Industry Trends

The 6 Latest & Greatest Trends in Animation

The art of putting together images to depict a sequence of events is much older than we think. Egyptian murals with carvings showing the steps to wrestling moves have been found in tombs left behind more than 4,000 years ago. A thousand years earlier, someone in the area of modern-day Iran painted sequential images of a goat leaping up to bite a tree leaf on a pottery bowl.

Today, animation continues offering us a captivating way of telling stories and providing information. Thanks to advancements in techniques and technology, here are the latest ways you can impress with your own animation talents:

  1. 3D Looks to Retro & Vintage

To keep their content fresh and unique, many 3D animators are looking to art styles from the past for inspiration. One of the more popular trends looks to Gouache, a ’60s era water-based painting style which involved heavy use of color layers and dry brushing. Another cool 3D animation style that’s becoming popular again is retrofuturism. This makes use of sci-fi aesthetics from what people in the late ’70s and early ’80s thought the future might look like. Use of lush lighting effects and pixelated digital elements serve to create places and characters that feel both retro and sci-fi.

  1. High Contrast Cel Animation

Converse Chuck Taylor II Shield Canvas from Golden Wolf on Vimeo.

This is an animation trend that’s been on the rise for a few years now and has been used by some of the top companies in the world, including Nike, Nickelodeon, Disney, Cartoon Network, and even fo the Winter X games. Vibrant, contrasting colors combined with an angular design are used to give the animation a simplified, almost cel-style look. The result is a fun, in-your-face sequence that’s hard to look away from. Some of the best examples are from Golden Wolf, an animation production company based in London.

  1. 2D and 3D, Together

A trend that began in recent years and has continued picking up steam is creating animations that look like a mix of 2D and 3D. You don’t have to look far to find a tutorial that shows you how to end up with a flat 2D look by using a cel shader to render 3D. By giving 3D objects a 2D look, animators are able to make expressive, illustrative elements that immediately attract a viewer’s attention while delivering information in a clear and colorful way.

  1. Hyper-Surrealism

HONDA “The Dreamer” from Roof Studio on Vimeo.

If there’s one great animation trend that makes full use of the power of CGI imagery, it’s this style. The effect of hyper-surreal animation relies on combining photo-realistic elements with fantastical imagery to create dreamlike worlds and action. There are few examples better than Roof Studio’s “The Dreamer” add for Honda, which takes viewers along a whimsical journey as a realistic vehicle drives across outlandish locations.  If you’re interested in an animation style that lets your creativity and imagination run wild, look no further.

  1. Dynamic Function Animation in Apps

App developers are also now seeing the power animation can have to give users a memorable experience. Instead of using static images or just text, many apps in 2018 are using functional animation that keeps a user’s attention with a vibrant, interesting user interface. This includes using animation to brighten navigational elements, confirm user input, zoom in and out on content, and more. Since there’s nothing better than motion, mainly because our eyes are designed to follow it, 2D animation offers an unmatched level of visual feedback.

  1. Resurgence of 2D Animation in Marketing

In entertainment industries like film and video games, 2D animation took a back seat when 3D arrived. Since then, companies have felt there’s no better way to captivate audiences, players, and potential customers than with 3D animation, even if it requires more time and effort to create. But now that more people are using the internet like never before, be it on their smart devices or computers, companies need attractive yet cost-effective ways to grow their marketing brand. Thus, a big trend in animation these days is having the ability to whip up simple, attention-grabbing 2D animation videos for use in mobile and web advertisement.

Learn more about 3D Animation & VFX at the New York Film Academy.

Here’s What It’s Like to Work for Walt Disney Animation Studios

For many who grew up watching Disney movies the opportunity to work at Walt Disney Animation Studios would be an incredible experience. Many aspiring animators wonder what it’s like doing what you love at the most accomplished and iconic studio in the world. To prepare for what could one day be your dream come true, here’s an idea of what you can expect:

Working for Walt Disney Animation Studios is all about…

Taking Big Risks

Screenshot 2017-06-21 10.01.06

No company has ever reached worldwide recognition by only playing it safe. People who want to make an impact know that success doesn’t come from only doing what’s expected. To truly stand out and raise the bar you have to be willing to take risks and hope it pays off.

No one knows this better than Darrin Butters, an animator who has worked on Walt Disney Animation Studio hits like “Tangled,” “Big Hero 6,” and “Frozen.” During a recent talk at the New York Film Academy 3D Animation School, Butters spoke about how the slow sloth scene from “Zootopia” required going against the top principles of good animation. Despite this, the scene ended up being one of the highlights of the film and well worth the risk.

Giving Your Best To Make Disney The Best

Screenshot 2017-06-21 10.06.55

Most would agree that Disney wouldn’t be where it is today if it weren’t for the Disney Renaissance. During this era lasting between 1989 to 1999, Walt Disney Animation Studios produced hit after hit with no signs of stopping. Some of the most admired animated films were created during this time, including “The Lion King,” “Beauty and the Beast,” and “Hercules.”

The animators that worked for Disney at the time inspired today’s animators to do one thing: make Disney the best. Working at Walt Disney Animation Studios means remembering that the competition is fierce, so you must always do better than before. Of course, it also requires passion and love for animation to walk under Mickey’s wizard hat while on your way to work each day.

Remembering The Fundamentals

Screenshot 2017-06-21 10.08.47

Whether you prefer working with 3D graphics or prefer 2D drawings, there’s a place for you in animation. This is because no matter how 3D-dominated the industry gets, animation will always need people who know the fundamentals. No one understands this better than Eric Goldberg, a man who has worked in the industry for 25 years.

With animated TV shows and movies like “Looney Tunes” and “The Simpsons” under his belt, Goldberg knows the importance of mock up, character design, and other animation tasks originally done by hand. During his exclusive preview of “Moana” at the New York Film Academy’s LA campus, Goldberg expressed that all animators who want a future at big studios like Disney should remember that many fundamentals of animation have held true for decades. It’s why a 2D animator like him can survive in a 3D animation world like today.

Doing Whatever It Takes & Loving It

Screenshot 2017-06-21 10.09.32

There’s nothing like watching a finished animated film after countless hours of hard work have been poured into it. While a lot of people assume creating animated characters and worlds is all fun and games, animators know how much hard work is required to make something special. If you’re not willing to push yourself in order to come up with something unique and creative then perhaps working for the “Mouse” isn’t for you.

In a guest post on Chronicle Books, Maggie Malone of Walt Disney Animation Studios talked about how one of the artists went above and beyond while working on “Wreck-It-Ralph.” This artist was tasked with building the world for the Sugar Rush candy go-kart scenes. In order to make sure her candy world was authentic and reliable, she spent weeks creating actual models out of real candy. This resulted in a deliciously wonderful scene that might’ve never looked as good if she hadn’t put in the extra mile.

What are your goals as an animator? Let us know in the comments below! And learn more about 3D animation and visual effects at the New York Film Academy.

The 6 Best Animated Shorts From The Last SXSW Films

This year’s South by Southwest (SXSW) festival in Austin, Texas, was another success in film showcases. Running March 10-19, the festival hosted filmmakers from all over the globe, all representing a variety of styles and genres, including animated short films. This year there were 11 total accepted animated shorts, but only one could receive the high honor of Best Animated Short.

But just because there was one winner doesn’t mean there weren’t other quality pieces in the ring. With Cannes in full swing, we’re taking a moment to celebrate festivals and to remember great films that have debuted already in 2017. To celebrate animated film, here are six animated favorites from this year’s SXSW festival:

“Wednesday with Goddard”

The winner of Best Animated Short was created by the UK’s Nicolas Ménard as a commision for Channel 4’s “Random Acts.” It is about a man named Eugene seeking God. Combining 2D animation with pencil drawings by Manshen Lo as well as a soundtrack by David Kamp, the film takes viewers on a surreal journey to find Eugene’s idea of the divine.

“Pussy”

The short film by Polish filmmaker Renata Gąsiorowska received Special Jury Recognition at SXSW for its unapologetic and hilarious take on female sexuality and every absurd thing that gets in the way of it. The protagonist of the short tries to spend alone time with herself and is interrupted from her private bath.

“Hot Dog Hands”

Created by San Francisco-native Matt Reynolds, “Hot Dog Hands” is a strange but hysterical film about a woman who can’t stop growing fingers. Even when she tries to type her condition into the infamous WebMD, her hot dog hands get in her way. The rest is comedic chaos.

“Catherine”

Calling all cat ladies! “Catherine” is all about a little girl who loves pets, especially her bright blue cat who brings her comfort and joy. Being bullied at school plus living alone means the cat is Catherine’s only confidant and friend. But Dwight, a boy across the street, is having a hard time getting Catherine to notice something other than her cat … him! The film was created by Britt Raes and produced by Creative Conspiracy.

“Tough”

Created by Jennifer Zheng, “Tough” is about a grown British-born daughter and her Chinese mother speaking for the first time as adults. The result is a bridge between cultural understanding and childhood clarity. The film combines both Mandarin Chinese and English language for a fulfilling four-minute multicultural experience.

“Birdlime”

This family-friendly stop-motion film by Canadian animator Evan Derushie, who has previously worked on films such as “The Little Prince” (2015), follows a bird dodging birdlime, a substance used to trap birds for export and illegal trade. Though the grey-blue bird in the film successfully averts the dangerous birdlime, he is still captured within a cage and cannot make sense of the strange creatures around him.

What animated films are you most excited to see in 2017? Let us know in the comments below! And learn more about animation at New York Film Academy.

