Juhasz’s article Learning the Five Lessons of YouTube: After Trying to Teach There, I Don’t Believe the Hype further discusses the nature of YouTube and its position within academia.Much of the hype in academia centers on YouTube as a DIY platform. The promise of web 2.0 is that it revolutionizes the possibilities for punk and amateur work to find a mass audience. Juhasz refutes this notion and offers five lessons about the nature of YouTube. The first lesson is that YoutTube is not democratic, but rather ruled by popularity and that fringe elements of expression are removed. Videos with better production quality that speaks to mainstream culture and are simply entertaining but not weird or thought-provoking rise to the top as the most viewed videos (Juhasz 146). This equates to a mob-rule that provides no provisions for minority views as they are made virtually impossible to find, or are flagged and banned (Juhasz 147). The second lesson examines the function of YouTube and the forms its content take. YouTube is essentially a postmodern television set that delivers mindless distraction in short form videos. The three elements that make a video popular or entertaining are humor, spectacle and self-referentiality. This constitutes a new signature form of video distinct to YouTube that focuses on easy to understand sensations rather than complex meanings (Juhasz 147). The third lesson regards the distinction between professional and amateur videos. Professional videos are marked by corporate values of high production value and usually come in the form of commercial, music videos or movie segments. Amateur videos are marked by a disregard to production quality and use low-end technology to capture mundane content about daily life in the form of vlogs or videos of extreme events caught on video (Juhasz, 148). Fourth lesson: YouTube does not offer community, and is messily organized. It is made for distraction rather than action. The point is not really do find something you are looking for based on some sort of community but rather to wander somewhat aimlessly supporting advertising dollars (Juasz, 149). The fifth lesson is that you can still use YouTube how you want to. There is still plenty of room for the niche content even if it never rises to the top of the site (Juhasz 149). Nick Salvato also discusses YouTube hailed image of a channel that democratizes the circulation of videos in his article Out of Hand: YouTube Amateurs and Professionals. He discusses the criticisms against YouTube leveled by Andrew Keen in his book The Cult of the Amateur: How Today’s Internet Is Killing Our Culture. Andrew Keen’s criticisms are rallied against the very thing YouTube promises to do, give a voice to amateurs. Keen believes this erodes culture and truth and that common person contribute mediocre content, while corporations and big media produce professional creative content (Salvato, 68). Technology has long limited the common person to consuming media, as devices for consuming media (projectors and VCRs) were much cheaper than those for producing it (camcorders) (Salvato, 71). Digital video recorders and the advent of user friendly video editing and video sharing have turned us into content producers. This new technology has also opened up new form of exhibition of homemade content. Where as homemade content had little exposure other than humorous videos submitted to America’s Funniest Home Videos, YouTube offers a new channel for mass distribution of all forms of video content (Salvato, 72).             A young woman awakes to behold the impending doom of the world. She flees from the destruction that is gobbling up matter itself like a tornado. She runs across a micro-landscape over the top of a spinning pen, leaping from pinhead to pinhead, and riding a bumblebee. When she reaches the end of the line she turns to face the force of doom and wielding two needles dives into the whirlwind and is seemingly lost in the cloud of violence until she emerges victorious knitting the chaos into a blanket for herself and returning to her sleep. Camera pans to show a shot of the Nokia N8 rigged above the scene. The commercial Dot. The World’s smallest stop-motion animation character shot on a Nokia N8 blurs the lines of short story film and commercial. The project was created by Aardman and Sumo Science as a demonstration of the Nokia N8’s micro-lens smart phone camera that can photograph a character as small 9mm using CellScope technology. The video is longer than the typical television ad at 1:37 and was created specifically for the web. The unique approach of the ad has not gone unnoticed, since its original upload on August 31st 2010 it has received over 2,983,946 views on YouTube. In addition to audience appeal, it has also received critical and academic acclaim from the academic conference TED. It was selected as one of the 10 winners of TED’s Ads Worth Sharing Competition. The commercial also has a making of feature available online Dot. The making of. which details the labor-intensive process of stop-motion animation that was used to create the film. It has also spawned a sequel Gulp. The world's largest stop-motion animation set, shot on a Nokia N8 which similarly aims to use spectacle and demonstration as a form of product advertising.               