On Thursday evening at the Samuel Goldwyn Theatre in Beverly Hills, the Academy invited movie fans to join in the celebration of the work of this year’s Oscar nominees in the Animated Feature Film category. Although not pictured above, director Tim Burton was on hand for the panel discussion hosted by actor Rob Riggle (Hotel Transylvania, Dr. Seuss’ The Lorax).
The nominees discussed how their films were developed, talked about their creative processes, and presented clips illustrating their techniques. All were adamant in saying that animated films are not cartoons and that there is place for both stop-motion and CGI in the genre.
The Animated Feature Film nominees are:
Brave
Mark Andrews and Brenda Chapman
This is the second nomination for Mark Andrews and the first in this category. He made his feature directorial debut with Brave.
After interning at Disney, Andrews worked as a story-board artist on several films.
The nominees discussed how their films were developed, talked about their creative processes, and presented clips illustrating their techniques. All were adamant in saying that animated films are not cartoons and that there is place for both stop-motion and CGI in the genre.
The Animated Feature Film nominees are:
Brave
Mark Andrews and Brenda Chapman
This is the second nomination for Mark Andrews and the first in this category. He made his feature directorial debut with Brave.
After interning at Disney, Andrews worked as a story-board artist on several films.
- 2/22/2013
- by Michelle McCue
- WeAreMovieGeeks.com
Computer-generated motion picture animation from “Vertigo” to “Toy Story” to the 3D spectacles of today will be explored during “The Development of the Digital Animator,” the latest installment of the Academy of Motion Picture Arts and Sciences. Marc Davis Celebration of Animation, on Monday, May 21, at 7:30 p.m. at the Samuel Goldwyn Theater in Beverly Hills. Several pioneers of digital animation will revisit the long path from laboratory to cineplex during a panel moderated by animator and historian Tom Sito.
When “Toy Story” burst onto the scene in 1995, computer-generated imagery was, for many, a bold new technique in animation. However, its lengthy and meticulous development can be traced back to its first public exposure with the mesmerizing title sequence for “Vertigo” (1958). Of equal importance to the technical developments were the influential animators and designers who devised artistic uses for engineering advances.
Scheduled panelists include:
Rebecca Allen, an experimental filmmaker...
When “Toy Story” burst onto the scene in 1995, computer-generated imagery was, for many, a bold new technique in animation. However, its lengthy and meticulous development can be traced back to its first public exposure with the mesmerizing title sequence for “Vertigo” (1958). Of equal importance to the technical developments were the influential animators and designers who devised artistic uses for engineering advances.
Scheduled panelists include:
Rebecca Allen, an experimental filmmaker...
- 5/2/2012
- by Michelle McCue
- WeAreMovieGeeks.com
Why Watch? In 1988, Pixar’s Tin Toy won the Oscar for Best Animated Short. The studio’s history after that is well known, but one of the shorts that it beat out for gold was just about as symbolic as you could ask for. Technological Threat, from Brian Jennings and Bill Kroyer, was a blend of rudimentary computer animation and hand-drawn traditional that told the story of computers taking over all the artist jobs. It predicted the future the very year that it started coming to pass. The movie itself is an homage to Tex Avery-style cartoons, with dogs in suits trying desperately to draw while burdened by exhaustion, sneezing fits, and a need to stay hydrated. The robots, of course, don’t face the same problems, and as the room fills up with them, one dog fights back. Of course, unlike the story, there was no beating the tide of computer animation, making...
- 2/7/2012
- by Cole Abaius
- FilmSchoolRejects.com
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