 

Technical Innovations in Star Wars Through the Ages

We have now marked 40 years since the first Star Wars, “A New Hope” astounded moviegoers with its otherworldly look and stunning special effects. Since then, special effects have morphed into CGI and the growing pains of this change and subsequent balancing act between analogue and digital mark the three distinct “Star Wars” trilogies. As the triumph of “The Force Awakens” subsides and excitement mounts in anticipation of “The Last Jedi,” we take a look at how technical innovations shaped the look and sound of some of the most beloved (and reviled) “Star Wars” moments.

A long time ago … There were SFX.

In order to make his first Star Wars movie approximate his elaborate storyboards, George Lucas hired special effects wizard John Dykstra to head up a new company — Industrial Light and Magic (ILM). Lucas’ ideas required Dykstra and his team to invent as they went along, as this quote from Dykstra in a The New Economy article demonstrates: “Back in the days of ‘Star Wars,’ we kind of walked into an empty warehouse and sat on the floor and went ‘How are we going to do this?’”

ILM has since been responsible for some of the biggest special and digital effects of the past 40 years, including the incredible leaps from SFX to VFX.

“But,” continues The New Economy, “a mere two decades after Dykstra destroyed the Death Star in ‘A New Hope’ using nothing but a cardboard box and titanium shavings, Lucas turned his back on animatronics and practical effects in favour of expanding his ‘Star Wars’ universe digitally in the prequel episodes…”

The literally unbelievable.

by istolethetv on Flickr

by istolethetv on Flickr

Indeed, the prequel trilogy pushed the limits of CGI, creating incredible virtual sets, and “the first CG star” in the form of Jar Jar Binks. But the technology was not quite there yet, which brought a little too much attention to the fact that the actors inhabited a post-production world. “Worse,” as this Wired article points out, “the special effect that was meant to be ‘The Phantom Menace’s’ crowning glory instead ended up as the biggest albatross around its neck.” Wired concludes that Jar Jar Binks “became instead emblematic of the film’s flawed CG heart.”

Sounds of a galaxy far, far away.

The famed sound designer Ben Burtt was a student at USC when he began collecting sounds of the real world destined to be manipulated into the iconic sounds of the original “Star Wars” trilogy. In an article detailing the sounds behind those sounds, Burtt is quoted as saying, “In my first discussion with George Lucas about the film, he [said] — and I concurred with him — that he wanted an ‘organic,’ as opposed to the electronic and artificial soundtrack. … Therefore we wanted to draw upon raw material from the real world: real motors, real squeaky door, real insects; this sort of thing.” An example is the use of his TV set blended with an old 35 mm projector to create the hum of a light saber.

The sound designers for “The Force Awakens” continued in Burtt’s footsteps. In a Daily Dot interview, David Acord tells how he turned his cat’s purring into Kylo Ren’s Force rumble: “It’s pitched and kind of slowed down, and it’s got a ton of low-end added to it. But you listen to it, it’s one of those things … it’s tough when you sort of pull back the curtain for sound effects, because then that’s all you’ll hear, is that. [laughs] But yeah, that’s Pork Chop purring.” Perhaps it is this seamless melding of analogue and digital that most beautifully captures the spirit of “Star Wars.”

A new movement.

The development of motion capture — the use of the physicality of actors to animate CG creations — melds together the real and virtual worlds to great and seamless effect. Although, in an effort to reclaim some of the original trilogy’s magic, “The Force Awakens” director JJ Abrams famously eschewed much of the CGI available to him, Lupita Nyong’o enlivens her CGI character with motion capture as space pirate Maz Kanata.

Supreme Leader Snokes, another CGI character played by Andy Circus of Gollum fame, will be physicalized as a giant puppet in “The Last Jedi,” according to Making Star Wars, assuring fans that the union of real and virtual wizardry continues.

What is your favorite “Star Wars” sound effect? Let us know in the comments below. And learn more about Filmmaking and 3D Animation & VFX at New York Film Academy.

 

5 Great Sites for Animation References

artist-1245726_960_720

It’s a good time to be an aspiring animator. Access to many useful sites are only a few keystrokes away, giving you a look at what other talented people are working on. While nothing compares to your own ideas and creativity, it doesn’t hurt to get a little inspiration from other people’s work.

The following are some of the top reference sites for future and veteran animators alike:

1. Reference! Reference!

This is easily one of the best databases for animation on the web, and the best part is that it’s completely free. This reference site is run by Martin L’Heureux, a Canadian artist with more than 20 years and 30 projects under his belt. They include not just movies and television but acclaimed video games as well, such as Nintendo’s Metroid Prime.

L’Heureux started the site to share the knowledge he’s picked up over the years in the animation industry. A deep interest in physics and mechanics of human movement mean there are a lot of human animations on the site. If that’s your cup of tea as well, definitely check out his clips.

2. Living Lines Library

Here you’ll find one of the more impressive collections of pencil animations and concept art from actual projects. Whether your goal is to find inspiration or you want to see how some of your favorite shows and movies started out, look no further.

Living Lines Library has everything from production drawings and character designs to model sheets and storyboards from movies and shows both new and old. A few of the many include content from classic Disney movies like “Bambi,” Hayao Miyazaki films like “Kiki’s Delivery Service,” and even 3D movies like “Rise of the Guardians.”

3. Temple of the Seven Golden Camels

Don’t let the quirky name fool you. This blog is run by none other than Mark Kennedy, an animator and writer who worked on some of your favorite Disney shows and movies from the last two decades. His filmography includes “Tarzan,” “Hercules,” “The Emperor’s New Groove,” and “Wreck-It Ralph.”

In other words, Kennedy knows his stuff. His blog offers a wealth of knowledge that every animator can benefit from, including breakdowns of scripts, videos, and plenty of great advice. Although the blog is updated rarely nowadays, there’s already plenty of stuff on there to check out.

4. Deja View

This website is a blog run by Andreas Deja, a German-born animator who worked on some of the best Disney animated films of all time. During his 30 years working at the House of Mouse he had the pleasure of creating memorable villains for top animated films, including Jafar from “Aladdin,” Scar from “The Lion King,” and Gaston from “Beauty and the Beast.”

Deja uses his decades of experience and ever-growing passion for animation to help others sharpen their skills. He doesn’t just show sketches or drawings he made, he also talks about his process, inspirations, etc. One of his more recent posts is of him comparing the live action performance of Bill Condon’s Gaston in the new “Beauty and the Beast” to his own animated version from the 1991 film.

5. Animation Insider

This website serves as a hub for animators looking to land an interview for a new job. It offers various resources to push your animation career forward, including a jobs board that’s frequently updated with new gigs.

Animation Insider also has sections where artists from around the world post their work, informative videos, and more. Just from skimming the site we found a great video detailing why cartoon characters wear gloves. This site was started by Mike Milo, a two time Emmy award winning animator who has worked for just about every major animation studio you can think of.

Are you an aspiring animator? Learn more about your craft through one of New York Film Academy’s 3D animation and visual effects programs!

Animated Series to Watch for Inspiration

Visual effects and 3D animation have really grown over the last few decades with the help of improved tools for animations. If you are interested in learning the theory of animation and visual effects, and getting the professional skills you’ll need, the New York Film Academy’s 3D & Visual Effects School is for you.

The professors of NYFA’s Animation School are working animators and visual effects artists who have designed a hands-on curriculum for students to help prepare them for a competitive industry. Our students use programs such as Maya, ZBrush, Mudbox, Motion Builder, and Nuke.  

Speaking of animation and visual effects, there is something about animated series that brings the kid out in all of us. If you’re feeling nostalgic or need some inspiration for your own animated series, take to Netflix, Hulu or just resort to some Saturday morning cartoons. We’ve rounded up some great animated series to watch for inspiration:

“Rugrats”

In the early years, “Rugrats” used cel animation and the show’s animators drew everything by hand. But by the time “Rugrats in Paris” movie hit theaters, the team used a combination of 2D and 3D animation. The animators created more than 300,000 drawings by hand and then scanned the drawings into Toon Boom Technologies US Animation software. For the 3D animation, the team used Maya. Once all the images were created, they used Animo Inkworks renderer to seamlessly combine everything.

“The Wild Thornberrys”

Nickelodeon’s “The Wild Thornberrys” was about 12-year-old Eliza and her family, who travel the world to record a nature documentary. It was full of travel and excitement for the family, and Eliza even had a secret power – she could communicate with animals. For a children’s animated series, there are a few notable entertainers who voiced characters. Lacey Chabert, who played Gretchen Weiner in “Mean Girls,” voiced Eliza. None other than Flea from the Red Hot Chili Peppers voiced Donnie, the jungle wild child. Tim Curry voiced Eliza’s beloved yet quirky dad, Nigel. The all-star cast is just another reason why we love “The Wild Thornberrys.”

Here are some other great child-friendly animated series to watch for inspiration:

  • “Looney Toons”
  • “Tom and Jerry”
  • “Scooby Doo”
  • “The Flinstones”
  • “Spongebob Squarepants”
  • “Pinky and the Brain”
  • “The Bugs Bunny Show”
  • “Dexter’s Laboratory”
  • “Teenage Mutant Ninja Turtles”
  • “The Jetsons”
  • “The Powerpuff Girls”
  • “Pokemon”
  • “Hey Arnold”
  • “Doug”
  • “The Fairly Odd Parents”

The list of animated series goes on and on. If you’re into animated series featuring mature content — which you can find on channels like Adult Swim — that’s cool too. There’s nothing like staying up late to get some good chuckles. Many of the animated series for older audiences rely on bawdy humor, adult topics, and mature language — a recipe that many animation fans appreciate as they cross the threshold from childhood to adulthood.