The music video Her Morning Elegance/Oren Lavie depicts a dreamlike sequence of a woman (actress Shir Shomron manipulated like a puppet) sleepwalking through various worlds created out of pillows, sheets and clothing all shot from a single perspective directly above her above bed. This creative stop-motion directed by Oren Lavie, Yuval and Merav Nathan has received over 21,327,442 views on YouTube since its original upload January 19th, 2009. It also received a Grammy Nomination for best music video in 2010 and won numerous awards in Film Festivals such as the L.A. Film Festival, SXSW, Stuttgart Festival of Animated Film, Asif - Tel Aviv animation festival and others. There is also an accompanying making of video HER MORNING ELEGANCE behind the scenes on QuarterPastWonderful’s YouTube channel, which explains the process of planning, storyboarding and shooting the video. Because this is a music video its length is directly related to that of the song length of 3:37. Due to the incredible popularity of this video on YouTube there have been several videos that either parody, or borrow from its style creating a fascinating web of intertexuality and self-referentially on YouTube. Her Morning Elegance / Oren Lavie - Official Parody tells the story of a day in the life of an overweight transvestite prostitute and brilliantly mimics the sleepwalking in bed-sequences of the original albeit in a cruder execution. The student film/ stop-motion music video World in Front of Me - Kina Grannis Music Video cites Her Morning Elegance as the inspiration for the video in its description. There are also numerous fan made replicas of the original music video. While these videos give credit to the hypotext from which they are drawn other media that are clearly taken from this source do not. One such video is an Australian commercial by Target, Every Colour You Can Dream Of, depicts a women sleeping in bed, awaking and then flying through a landscape of colorful clothing products until she returns to her sleep, which is essentially the same plot as Her Morning Elegance and uses the same signature above the bed angle. The only real departure is that the landscape of interaction is expanded beyond the bed. Because this commercial actually exists online only through various unofficial channels, the most popular video of the upload being teajay74’s Target Dreaming Girl Commercial, there is no citation of the original material by the ad agency. The anonymous YouTube user enlilify pays tribute to the source material by titling an unofficially uploaded commercial her morning elegance FAKE. This commercial created by Lowe Adventa Russia for Russian mobile-phone provider Beeline so obviously mimics the style of Her Morning Elegance that it appears that reason alone is the only reason it has been uploaded to YouTube.                 The trend of pushing the boundaries of stop-motion animation music videos on YouTube continued with Coldplay - Strawberry Swing and In Your Arms - Kina Grannis. The music video for Coldplay - Strawberry Swing tells the story of a man (portrayed by Coldplay front man Chris Martin) who awakes to discover a princess has been captured by an evil squirrel and leaps into action as a superhero, battling obstacles against a surreal chalk animated landscape to rescue her. The video is set to Coldplay’s song Strawberry Swing with a running time of 4:14. It was created by professional animation production company Shynola and since its original upload on emimusic’s official YouTube channel it has received over 5,090,788 views. The video also received nominations for Best Animation in a video at the 2009 UK Music Video Awards and Breakthrough Video at the 2010 MTV Music Video Awards. There is no making accompanying making of video, however an interview of the video’s creators Shynola which discusses the time-intensive process of combining a live person as a stop motion puppet and using chalk to create a mega-sized animated world is available on Coldplay’s website.    The music video for In Your Arms - Kina Grannis created by @radical.media directed by Greg Jardin similarly uses live-musician Kina Grannis as a stop-motion puppet animated against a fantastic surreal background. The animated sequence is achieved through creating mosaic images frame by frame out of jellybeans. The result is a one-of-a-kind colorful and imaginative spectacle, which adventures through fantastic scenes of forests, jungles, caves, mountaintops, oceans and outer space. The video The Making Of “In Your Arms” documents the process in detail following the 22-month project, which took a total of 1,357 hours to shoot with a team of 30 people. Some shots of the film required 5 minutes of set-up while others required hours. The entire sequence was preconceived and digitally animated so the animators would have a guide to follow in constructing each shot. In just over 2 months since its upload on November 2, 2011 the video has received over 3,688,886 views.               