“Family Guy”

“Family Guy” follows the dysfunctional Griffin family and the animated series is now in its 15th season. Creator Seth MacFarlane attended the Rhode Island School of Design and, two weeks before graduating, received a surprise job offer from animation studio Hanna-Barbera. He moved out to Los Angeles and joined Hanna-Barbera’s team as a writer. Before “Family Guy,” he worked on other shows like “Johnny Bravo,” “Dexter’s Laboratory,” and “Cow and Chicken.”

If that isn’t enough reason to love McFarlane’s “Family Guy,” actress Mila Kunis voices the outcast daughter Meg, and Carrie Fisher voiced Peter Griffin’s boss, Angela.   

“South Park”

Southpark_wikilogo

This year marks the 20th anniversary for Comedy Central’s “South Park.” The show focuses on the lives of four elementary students, Kenny, Kyle, Cartman and Stan, in the quiet town of South Park in Colorado. When the show first aired in 1997, creators Matt Stone and Trey Parker used photos and cardboard cutouts for the show. Then they started scanning the cutouts into computers, where they imported the images into PowerAnimator and linked to a 54-processor that could render 10 to 15 shots an hour. Now, Stone and Parker use a 120-process render that produces 30 shots or more an hour. Watching how “South Park” has evolved with new technology and software is truly impressive.

On a side note, Stone and Parker helped co-write the book, music and lyrics for the hit Broadway show, “The Book of Mormon.”

Here are some other great animated series with mature content to watch for inspiration:

  • “King of the Hill”
  • “American Dad!”
  • “Bob’s Burgers”
  • “The Simpsons”
  • “Futurama”

What are some of your favorite animated series? Let us know in the comments below! And check out NYFA’s animation programs to learn more about animation.

 

5 Types Of Animation: Finding Inspiration In All Styles

As you pursue your 3D animation and visual effects studies with NYFA’s Animation School, it’s important to understand the history and techniques that shaped the field of animation and led to the development and popularity of today’s advanced technology. Whether it’s the cartoons we re-watched as a kid or the flipbooks we bought, the cute adverts on TV tempting us to buy certain products or even the “Madagascar” and “Ice Age” films we love to watch in 3D, animation is an integral part of how we understand storytelling. As you develop your 3D animation and visual effects skills, understanding the principles of other types of animation can open you to new ideas and inspirations. After all, animation is more than cinema — comics, games, graphic novels and even some toys borrow from this tradition. And your animation work can find inspiration in all kinds of places, as well.

Broadly speaking, there are five types of animation. As you develop your animation skills, interests, artistic vision, and software expertise, you can learn to draw from various theories and traditions in animation as you develop your own signature style.

1. Cel (Celluloid) Animation

Norman_McLaren_drawing_on_film_-_1944

This is the original hand-drawn cel animation where the artist literally has to draw thousands of images on special paper and have them photographed, frame by frame. Before the digital revolution, traditional animation was the norm of the industry, including Disney.

Traditional animation is a great skill to have in your arsenal, especially if you particularly enjoy traditional media: color pencils, glass painting, water colors. The main drawback to traditional animation is that it’s a very lengthy process. However, don’t let the old-world flavor of this style put you off, as there’s plenty of inspiration to draw upon within this style of animation: take a look at A-ha’s music video “Take on Me” and the breathtaking Aleksandr Petrov film “The Old Man and the Sea,” based on the Hemingway tale.

2. 2D Animation

Antics_2-D_Animation_infobox_screenshot

This is vector-based animation, and has two distinct advantages: it is cheap and easy to access. You need a basic understanding of key frames and know how to use Adobe Animate CC.

3. 3D Animation

6103258321_ba2f104aaf_b

3D animation and visual effects are, quite simply, the way of the future. 3D animation operates on different principles, and is more akin to puppetry than traditional animation. For this, you need to learn how to digitally model a character, sculpt it perfectly and give it a skeleton that you can move and manipulate. You’ll have to pose the model at certain frames, and then let the computer do the rendering.

Why is 3D animation so important to understand? Those who want to break into the industry frankly must master the ins and outs of 3D animation. CGI has become the norm for all blockbuster animated movies and in certain live-action sequences which requires a lot of VFX, because of its attention-to-detail and realism. This is why NYFA focuses on 3D animation and VFX, offering aspiring animators the training they need to develop professional skills.

4. Motion Graphics

This visual effect technique involves moving graphic elements such as text or logos, mostly using software such as After Effects.

Works Best For: Those working in the advertising industry or doing multimedia projects, or even designing the opening of film titles.

5. Stop Motion

Stefano_Bessoni_Canti_2014

Stop motion is like traditional animation, except instead of drawing, you have clay models and a set that you have to carefully manipulate to produce animation. Stop motion can also be done with puppets, cut-outs, silhouettes and even action figures. In the past, stop motion was used as a form of special effects for live-action films, and has largely been replaced by 3D animation and visual effects work. However, there are filmmakers — like Tim Burton — who work almost exclusively with stop-motion. Think: Laika Films’ “Coraline,” “ParaNorman,” and recently “Kubo and the Two Strings.”

For aspiring animators, stop motion can be a wonderful medium to make art, on your own terms. Stop motion has its own flavor, which can’t quite be reproduced in any other medium, and is extremely labor intensive — much like cel animation. Understanding stop motion can also unlock a deeper appreciation for 3D animation and visual effects.

So, as you create your own original animations, think of the film or clip that you’d like to make. Ask yourself, what should this creative product look or feel like, and how can I best achieve that? Think about your artistic skills and the great history and traditions of animation you can draw upon and experiment with inspiration from all animation styles. Ready to learn everything you can about animation? Check out NYFA’s Animation School.

Kids’ Films that Broke Ground with Special Effects

When you think of groundbreaking special effects, you likely think of summer blockbusters and big budget productions. But, children’s films are often a source of innovative special effects.

While early films were intended for general audiences rather than being targeted to specific age groups, some found inspiration in the kid-friendly fiction of Jules Verne and Lewis Carroll. Georges Méliès’ “A Trip to the Moon (1902) and “The Impossible Voyage” (1904) and Cecil Hepworth’s “Alice in Wonderland (1903) used pioneering special effects and editing such as multiple exposures, time-lapse photography, substitution splices, and creative use of set design and camera placement to bring imaginary worlds to life on screen.

Gertie The Dinosaur (1914)

One of the earliest examples of animation, Gertie the Dinosaur influenced animators such as the Fleischer Brothers and Walt Disney. In the film, Winsor McCay draws Gertie “live” in a clever sequence that is humorous and graceful. The short film also gives viewers an inside peek at the animation process when McCay references the 10,000 drawings needed to make a few minutes worth of film.

Disney’s “Snow White and the Seven Dwarfs (1937)

The Walt Disney Company’s 1937 film was the first full-length feature film using cel animation. Concept Artist Albert Hurter oversaw every part of the film’s design from backgrounds to individual characters. Disney’s team drew inspiration from German expressionist films as well as mainstream cinema. The Queen’s transformation scene is one example of where the Disney studios borrowed from the likes of “The Cabinet of Dr. Caligari” as well as 1931’s “Dr. Jekyll and Mr. Hyde.” Disney Studios developed the multiplane camera in order to create realistic depth and movement of backgrounds; it was first tested on the short “The Old Mill and used for Snow White and other classics. “The Little Mermaid” was the last Disney film to use a multiplane camera.

Toy Story (1995)

Disney/Pixar’s Toy Story was hailed by critics and audiences alike. The film was the first feature film to be fully animated with computers. As Julia Zorthian discusses in her look back at Toy Story twenty years after its release, one of the keys to its success was excellent storytelling that has helped give the film longevity long after CGI has become an industry standard.

The Harry Potter series (2000s)

Creating a believable world of magic and Muggles has been a task for the director and production teams on each film in the series and they have used every trick from old fashioned optical illusions and model sets to CGI and green screens to pull it off.

Hugo (2011 )

Director Martin Scorsese wanted the opening shot of Hugo to be a seamless long shot from outside the railway station through the clockworks and into Hugo’s hidden home. To bring Brian Selznick’s book to life, Visual Effects Supervisor Rob Legato and Pixomondo Ben Grossman devised many tricks and transitions to create the signature opening and other scenes that pay homage to Méliès and other filmmakers of the earliest days of cinema.

The Jungle Book (2016)

Using a live actor with computer animation and motion capture had not been done on this scale, but director Jon Favreau and visual effects supervisor Rob Legato worked with hundreds of designers to create the seamless animated backgrounds and animal characters. And they did all the previz using VR headsets. The end result is also a testament to Neel Sethi’s talent as an actor, since he had to deliver an emotionally true performance while responding to puppets and stand-ins.

Want to know more about animation and special effects? Check out NYFA’s articles CGI Animation History: Defining (and Awesome) moments in Cinema or How To Do Stop Motion Animation.

Behind the Visual Effects of “The Man in the High Castle”

One of the challenges of filmmaking is making sure your world feels believable. Even when you have “Star Wars'” many species and planets or you’re dealing with various races and magic like in “The Lord of the Rings,” all the visual elements need to keep viewers engaged. This task is even more difficult to pull off when you have a story set in an alternate universe.

“The Man in the High Castle” is a fairly new television show that took on the challenge of alternate history and got it right. The Amazon Studios series has already received numerous awards in only two seasons, including praise for its outstanding special visual effects.

Below are some of the creative hurdles the VFX team faced and how they overcame them:

An Alternate 1962

M60A3_Panzer

In “The Man in the High Castle,” America lost WWII. The Axis powers emerged triumphant after WWII, leaving Nazi Germany and the Japanese to split the U.S. between each other. This means the entire country, especially the major cities the TV series is set in, would look drastically different.

But since the show is set in 1962, the crew had to first study what New York, San Francisco, and Cañon City, Colorado looked like half a century ago. They also had to consider how developed these cities would actually be without the post-war boom the U.S. experienced after the actual conclusion.

Amazon Studios clearly did their homework and created a scary, new 1960s America. Despite the series being shot in Canada, the audience is able to feel like we’re seeing a New York and San Francisco that has embraced an imperial Japanese and Nazi German society.

Getting The Details Right

Chiran_high_school_girls_wave_kamikaze_pilot

It took much more than slapping swastikas and Japanese Kanji all over to make this alternate history believable. Every department had to make sure the people and places look like they actually live in these fictional cities. Wardrobe, for example, had the job of recreating what fashion in America would be like while influenced by two different cultures.

Of course, the visual effects department had plenty of work to do as well. Everything from the signs and advertisements to even the cars had to be thought out and executed well. This is why you’ll see vehicles in the show without any American influence, such as the classic tail-fins made popular in the 1950s and 1960s.

They also had to consider the major differences in style between the two global superpowers. While Germany under Hitler used impressive statues and neoclassical architecture, the Japanese preferred neon lights and propaganda influenced by their Rising Sun Flag.

The Best Kind of Visual Effects

When most people think of visual effects they think of breathtaking CGI monsters and environments. Some shows and movies depend heavily on VFX to create their world, such as Peter Jackson’s “The Hobbit” trilogy. As technology advances, the artist’s ability to create believable visuals with computers gets better and better.

But most of the time, the best effects are the ones viewers never suspect. This was the case with “The Man in the High Castle,” where a lot of the visual elements you see in city streets and on buildings aren’t real. Instead, they were created with computers in such a way that you’d think they were actually there.

Amazon Studios had to rely plenty on their VFX team, especially when certain communities where the show was shot weren’t 100 percent on board. For example, some locations, including Canadian and Chinese communities, refused to allow their buildings to be covered with swastikas and imperial Japanese content. So many of the large Nazi flags and Japanese banners were actually placed in digitally.

Have you watched “The Man in the High Castle”? What are your thoughts about this show’s use of VFX to create an alternate world? Let us know in the comments below!

NYFA Congratulates the 2017 Annie Award Winners

In the midst of awards season buzz and entertainment industry busyness, the animated entertainment industry gets a chance to shine every year during the Annie Awards. More than 30 categories of animated television and film entertainment grace the nominations ballot, begging to take home a coveted award.

The year, Disney’s “Zootopia” swept the 44th Annie Awards by taking home six trophies, including Best Animated Feature. Disney had secured 11 bids before heading into Saturday’s ceremony at UCLA’s Royce Hall in Los Angeles. NYFA was honored to welcome “Zootopia” animator Darrin Butters as a guest speaker last year. In addition to winning Best Animated Feature, “Zootopia” took home Best Directing, Best Writing, Best Character Design, Best Storyboarding. Jason Bateman tied with “Moana” star Auli’i Cravalho for Best Voice Acting. “Moana” had been presented to NYFA students in a special sneak-peek guest speaker event with Disney animator Eric Goldberg.     

While “Zootopia” scored the most nominations and secured six awards, “Kubo and the Two Strings,” came in second with 10 nominations, but only took home three awards. Disney’s “Finding Dory” and “Kung Fu Panda 3” were nominated, but the sequels didn’t take home any awards.

Here’s the complete list of 2017 Annie Awards winners:

  • Best Animated Feature: “Zootopia”
  • Best Animated Special Production: “Pear Cider and Cigarettes”
  • Best Animated Short Subject: “Piper”
  • Best Animated Television/Broadcast Commercial: “Loteria ‘Night Shift’”
  • Best General Audience Animated Television/Broadcast Production: “Bob’s Burgers”
  • Best Animated Television/Broadcast Production for Preschool Children: “Tumble Leaf, ”episode: “Mighty Mud Movers / Having a Ball”
  • Best Animated Television/Broadcast Production for Children: “Adventure Time,” episode: “Bad Jubies”
  • Best Animated Feature-Independent: “The Red Turtle”
  • Best Student Film: “Citipati”
  • Animated Effects in an Animated Feature Production: “Moana

29721606381_13c42d4041_b

  • Animated Effects in a Live Action Production: “Doctor Strange,” Mirror Dimension
  • Character Animation in a Television/Broadcast Production: “Dreamworks Trollhunters,” episode: “Becoming, Part 1”
  • Character Animation in a Feature Production: “Kubo and the Two Strings”
  • Character Animation in a Live Action Production: “The Jungle Book”
  • Character Animation in a Video Game: “Uncharted 4: A Thief’s End”
  • Character Design in a TV/Broadcast Production: “Dreamworks Trollhunters,” episode: “Win, Lose or Draal”
  • Character Design in an Animated Feature Production: “Zootopia”
  • Directing in an Animated TV/Broadcast Production: “Pearl”
  • Directing in an Animated Feature Production: “Zootopia”

25944741423_86787f862b_b

  • Music in a TV/Broadcast Production: “Pearl”
  • Music in an Animated Feature Production: “The Little Prince”
  • Production Design in an Animated TV/Broadcast Production: “Pearl”
  • Production Design in an Animated Feature Production: “Kubo and the Two Strings”
  • Storyboarding in a TV/Broadcast Production: “DreamWorks Trollhunters,” episode: “Win, Lose or Draal”
  • Storyboarding in an Animated Feature Production: “Zootopia”
  • Voice Acting in an Animated TV/Broadcast Production: “The Mr. Peabody & Sherman Show,” episode: “Ponce de LeÛn”
  • Voice Acting in an Animated Feature Production (Tie): Auli’i Cravalho as Moana in “Moana” (Walt Disney Animation Studios) and Jason Bateman as Nick Wilde in “Zootopia”  
  • Writing in an Animated TV/Broadcast Production: “Bob’s Burgers,” episode: “The Hormone-iums”
  • Writing in an Animated Feature Production:“Zootopia”
  • Editorial in a TV/Broadcast Production: “Disney Mickey Mouse,” episode: “Sock Burglar”
  • Editorial in an Animated Feature Production: “Kubo and the Two Strings”

Did you get a chance to watch any of these animated television shows or films? What was your favorite? Let us know in the comments below!

What Aspiring Artists Can Learn from The New Yorker Cartoons

In The New Yorker you’ll find fiction, poetry, reportage — you name it. But if there’s one thing we can’t imagine disappearing from one of the most popular and successful American magazines of all time, it’s the cartoons. Below are a few things every up-and-coming animator, designer, and visual artist can learn from the cartoons that have been making people laugh and think since 1925.

Find Your Voice

ny2

Of course, learning which style brings out the best of your skills and creativity is only part of becoming a professional visual artist. You also need to find a way to set yourself apart from the rest so that people see something fresh and satisfying in your work. This is by far one of the toughest things to accomplish, and many animators take several years and hundreds of drawings to do so.

Three New Yorker cartoonists who developed iconic voices are Roz Chast, Michael Maslin and Peter Arno. Despite providing countless popular cartoons for the famed magazine, one can tell the subtle yet particular differences between their cartoons. Finding your voice means allowing your own personality to reveal itself and unfold through your work, whether you are animating a film or creating graphics for a client.

Stay On Top of Current, Popular Trends

One of the biggest reasons New Yorker cartoons have remained popular for nearly a century is because they’re made for you and me. In other words, the artists hoping to get their cartoon published make sure their work relates to cultural trends and what’s going on today. They speak to the times, as well as the culture.

The lesson to learn here is that every aspiring animator should have an understanding of what companies and clients are looking for. If your portfolio is brimming with work that’s contemporary and speaks to the technology and trends of the moment, you’ll better demonstrate your ability to speak to a specific audience.

The Career Path Is Competitive

 

It’s no secret that getting your work accepted by the New Yorker is an accomplishment worthy of celebration. They receive thousands of cartoons each year from hundreds of artists looking to make a name for themselves, and yet, only a few will be published. And even cartoonists who do secure coveted space for their work in the prestigious magazine will likely tell you that their success was hard-won, and built upon a pile of rejection letters. The moral of the story: the visual arts are competitive, and you will need determination, patience, and openness to criticism as well as talent in order to succeed.

Even the most focused, adaptable, and talented illustrator will sooner or later face rejection. The key is to have persistence and thick skin, which means never allowing a failure to keep you from moving forward and plugging away to secure and create great work.

Try Different Styles

Whether you’re looking to work in comic books, fashion, design, visual effects, or film, the best thing any artist can do is equip themselves with different tools. Part of becoming a diverse, flexible animator is learning to try other techniques and approaches, even if it’s new territory. The worst that could happen is that you discover your strengths and weaknesses, which is valuable information to help you focus on strengthening your professional skills.

This is why you’ll find all sorts of styles while skimming through the best New Yorker cartoons. Bob Mankoff, one of the most famous cartoonists in America, had over 500 cartoons rejected before he found success with “Surely You Jest,” which was made with a pointillist style consisting of dots to create the images. Although this cartoon served as his first step toward making cartoons for a living, he didn’t stick to this style alone and went on to make countless others via different techniques.

What inspirations have you drawn from The New Yorker cartoons? Let us know in the comments below!