Profession stop-motion work however is not the only thing making waves through YouTube. Director Bang-Yao Liu’s Senior Project for Savannah College of Art & Design DEADLINE post-it stop-motion visualizes a student with a deadline battling with his project, procrastination and distractions personified by post-it-notes which form a pixel animation on the wall above his desk. This video has received over 5,282,776 views since its upload June 5, 2009 and run time comes in just under 2 minutes at 1:55. According the behind the scenes video DEADLINE the making of the project required 3 months of planning and 4 days of shooting. The hard work has certainly paid off as Bang-Yao-Liu was commissioned to create a sequel DEADLINE 2: Sticking Close to You a stop-motion project filmed in 11 cities around the world as an advertisement for the office supply company Stick’N.   Another prime example of amateur artists transitioning into the commercial through merit of their YouTube video is director Paul B. Cummings’ Tony vs. Paul. The creators describe it as a “a stop motion battle between two friends turned enemies.” The video took over 2 months to film and edit and uses over 4,000 still shots to create the 5:02 short film. Again live actors are used as puppets that are capable of extraordinary feats such as flight. Since its original upload Nov 16, 2006 the video has received over 6,288,265 views. Paul has since then directed several commercials for television (which he has also made available for viewing on his YouTube channel testricide) including promos for the Office, McDonald’s, Redvines, ButterFinger, New Balance and the Webby’s (an award show dedicated to online video).            While the professional music video Her Morning Elegance inspired many amateur copies and the amateur creators of DEADLINE and Tony vs. Paul have launched professional advertising careers, a fascinating example of amateur work inspiring professional advertisers has emerged. Taijin Takeuchi’s オオカミとブタ -Stop Motion with Wolf and Pig is cited as the source of inspiration for Olympus’ commercial The PEN Story. Takeuchi’s film also known as A wolf loves pork. tells the story of a boy dressed in a wolf suit chasing after a papier-mâché pig. The film exhibits a unique animation style as the stop-animation is photographed, printed and then photographed again interacting with the environment of Takeuchi’s bedroom. The film has received over 3, 421,193 views on YouTube since its upload on April 9, 2009. Runtime is 3:55.    The PEN Story mimics the technique and style of printed photography stop-motion of A wolf loves pork. and heavily foregrounds the hypotext in the opening shot of hands pulling a photograph out of envelope on a desk. The film tells the story of a man’s life and its many stages from childhood to old age and cleverly and creatively interacts with the man’s living room. The commercial was created by German company BIGFISH Filmproduktion through the ad agency DSG Dialog Solutions for Olympus. The video uploaded only 4 months after A wolf loves pork. on July 2, 2009 has received over 3,693,140 views on YouTube. There is also a corresponding video uploaded by DialogSolutions which documents the films production Making of the PEN story and a sequel PEN Giant which use photographs the size of billboards to depict the story. Similar to Nokia’s commercials Dot. The World’s smallest stop-motion animation character shot on a Nokia N8 and Gulp. The world's largest stop-motion animation set, shot on a Nokia N8 Olympus’ commercial act as demonstrations of what the product can create rather than making the ad primarily about displaying the product itself.   The concept of stop-motion continues to prove itself as engaging form of video expression. It has enjoyed long lasting commercial and critical success in the traditional outlets of television and cinema due to its inherently unique and imaginative style. The channel of YouTube has opened up new possibilities for a more democratic mass distribution of video content and although it is still imperfect in protection of the individual voice and organizational structure, which is highly influenced by corporate values and standards, it opens up a pathway to aspiring amateurs and artists to have their work recognized that did not previously exist in film and television. Finally an examination of several popular stop-motion YouTube videos reveals fascinating trends that contribute to this new form of stop-motion media on YouTube include short running time (between 1.5 to 5 minutes), a propensity for stories that deal with themes of sleep and dreams, the success of projects that produce impressive spectacles through time and labor intensive executions of pre-planned sequences, an affinity for whimsical, lighthearted, highly imaginative and creative characters and settings, and an introduction to the extensive use of human-actors as tangible stop-motion puppets. These trends, along with the intertextuality between professional and amateur work and the upward mobility of amateur artists to professionals, phenomena all unique to stop-motion artistry found on YouTube, will undoubtedly inspire continued interest in and academic criticism of stop-motion artistry that shatters the old boundaries of film and television within the powerful new channel of distribution YouTube.  <!--EndFragment-->   Works Cited Birchall, Danny. "The Avant-Garde Archive Online." Film Quarterly 63.1 (2009): 12-14. Print. Bunliu. “DEADLINE post-it stop motion” YouYube.com             YouTube, 5 Jun. 2009. Web. 9 Dec. 2011   Dokugyunyu. “オオカミとブタ -Stop Motion with Wolf and Pig” YouYube.com             YouTube, 9 Apr. 2010. Web. 9 Dec. 2011   Emimusic. “Coldplay Strawberry swing” YouYube.com             YouTube, 23 July. 2010. Web. 9 Dec. 2011   Juhasz, Alexandra. "Learning the Five Lessons of YouTube: After Trying to Teach There, I Don't Believe the Hype." Cinema Journal 48.2 (2008): 145-50. Print.               Kertzer, Adrienne. "Fidelity, Felicity, and Playing Around in Wes Anderson’s Fantastic Mr. Fox." Children’s Literature Association Quarterly (2011): 4-24. Print.   Kina Grannis. “In Your Arms - Kina Granis” YouYube.com             YouTube, 2 Nov. 2011. Web. 9 Dec. 2011   Nokia. “Dot. The world's smallest stop-motion animation character shot on a Nokia N8” YouYube.com             YouTube, 31 Aug. 2010. Web. 9 Dec. 2011   PENstory. “The PEN Story” YouYube.com             YouTube, 2 July. 2010. Web. 9 Dec. 2011   Quarter Past Wonderful. “Her Morning Elegance / Oren Lavie” YouYube.com             YouTube, 19 Jan. 2009. Web. 9 Dec. 2011   Quigley, Marian. "Poultry in Stop-Motion: The Challenge of Technology in Chicken Run." Screen Education 48 (2007): 117-23. Print.   Salvato, Nick. "Out of Hand: YouTube Amateurs and Professionals." TDR/The Drama Review 53.3 (2009): 67-83. Print.               Testricide. “Tony vs. Paul” YouYube.com             YouTube, 16 Nov. 2006. Web. 9 Dec. 2011                          Tillis, Steve. "The Art of Puppetry in the Age of Media Production." TDR/The Drama Review 43.3 (1999): 182-95. Print.    
    Dec 20, 2011 43696
  • 08 Feb 2015
              A Social Network for animation artists. - Share and view animation artwork - Network with other artists- Learn from Industry Professionals     Welcome to Animatedbuzz!  This is a community that I've been developing since 2000 for animation artists who aspire to one day, or are already working in animation.  I set out to create this community because I wished that something like this existed when I was trying to find my way into the animation industry. When I started CALARTS, I began writing a journal which to my surprise, attracted many visitors to my forum.  From that point, I decided to upgrade the site to a social network so we can share our artwork with other artists all around the world.   - Mario FurmanczykCreator of Animatedbuzz.comAbout Mario Furmanczyk: IMDB: http://www.imdb.com/name/nm2437772/Animatedbuzz Profile: http://animatedbuzz.com/profile/mariofurmanczykCALARTS BLOGAnimatedbuzz Youtube Channel:Mario is currently working as a professional Animator at Walt Disney Feature Animation Studios in Burbank CA.  He has worked on two hand drawin feature films including Princess and the Frog, and Winnie the Pooh.  He's currently working as a computer animator on Zootopia, which will release in Spring of 2016.  His other Computer Animation credits include "Wreck It Ralph, "Frozen", "Get a Horse", and "Big Hero 6".  Mario grew up in Chicago Illinois and moved to California in September of 2003 to study Character Animation at CALARTS.  He graduated in 2007 and started the Apprenticeship at Disney Feature animation later that Fall.        
    34704 Posted by Mario Furmanczyk
  •           A Social Network for animation artists. - Share and view animation artwork - Network with other artists- Learn from Industry Professionals     Welcome to Animatedbuzz!  This is a community that I've been developing since 2000 for animation artists who aspire to one day, or are already working in animation.  I set out to create this community because I wished that something like this existed when I was trying to find my way into the animation industry. When I started CALARTS, I began writing a journal which to my surprise, attracted many visitors to my forum.  From that point, I decided to upgrade the site to a social network so we can share our artwork with other artists all around the world.   - Mario FurmanczykCreator of Animatedbuzz.comAbout Mario Furmanczyk: IMDB: http://www.imdb.com/name/nm2437772/Animatedbuzz Profile: http://animatedbuzz.com/profile/mariofurmanczykCALARTS BLOGAnimatedbuzz Youtube Channel:Mario is currently working as a professional Animator at Walt Disney Feature Animation Studios in Burbank CA.  He has worked on two hand drawin feature films including Princess and the Frog, and Winnie the Pooh.  He's currently working as a computer animator on Zootopia, which will release in Spring of 2016.  His other Computer Animation credits include "Wreck It Ralph, "Frozen", "Get a Horse", and "Big Hero 6".  Mario grew up in Chicago Illinois and moved to California in September of 2003 to study Character Animation at CALARTS.  He graduated in 2007 and started the Apprenticeship at Disney Feature animation later that Fall.        