3 Disney Renaissance Lessons on Animation

Roy_E._Disney_Animation_Building

The Disney Renaissance changed the way the world experiences animation. Of all the companies that need no introduction, Disney is perhaps at the top. Boasting one of the world’s greatest libraries of highly marketable intellectual property, Disney will no doubt continue as a household name for years to come. What can aspiring animators learn from this company’s continuing success?

There are many answers to that question, but today we’re focusing on lessons from the Disney Renaissance — a time period that led to the creation of some of the most iconic Disney films. From 1989 to 1999, Walt Disney Animation Studios was putting out hit after hit that to this day still serve as some of the best animated films of all time. In fact, many of them are receiving anticipated remakes, including a live-action version of “Beauty and the Beast.”

Below are three things both animators and the industry as a whole can learn from the team of animators responsible for the Disney Renaissance era:

1. Animation Is Competitive, and That’s a Good Thing

black-and-white-people-bar-men

It’s easy now to look back and see how successful Disney was during this period. But before the studio began their creative resurgence, they found themselves in a tough spot. Disney struggled for a while; some of their films (like “The Black Cauldron”) failed while new rivals emerged. One of these rivals was Don Bluth Productions, which was founded by an ex-Disney animator who left with 17% of the animators working on “The Fox and the Hound” at the time.

Don Bluth’s team began producing successful films like “An American Tail,” “The Land Before Time,” and “All Dogs Go to Heaven.” This put pressure on Disney to compete at the box office. Many believe the intense competitiveness with Don Bluth Productions is one of the reasons Disney pushed hard to create memorable classics. Though Don Bluth Productions closed its doors in 1995, Disney clearly benefitted from the competition thanks to the work of individual animators who clearly wanted to prove they were the best in the industry.

2. Never Settle: Instead, Do Better

5480334689_8534b7897d_b

Of course, those animators we just mentioned wanted more than to simply “beat” the competition. They also strove to surpass their previous work, which is why so many films released during the Disney Renaissance period seemed to have just as much creativity and passion, if not more, than the last.

Imagine releasing “The Little Mermaid,” which earned a whopping $84 million during its initial release, and then being told to do it again — only better. The Walt Disney Animation Studios team did just that, releasing “Beauty and the Beast” two years later, only to follow that up with with “Aladdin.” The next six films of this era, which include “The Lion King” and “Mulan,” were also great box office hits. The lesson? No matter how well you do, try to do better next time.

No matter what field or industry, success can sometimes be a studio’s downfall. Pressure to repeat the same success can be devastating, but it can also push animators to new heights. As an aspiring animator, follow in the footsteps of the animators of the Disney Renaissance era and work to always do better than before, whether your last work was a success or failure.

3. Animate Because You Love It

525676813_93024bd697_b

Even though Walt Disney had passed on decades before the Disney Renaissance era, his influence is arguably one of the reasons Disney has continued to grow. In fact, many of his principles are still applied throughout every Disney branch more than 50 years later, including his motto: “Do what you love.”

Disney himself began as someone who enjoyed drawing in his spare time. When he decided he wanted to do what he loved for a living, he had to go through many random jobs — including working as ambulance driver for the army during World War I — just to fund his passion. With a desire to draw for a living as his focus, Disney pushed ahead until he had his own animation studio. His love for animation fed his perseverance.

We’re confident that the animators during the Disney Renaissance era felt the same way. Despite growing pressure to release success after success, they simply went on doing what they loved and didn’t hold back. Now, Disney is one of the largest and most successful companies in the world. Coincidence?

What great lessons have you learned from the Disney Renaissance? Let us know in the comments below!

 

How to Do Comic-Con Without a Badge

sd cc

It’s only been a week since Comic-Con and if you couldn’t make it you’ve been poring over websites, blogs, and social media trying to absorb the copious amounts of information coming out of San Diego. But here’s the thing… for less than $500 dollars, and a three-hour road trip, you too could have attended the convention. Not just attended the convention, but made lasting connections.

Here’s how…

Comic Con Isn’t Just Hall – H

Look, Hall – H is the sexy part of San Diego Comic-Con. It’s where the Game of Thrones cast meets up every year to mourn the dead. Hall – H is where the first was announced and where we learned Tom Hiddleston was going to be Loki. Fans spend days in line for one of those coveted seats. But, there’s more to the convention than Hall – H.

There’s so much more to explore. If you’re lucky enough to get a badge there are a great number of panels, demonstrations, signings and screenings. It’s not just the big new it’s about the exhibits.

In 2016, just outside the convention center, there were two separate carnivals, a South Park photo staging center, NBC had an entire plaza announcing their new season of shows, Amazon had a giant tent highlighting The Man in the High Castle and other forthcoming shows, Warner Brothers hosted a Suicide Squad virtual reality seminar and Wonder Woman’s invisible jet for family photos. None of these exterior events required a badge and most were completely free to attend.

sd cc badge

Business is Flourishing

The convention center is only open from 10 AM to 7:30 PM. Once the doors are closed all those industry people have to go somewhere. This is your chance to mingle with the crème de la crème of producers, writers, actors, editors, and financiers looking for their next big project.

You can take advantage of this opportunity. Go to any hotel bar after doors close order a virgin drink, and listen intently. Wait until you hear about a latest project or passion and chime in. You’ll be surprised at how friendly and open attendees are. Everyone is here to promote so they’re eager to share their stories, advice, and experience.

Soon there will be an opportunity for you to talk about what you do and where you’re hoping to go. You might not get offered a job, but you’ll walk away with some new knowledge and a new contact. Make sure to email your contacts right away, thanking them for their time and let them know you intend to stay in touch. Anytime you have a project, a GoFundMe, or get a great job, let this person know. They’ll be rooting for you and when they’re ready to hire you’ll be the first person they think of.

Industry Parties are Everywhere

Every major entertainment news outlet, blog, publishing company and production company hosts a party at San Diego Comic-Con. Getting inside can be tricky but the experience trying to get in can be memorable. Usually, there are lines wrapped around the building. When you find one, hop in line and begin a conversation. Get to know those around you.

Once inside, take the opportunity to circle the room. Then find a place where you feel you’ll fit in. Make conversation. Pro tip: don’t talk about business. This is an opportunity for those hired by the company to blow off steam. The last thing they want to do is interview you for a position or explain why they like their company. Instead, talk about your passions. Ask them about their past convention experience. Or, just dance. Just being a cool human being can be the best kind of networking.

So, bring a lot of business cards, a positive attitude, and some samples of your work. Soon you’ll be hobnobbing with the best in the industry. Even if you don’t walk away with your dream job, you’ll have made memories and contacts that can last a life time.

The Average Animator Salary and How Its Changed Over Time

Screen Shot 2016-08-05 at 4.41.43 PM

If there’s one profession that has continually grown in demand each year, it’s animation. More and more aspiring animators dream of creating worlds as captivating as the ones they grew up with. Now, schools all over the globe offer all kinds of degree programs in digital art, 3D animation, visual effects, and more.

Of course, it takes more than just passion and imagination to get the dream job of creating jaw-dropping video game environments or lovable film characters. That is why New York Film Academy designed their 3D Animation & Visual Effects School to equip graduates with the skills and knowledge needed to stand out in a competitive job market.

But the question on the mind of many future animators is the same: can I make a good living as an animator? The answer is, yes! In fact, the need for talented animators has led to a growth in annual salaries over the past several years … and there’s no sign of it stopping.

More Demand = More $$$ for Animators

Animators today are getting paid more than those from 20, 10, and even five years ago. This is because advancements in animation and visual effects technology have allowed for better tools offering more realistic graphics. All it takes is one look at a video game from the year 2000 and one from 2016 to see that animation is bigger and better than ever.

At the same time, costs for animation projects have also gone up. For example, “Toy Story” was released in 1995, made on a budget of $30 million with 27 animators. It is still the cheapest movie Pixar has ever produced. In comparison, “Toy Story 3” was released 15 years later on a budget of $200 million— more than six times that of the first movie.

So why are animated films and 3D video games more expensive to make today than ever before? Simply, more animators are required for projects — and those animators are getting paid more. As visuals grow more complex, so too do the tools needed to make it all come alive. Companies want to hire individuals who have mastered the necessary skills and can work quickly without sacrificing quality.

And they’re willing to pay good money.

The Average Salary Today

As of May 2015, the Bureau of Labor Statistics has “Multimedia Artists and Animators” earning an estimated median annual wage of $63, 970 and an hourly wage of $30.76/hour. Median means that half of professionals in this field earned less than those numbers while the other half earned more. Not including self-employed workers, these averages were taken from the salary of 30,250 animators and multimedia artists.

It’s important to remember that the industry you work in affects how much you can make. The top paying industry for animators is Travel Arrangement and Reservation Services, with an average hourly wage of $41.22 and annual wage of $85,750. However, there were only 30 reported people working in this field. So even though the average annual wage of someone working in motion picture and video is less ($73,270), it has a higher level of employment.

The motion picture and video industry employed 9,930 artists and animators in May of 2015, the most of any industry. When comparing numbers from 2014 and 2015, people estimate that animation jobs will grow up to 7 percent, which means more than 4,000 more positions.

(Source link for more info.) 

8 Movies Where Miniature Special Effects Trump CGI

From the stop-motion animated works of the legendary Ray Harryhausen to that White House scene in Independence Day, effects involving miniatures have long been a part of cinema’s rich history…though some examples have aged a lot better than others.

In this age of rampant CGI, miniature work is an art form all unto itself and today we’re going to celebrate the finer set pieces that have endured in popular culture. Presenting:

8 Famous Movie Miniatures

Digitally blurred miniature fake of Jodhpur

King Kong (1933)

Although stop motion had seen use before this point (most notably in 1927’s Metropolis and the works of Georges Méliès), it was the era-defining monster epic King Kong which really showed off the potential of miniatures.

In the above climactic scene, King Kong scales the Empire State Building in what could be the most iconic movie scene of the 1930s.

Naturally the effects employed 80 years ago have since been eclipsed by modern techniques, but the scale of what was achieved in this classic was nothing short of impressive even in retrospect. Marcel Delgado was commissioned to create four different scaled-down models of Kong (which was then known by the slightly less snappy moniker “Giant Terror Gorilla”) as well as a huge bust of the creature’s head and upper chest to use during close-ups, operating by three workers operating it from within.

Alien (1979)

Miniatures saw a lot of love during the sixties and seventies, particularly within the sci-fi genre. Star Wars, 2001: A Space Oddyssey, and Star Trek all made extensive use of miniatures to depict a huge sense of scale at a lower budget.

Featurette on bringing the Alien universe to life using miniatures.

The introduction of the intricately designed Nostromo in Ridley Scott’s Alien is a premier example of this, and as you’ll hear in the “making of” clip above, the amount of work that went into the miniature effects on this movie was unprecedented at the time.

And really, the term miniature for something so huge doesn’t seem particularly apt. The separate landing leg model—used in scenes where the ship touches down on LV-426—measured an impressive 42 feet high and, like the main ship itself, was moved into shot using a forklift truck.

Blade Runner (1982)

A production steeped in mythology, inter-crew fighting, and bad blood, Blade Runner may have left a sour taste in the mouth of many of those who made it (including Harrison Ford, with whom Ridley Scott frequently butted heads) but to sci-fi fans it remains one of the most visually impressive movies ever released.

Creating an entire city with miniatures and forced perspective, back when 3D computer modelling wasn’t an option.

A huge amount of miniatures were used to bring Philip K. Dick’s dystopian vision of Los Angeles to life (and one which the writer was reportedly very happy with on seeing test footage shortly before his passing.) The model work can be seen most prominently in scenes involving the Spinner vehicles and establishing shots of the city, but we can also thank Imgur user Minicity for uploading this huge collection of behind-the-scenes shots earlier in the year.

Back to the Future Pt. II (1989)

The second installment of Robert Zemeckis’ quintessential trilogy raised the bar for a lot of special effect techniques (digital compositing and motion control cameras in particular were used to great effect in Part Two.)

Miniatures only saw limited use, but when they do appear, you’d still be hard-pressed to identify them let alone figure out how they did some of the shots. Consider this one, for instance, which has the 3-foot scale model of the DeLorean touch down from the sky, pull into the driveway, and then…people get out of the model?

You can re-watch it a few times and still probably not figure it out, but because it’ll drive you wild if we don’t reveal the trick, pay close attention to the street lamp. This is in fact two separate yet perfectly matched shots, with the lamp providing the nearly imperceptible seam between the two.

GoldenEye (1995)

The first Bond flick to feature CGI, but it’s the miniature work that stole the show.

GoldenEye was the final movie worked on by special effects master Derek Meddings, to whom the movie is dedicated. Incredible miniature work was a defining quality of Meddings’ career, and he certainly pulled out all the stops for Bond’s 19th outing—here, fellow visual effects designer Nigel Blake discusses his colleagues work on the movie (featuring some pretty mind-blowing shots of the GoldenEye miniatures without the forced perspective you see in the final cut):

Independence Day (1996)

The aforementioned “Time’s up” scene in ID:4, because it’d be virtually criminal not to tip one’s hat to it while talking about ultra-memorable miniature set pieces:

Everyone’s day gets ruined in Emmerich’s iconic disaster flick.

Miniatures were also used (alongside CGI) for the aerial fight scenes, as well as the skyscraper explosion. In fact, the movie still holds the record for the most miniature model work to appear in a single title (and with the dominance of CGI, it may well hold the title forever.)

An interesting facet of the production is that those destruction shots were filmed with the models placed sideways—naturally, flames go upwards but Emmerich wanted them to appear as if they were exploding towards the camera (as explained in this “making of” segment around the 14:00 mark.)

And as you can imagine, they only had one shot to make sure those explosion scenes were a success, otherwise a lot of model makers would have been on overtime to recreate all the miniatures again (with the original, 12” wide White House model costing around $50,000 to construct.)

The long-awaited sequel nearly ended up on our list of movies that’ll never get made, but it looks all but certain that we’ll get an Independence Day 2 next year. That said, you can bet your bottom dollar that the follow-up will eschew the kind of miniature work that won the original an Academy Award for Best Visual Effects in favor of heavy CGI.

The Lord of the Rings Series (2001 – 2003)

For Peter Jackson’s landmark achievement in the world of special effects, lead actors were digitally altered to hobbit proportions… and conversely, the miniature cities were blown up to epic proportions.

The LOTR team on making the “bigature” photography look realistic.

And the team in charge of the miniature special effects had their work cut out for them, working longer than any other SFX crew during the entirety of the production. Coining the phrase “bigatures,” many of the cities seen in the final cut were shot from beautifully crafted models (including Helm’s Deep, Osgiliath, Minas Tirith, Isengard, and the Black Gate.)

Further complicating the work of the special effects and model making teams was the varying height depictions of the characters; Bag End, for instance, was built at two different scales—one which allowed Elijah Wood to walk through doorways of a seemingly appropriate size, and another which had Sir Ian McKellen having to stoop in order to enter them.

The Dark Knight (2008)

Huh? They used miniatures in Christopher Nolan’s Batman epic?

They sure did, and extensively so… though as is the measure of all good visual effects, most audience goers were none the wiser.

Visual effects supervisor Nick Davies discusses the practicalities of using miniatures on the set of The Dark Knight

That incredibly impressive scene in which the tumbler slams into the garbage truck at high speed was all miniature work (as were most of the chase scenes involving the tumbler on the streets of Gotham.) We’ve got New Deal Studios to thank for this seamless piece of work, who also masterminded the miniature shots of the opening plane scene in The Dark Knight Rises.

So there we have it—eight exquisite examples of miniatures proving they’ve still got a place in the world of special effects. 

Of course, there’s plenty more that we’ve not covered here; got any favorite scenes missing from the list? Head on down to the comments below!

Learn more about the School of 3D Animation & Visual Effects at the New York Film Academy by clicking here.

CGI Animation History: Defining (and Awesome) Moments in Cinema

When done well, computer generated imagery can allow the filmmaker to achieve results that would be impractical (if not impossible) to recreate by other means.

Done badly, and it can totally undermine an otherwise fine movie.

We could fill an entire post with examples of the latter, but today we’re looking at notable movies that executed computer effects to a superb level, despite the fact that CGI barely existed at the time. And be sure to check out our previous post looking at CGI’s effect on the evolution of special effects.

characters in original tron movie

And we’ll start off with where it all began:

The Vision of an Android (Westworld)

When talking about movies that revolutionized special effects, Westworld is typically the first on the list. The raster graphics used to simulate the titular android’s vision would only take an animation school student fifteen minutes with modern software but it was an entirely different story back in 1973.

Deciding it’d be cheaper than animating the effect from scratch, two computer masterminds instead took the unprocessed footage, separated each frame into tri-color, converted them into blocks, then used a computer to combine it all back together adding basic tone values for each block.

Laborious for sure, but the result is the 2:31 origin of computer-aided effects that you see above. The sequel, Futureworld, also broke new ground by being the first movie to feature a CGI-rendered 3D object (which was actually created four years before its 1976 release):

More interesting still? The gentleman who created that CGI head and hand, Ed Catmull, went on to become the co-founder and president of Pixar.

And speaking of wireframes…

The Trench Run Briefing (Star Wars: A New Hope)

Just after the first appearance of 3D CGI in a movie (and long before Jar Jar Binks arrived on the scene) came an iconic piece of cinema that really got the ball rolling: the briefing scene in which the rebel alliance is coached on how to take out the Death Star, courtesy of some wireframe wizardry.

Here it is in isolation:

Given the extensiveness and detail of the sequence (in 1977, no less) it’s of no surprise that the imagery took weeks of non-stop work to produce at the University of Illinois. Ridley Scott went on to use the same technology in 1979’s Alien, where the Nostromo’s monitors display landing simulations onto the surface LV-426.

But forget CGI being displayed on the odd monitor. Next up, we’ve got a milestone in computer-aided imagery used across an entire movie…

Tron (1982)

CGI animation mixed seamlessly with wireframe graphics, rotoscoping, cel-shading, backlit animation and live action was the order of the day for what was to become a cult favorite.


And it’s a wonder it ever got produced in the first place. So original was the vision for how Tron should look—not to mention how expensive and painstaking it would be to produce—that Disney very nearly passed on the project (especially given that the producer and directors were both first-timers.)

Despite a muddled reception from critics, it did go on to win the Academy Award for Technical Achievement…

…fourteen years after its release.

Not bad given they only had a 2Mb computer with just 330Mb of storage to work with.

CGI progressed onward from this point as computing power increased, with a few attempts to further integrate it into live action over the 80s. Some were good, some not so good, but it was the nineties that really saw the genesis of CGI as we know it today.

The T-1000 (Terminator 2: Judgment Day)

The go-to example whenever the debate concerning “sequels that are better than the original” crops up at the bar, Terminator 2 got a lot of things right and its use of CGI was one of them.

Of course, we are talking about the visual effects that went into bringing the T-1000 to life; a terrifying nemesis with a liquid metal body which could morph into other shapes (or stab a foster parent through the throat while he’s drinking milk.)