    Feb 08, 2015 34704
  • 04 Jan 2011
    For anyone in any field of animation - 2-D, 3-D, stop-motion - respectably, it is very understandable that anime can be seen as an infamous form of animation. The flat and static movements, the inconsistent dimensions of the characters when they rotate, the notorious habit of using only two key frames for the mouth when someone is talking (what bugs me is that often times, the jaw or chin doesn't move with the mouth or lips...grrrr). And there are many overly-popularized shows that emulate these annoyances.However, having been an anime fan a great deal of my life (and in some cases, still to this day), I know that there are still great animators and films to be seen, even in Japan. Of course many may already assume the greats like Hayao Miyazaki or the film "Akira" - and frankly, who wouldn't? But I guess to just be a snob, I wish to present a list of Japanese animated films that in my mind, not only have extraordinary animation, but great and twisted stories and vibrant characters.Tokyo Godfathers (I'd say see this one FIRST! An absolute classic!)The Millenium ActressMIND GAMEThe Girl Who Leapt Through TimePaprikaTekkon KinkreetJin-Roh: The Wolf BrigadeI wish I had more, but just in case, some really good animators and studios to look into are:Studio GhibliStudio 4°CProduction I.G.MADHOUSE Ltd.Hayao MiyazakiSatoshi KonAny one of these films or animators will at least be a good bastion of animation to kind of even out the criticisms against anime.Out of all the crap in anime, at least these are a sanctuary from all of it.  
    21227 Posted by Aaron Schmit
  • For anyone in any field of animation - 2-D, 3-D, stop-motion - respectably, it is very understandable that anime can be seen as an infamous form of animation. The flat and static movements, the inconsistent dimensions of the characters when they rotate, the notorious habit of using only two key frames for the mouth when someone is talking (what bugs me is that often times, the jaw or chin doesn't move with the mouth or lips...grrrr). And there are many overly-popularized shows that emulate these annoyances.However, having been an anime fan a great deal of my life (and in some cases, still to this day), I know that there are still great animators and films to be seen, even in Japan. Of course many may already assume the greats like Hayao Miyazaki or the film "Akira" - and frankly, who wouldn't? But I guess to just be a snob, I wish to present a list of Japanese animated films that in my mind, not only have extraordinary animation, but great and twisted stories and vibrant characters.Tokyo Godfathers (I'd say see this one FIRST! An absolute classic!)The Millenium ActressMIND GAMEThe Girl Who Leapt Through TimePaprikaTekkon KinkreetJin-Roh: The Wolf BrigadeI wish I had more, but just in case, some really good animators and studios to look into are:Studio GhibliStudio 4°CProduction I.G.MADHOUSE Ltd.Hayao MiyazakiSatoshi KonAny one of these films or animators will at least be a good bastion of animation to kind of even out the criticisms against anime.Out of all the crap in anime, at least these are a sanctuary from all of it.  
    Jan 04, 2011 21227
  • 06 Jan 2011
    The weight has been lifted! I sent this baby in today. And now the weight of waiting to hear back from them has replaced it. lolol.Nah, now I can focus on other things on my full to-do list.Anyway here it is for your eyeballs to absorb.close ups:And here's the short film I finally finished and included in the portfolio.Nightmare Catcher from Monica Ekabutr on Vimeo.some of my kind friends have posted it on their blogs/tumblrs. i'm trying to throw it out everywhere i can. feel free to pass it on and let me know your thoughts!
    12968 Posted by Monica Ekabutr
  • The weight has been lifted! I sent this baby in today. And now the weight of waiting to hear back from them has replaced it. lolol.Nah, now I can focus on other things on my full to-do list.Anyway here it is for your eyeballs to absorb.close ups:And here's the short film I finally finished and included in the portfolio.Nightmare Catcher from Monica Ekabutr on Vimeo.some of my kind friends have posted it on their blogs/tumblrs. i'm trying to throw it out everywhere i can. feel free to pass it on and let me know your thoughts!
    Jan 06, 2011 12968

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