Mimicking liquid is difficult in computer generated imagery, as is rendering real-world reflections in metal. Doing both at the same time nearly 30 years ago? That’s cinematic history in the making.

Toy Story (1995)

Very few would have guessed that the first ever fully-CG feature film would age so well, let alone kickstart an entire industry.

That said, given it was created on a relatively tiny $30 million budget by a very small team (half of whom reportedly didn’t know how to use a computer), it’s a wonder Toy Story ever got off the ground in the first place. This goes doubly so when factoring in the brutal development negotiations between Pixar and Disney, which nearly hamstrung the entire project

And that brings us to the final entry in our round-up of notable early CGI sequences in cinema…

Bullet Time (The Matrix)

Because it’s easy to argue that CGI history can be neatly divided into two eras…

… everything before the Wachowskis’ bullet time, and everything that followed afterwards. Join us next time as we look at some of the most remarkable CGI achievements in the post-Wachowski era and please let us know of any movies or moments we forgot to include in the comments below!

Computers Killed the Video Star: Did CGI ruin SFX?

It’s an argument as old as the hills. Did the advancement of ubiquitous CGI kill the art of moviemaking, and has it rendered many of the old school methods of visual effect creation obsolete? Moreover, has CGI sold us down the river as audiences, and taught us to accept digital fakery?

It’s fervent and important for both cinema lovers and those trying to find the right balance at producing school, since it’s widely accepted that terrible effects—be it CGI or traditional—can severely hamper an otherwise great movie.

Today we’ll be looking at both sides of the coin with an unpacking of:

CGI vs. Traditonal SFX: The Common Arguments

CGI vs VFX

“Traditional Effects Look Better than CGI!”

There are many examples that people commonly point to and say, “Man, this scene really benefits from the realism; I’m glad they didn’t use CGI to do Benjamin Button’s makeup, and that they made an actual Iron Man suit for Robert Downey Jr. to wear during scenes when he’s not flying around.”

Nope. That’s all CGI, too.

The only suit Robert ever wears on the set of an Iron Man flick is a green screen suit, and 95% of the aging affects in The Curious Case of Benjamin Button are achieved with CGI, not makeup artistry. Sandra Bullock wasn’t suspended by expert rigging in amidst of generated scenery in Gravity—for much of the film, Bullock herself was composited into the scene.

In short, we tend to credit a lot of CGI successes to traditional SFX, and give a lot of bad rap to CGI when it goes wrong.

Which Really Ages Worst?

There’s a common charge against CGI that it ages a lot quicker than traditional effects. We’ll probably need a few more decades of cinema before we can say either way whether or not this is the case. At the moment, however, it depends on which examples you cherry pick—The Mummy Returns is a classic example of terrible early CGI, but Gladiator and Terminator 2 still hold their own all these years later.

Similarly, the traditional animatronics behind the original SFX may have aged beautifully, but nobody can claim the Ray Harryhausen-style effects preceding it are convincing to anyone (despite how innovative they were at the time).

CGI Has Created a Whole Industry…

Speaking of movies that have aged well, Toy Story would never have existed without advancements in computer animation, and arguably nor would the slew of evermore-impressive animated features which have come since.

Pixar_-_front_gates

Of course, the argument from the other side is that the prevalence of CGI has created a massive over-saturation of family animations and bombastic action flicks; but a counter to this could be that the industry needs these revenue-pulling staples in order to fund traditional (and more subtle) movies.

This leads us neatly on to…

Job Creation and Destruction

If a thousand-strong crowd can be shopped into a stadium, what’s the point of hiring extras? If Benjamin Button’s face can be manipulated with digital effects, why bother recruiting a makeup expert?

The pervasiveness of automata replacing human labor is something that is concerning to just about every industry. In Hollywood, CGI partly replaces many roles such as set creation, modeling, makeup artistry, stunt work, armory and pyrotechnics. All very worrying for those struggling to find work in an already cutthroat industry.

FilmCrew

In the latter cases, however, one positive aspect of CGI is that it can serve to reduce danger on set. It has also created brand new fields of work that never before existed—data wranglers and software developers, for instance. Though it’s unlikely that the amount of work created by CGI exceeds the amount of jobs it makes redundant.

CGI is Hard to Act Opposite

Sadly for the CGI supporters, this one is hard to refute given that countless actors and actresses have spoken up regarding the challenges of acting in heavily-computer generated environments (and especially when acting opposite characters who literally aren’t there during the shoot).

Worse is that to the viewer, the mixing of live human actors and CGI creations usually looks a little disjointed in the final cut, ruining the suspension of disbelief that enhanced effects should bolster, not detract from.

If there’s any consolation here, it’s that this merging is getting more and more seamless as time goes on, and acting opposite CGI is now a standard, so whether you are in acting school, or a seasoned performer, this is something you should be prepared for.

Over to You…

As we can see, there’s no straightforward answer as to whether or not CGI is, on balance, a force for good in the field of moviemaking. There are a lot of good arguments on both sides.

Where do you stand on CGI vs. traditional SFX? Any strong opinions on either, or arguments we may have missed? Let your voice be heard in the comments below!

13 Groundbreaking Shows In TV Visual Effects History

TV has come a long way over the years. There have been some incredible highs that have almost literally gotten the whole world talking, as well as some abysmal lows populated with shows that are better left unmentioned.

As things have progressed, so too has the job of the visual effects artist, a job which has changed dramatically over the years and appears to be following an adaptation of Moore’s Law; where the future lies is open to speculation, but it’s always worth taking a minute to review what lead us to where we are today.

So, without further ado, let’s begin our tour of visual effects by going right the way back to the late 50s…

Visual Effects in Television: 13 of the Most Groundbreaking Shows
 TV visual effects

The Twilight Zone (1959 – 1964)

Almost every episode of the enduring pop classic, The Twilight Zone, saw the visual effects becoming increasingly inventive, being driven by ever stranger storylines that pushed the effects team’s abilities to the very limits of what was achievable.

More often than not, they met their mark and set the bar high for sci-fi to follow, especially in an age when nobody was convinced a sci-fi/speculative fiction show would work.

But of course, along came…

Dr. Who (1963 – present)

In the early 60s, a little sci-fi show featuring a time-traveling telephone box appeared on British screens on the same day as John F. Kennedy’s assassination. It arrived with little fanfare – partly due to the breaking assassination news, partly because half the country suffered a power outage that evening – and came very close to being permanently axed from the BBC’s production schedule.

Given the long-lasting impact it would have on not just sci-fi serials and the visual effects therein, but also pop culture in general, the world would be a very different place if it had been dropped in the first series all those decades ago.

Thunderbirds (1964 – 1966)

In the mid-sixties, children’s television was undergoing something of a revolution in the U.K and the release of Thunderbirds marked its apex.

Subsequently released in over 60 countries, it was arguably the most popular British TV export at the time (since Dr. Who had yet to find an overseas audience) and went on to inspire numerous other “supermarionation” shows, none of which quite lived up to the bar set by the original puppeteers.

Star Trek: TOS (1966 – 1969)

While all of the Star Trek series could be considered as boundary-pushing when it comes to TV visual effects, it was the 1966 magnum opus that laid the foundation for what would become one of the most popular and influential shows ever made.

As with all of the early entries in this list, you’ll need to apply a little historical perspective to fully appreciate how mind-blowing the effects were to a TV audience of 50 years ago, but The Original Series was way ahead of its time even in the 60s.

Cosmos (1980)

From iconic explorations of a fantastical universe to the very real one we find ourselves in, the original Cosmos series was a landmark in public science education. Bolstered by the late, great Carl Sagan and special effects that beautifully brought abstract concepts and cosmological events to life, Cosmos set a precedent that hadn’t really been met until the show’s gorgeous resurrection last year (under the helm of Sagan admirer Neil DeGrasse Tyson).

It’s little wonder the 80s show looked so exquisite, either – the 13 part series was given a $6.3 million production budget, which in today’s money equates to around $20 million (or one and a half million dollars per episode).

The Simpsons (1989 – Present)

While animated sitcoms go back as far as the 1960 (kickstarted by such Hanna-Barbera shows as The Flintstones and The Jetsons), it was a little short debuting on The Tracey Ullman Show in 1987 that would thrust the genre into the mainstream, and revolutionized animation made specifically for TV.

The Simpsons is now the longest running U.S sitcom and animation, and arguably the most celebrated with The A.V. Club dubbing it “television’s crowning achievement, regardless of format.”

Twin Peaks (1990 – 1991)

We could fill volumes discussing the cinematography merits and visual effects mastery in Twin Peaks, but it’s best summed up – and left – with three simple words…

… It’s David Lynch.

Buffy the Vampire Slayer (1997 – 2003)

A seminal 90s series that brought makeup artistry to the forefront of the small screen, and even earned numerous Emmy Awards for Outstanding Visual Effects and Makeup during its run.

Sure, it may look a little hammy by today’s standards, but it’s the humor and acting that have aged a lot more than the visual effects that brought the occult to our screens like never before (provoking critic Robert Moore to proclaim “TV was not art before Buffy, but it was afterwards”).

Band of Brothers (2001)

By many measures, Band of Brothers was quite possibly the finest WWII miniseries of the past few decades, and particularly when judged upon its dedication to real (and often harrowing) visual effects.

Then again, could we expect any less from Steven Spielberg?

24 (2001 – 2010)

The premise behind 24 was bold, and the set pieces peppered throughout the groundbreaking show even more so.

Often overshadowed by the incredible performances, the ingenuity displayed by the special effects team who have worked on the past nine seasons is particularly worthy of praise: from the all-too-realistic portrayal of Jack Bauer lopping off a guy’s hand to the makeup department stepping up to the plate for every brutal interrogation scene, 24 is a visual feast that will endure for some time to come.

Peep Show (2003 – Present)

From seemingly out of nowhere came a small-budget, British comedy which fully realized the art of POV-shooting as a regular feature in a way never before (or since) mastered, becoming a huge cult success in the process.

At the time of writing, the longest-running comedy on the UK’s Channel 4 is currently filming its ninth and final series, having been at the risk of cancellation due to low viewer numbers (and saved through high DVD sales) since the very first episode.

Daredevil (2015)

While it sagged a little in the third act of the series, it’s been heralded by many as a near-perfect example of how superhero-centric TV shows should be executed. Particular praise was given to Daredevil for its grit and masterful cinematography (which was very reminiscent of Wally Pfister‘s work on The Dark Knight trilogy), as well as the visual effects employed throughout the show.

Perhaps the beauty of Daredevil‘s visual effects is they were fairly understated. Fully-blown CGI sequences are traded with simple effects that demonstrate how the blind Mat Murdoch’s “powers” work, and fight scenes are driven by nothing more than excellent choreography and stunt performance than overwrought trickery.

Take for instance the 3-minute, single shot fight scene that had many a Netflix viewer picking their jaws off the carpet. If this doesn’t make Daredevil a worthy addition to this list, we don’t know what does:

If anything, Daredevil will hopefully see the action TV genre following suit and going back to basics, which is a savvy tactic if you don’t have $6 million dollars of budget to blow on each episode…

… and speaking of which:

Game of Thrones (2011 – Present)

From a visual production standpoint, TV shows don’t get much bigger than this, and it’s likely to be quite some time before we see a rival fantasy series of this scale…

… and the scale is indeed huge, with the last two episodes of the fourth season being formatted for IMAX (the only TV show we can think of which has had the super-big screen treatment.) Given that it’s officially the most expensive TV show ever produced, we can safely shut the book on the age old argument “what costs more: the cast of Friends or CGI dragons?”

So there we have it – a whistle stop tour of the finest shows to have advanced special effects in television. Any particular titles that you feel should have made the cut? You know where to drop your suggestion… see you in the comments below!

Disney’s Next Live-Action Rehash: Winnie the Pooh?

News has just surfaced that Disney Studios is continuing with its slew of live-action adaptations of old, cherished animations, this time with Winnie the Pooh coming at an unspecified date… and the Internet hasn’t reacted too kindly.

Winnie the Pooh live action

Although many are decrying the live-action retelling of the A.A. Milne classic, which is particularly noted for its 2D animation style, the news probably shouldn’t have come as a surprise. The recent slew of adaptations have proven extremely viable from a commercial standpoint, even if critical reception has been hit-or-miss:

The Sorcerer’s Apprentice, 2010. Cost $150m to make, took $215m at the box office. Scored at 42% on metacritic review site Rotten Tomatoes.

Alice in Wonderland, 2010. Production budget of somewhere between $150m and $200m, went on to bring in an incredible $1.02 billion despite only receiving a 51% approval rating on Rotten Tomatoes.

Maleficent, 2014. The live-action Sleeping Beauty derivative took $758.4m against a budget of $180m – Angelina Jolie’s highest grossing film – and gaining a 49% approval rating from critics.

Into the Woods, 2014. Based around numerous fairytale sources, the star-studded musical quadrupled its budget with $204m in takings against it’s $50m budget. Fared well on Rotten Tomatoes with a 71% rating.

Cinderella, 2015. Still screening at the time of writing, but has so far grossed $397m at the box office and a budget of $95m. Currently stands at 84% on Rotten Tomatoes.

The current wave does not represent the first time that Disney have given classic animations the live-action treatment. For that, look to 101 Dalmatians released in 1996 and the 2000 sequel, both of which did notably well at the box office.

An unsubstantiated rumor about a Cruella de Vil movie being planned (a la Maleficent) is also doing the rounds, but that’s a story for another day.

Cruella Dalmations live action Disney movie

With profit margins like this, it’s little wonder that Disney Studios are planning on plumbing these depths for as long as the numbers hold strong. Of course, other studios are following suit given that a lot of the source material (namely Brothers Grimm and Hans Christian Andersen) is out of copyright and open game.

As for Winnie the Pooh, it’s historically been one of the most profitable intellectual property licenses on Disney’s books and they have put out a few feature-length, theatrical releases in the past. Sadly, they’ve never quite hit the financial heights that were hoped for and the most recent 2011 Winnie the Pooh movie, which was traditionally animated. It only took in $44m against a $30m budget. Again, in light of this it’s no surprise that Disney are giving the franchise a lick of live-action paint for the next release.

Winnie the Pooh live action remake

In a nutshell, the reason for the current trend is all down to cold, hard cash (as it often is). But let’s stop looking back, and instead turn our attention to the live-action remakes that are scheduled for the next few years:

The Jungle Book: April, 2016
Alice in Wonderland, Through the Looking Glass: May, 2016
Beauty and the Beast: March, 2017
Dumbo: Unknown
Mulan: Unknown

Dumbo and Mulan are both being directed by Tim Burton. No doubt this is due to the financial success of the first Alice in Wonderland movie (its 2016 sequel has been entrusted to James Bobin). In addition to all this, Sofia Coppola is set to direct an adaptation of The Little Mermaid, albeit for Universal rather than Disney.

Little Mermaid remake

And that leaves us with one question…

What Will a Live-Action Winnie The Pooh Movie Look Like?

At present, it’s anyone’s guess. All we know is that it’ll feature a more “grown-up” Christopher Robin revisiting Hundred Acre Wood.

The other recent live-action anthropomorphic bear movie, Paddington Bear, which came out in 2014 made sense. The bear himself was animated and set amongst a host of real-life actors and sets. With Winnie the Pooh, however, it’s the other way around. It’s hard to imagine humans playing all of the Milne animals. Could everything be CGI animated with the exception of Christopher Robin?

In the meantime, there’s sure to be healthy debate as to whether or not the entire project is doomed to failure or should even be attempted in the first place.

pooh bear live action

What’s your take? Any live-action adaptations you’re actually looking forward to, or are you longing for this current trend to fizzle out? Let your voice be heard in the comments below…

Stop Motion Animation: 5 Award-Winning Stop Motion Films

Stop motion animation is a discipline that has been around for almost as long as the film industry itself, but it’s been in the last few decades in particular that we’ve seen some incredible innovation in the field.

Whether you’re simply an avid fan of stop motion or currently working your way through animation school, the following 5 award-winning stop motion films will serve to inspire you and deserved all the recognition they received. Continue on and you’ll see why.

Fresh Guacamole (PES)

PES has become something of the go-to name for stop motion animation, particularly in the YouTube era. As we mentioned in our guide on How to Do Stop Motion Animation, PES (born Adam Pesapane) garnered a lot of recognition for his short Fresh Guacamole:

PES himself has picked up a great number of awards for his quirky stop motion to date, but Fresh Guacamole in particular is a notable short given that, at 1:36 long, it’s the shortest film to have ever been nominated for an Oscar. The film was in the running for the 2012 Best Animated Short Film, but subsequently lost out to Disney’s Paperman.

Out of a Forest (Tobias Gundorff)

Shortly following graduation at animation school, Gundorff’s thesis short, Out of a Forest, went on to do exceptionally well on the festival circuit and launched his filmmaking career spectacularly.

The short itself features a nighttime gathering in the woods of a group of rabbits, blissfully unaware that something moves in the darkness. We won’t spoil the ending of course, but we can guarantee you’ll enjoy the seamless addition of live action elements into the mix:

It’s little wonder that this fantastic example of stop motion animation went on to win multiple awards given that it’s packed with both style and substance.

Bottle (Kirsten Lepore)

Creating any kind of stop motion is difficult, but when you’re trying to accomplish intricate results on location in nature, using sand, sea, and snow no less, the challenge level increases manifold.

That’s precisely what Kirsten Lepore and her team accomplished, and to great effect, in this tale of two animated chunks of landscape communicating to each other via the ocean:

We can’t begin to imagine the amount of work that went into keeping this animation as consistent and flawless as it is, but it deserved every award it was given and stands as an inspiration to stop motion animators the world over.

MUTO (Blu)

Known only by his pseudonym, Blu is a street artist who has been honing his craft since the late nineties in Bologna.

His art is intricate, imposing, and subversive; above all, it’s highly distinctive. Blu’s style was brought vividly to life in a graffiti/stop animation crossover titled Muto, which is unparalleled in terms of the project’s scale, and went on to give Blu both international recognition and awards:

The animation was released in 2008 and involved hundreds (if not thousands) of individual paintings of various sizes, but usually massive, across the streets of Buenos Aires. It is unknown how long this bizarre creation took, or how Blu managed to evade authorities during the process.

Stanley Pickle (Vicky Mather)

In the award-winning UK filmmaker’s own words, “Stanley never goes outside. He likes to play with his clockwork toys and every night his mother kisses him goodnight. Stanley is twenty. The trouble is that Stanley thinks this is all quite normal, until an encounter with a mysterious girl turns his world upside down…”

An undeniably interesting premise, made even more compelling through its innovative use of a stop motion technique called ‘pixilation,’ everything was taken as still images as with conventional stop motion, but using real actors instead of puppets or models. As can be observed in the short itself, the resulting aesthetic of the film is very peculiar indeed (and even a little unsettling):

Know of any award-winning stop motion animations that we’ve missed off the list? Drop a comment below and let us know what we should be watching next!