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@toonpit

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submitted by anon
Some highlights from Shrek Retold, a weird and wonderful full length fan film made by over 200 contributors, that that recreates the entire first Shrek movie scene by scene using each contributors own unique style for the section they created.
Do you have any tips for a scatterbrained animator? A lot of the time I'll get burned out on a wip or start a new one and lose interest and I really would like To Not Do That
Unfinished projects! Every animator I know seems to have a couple of these. But that I feel is a pretty new occurrence, because animation, for most of its history, has been too expensive. Animation is overwhelmingly produced in commercial settings, and has been done so since very shortly after someone figured out how to do it at all. This generally means, a person with money was pitched a largely complete idea, decided it was potentially profitable, and paid someone money to hire labour to get the idea made. And what we think of as āindependent animationā, has for the longest time not been that different. The process still usually required a lot of materials and equipment as well as labour, and so the old indie animators would put together pitch documents, shop around for investors, and then when they tour the festivals they would still have 50 names in the credits. Theyāre still at the festivals doing this now, and still arenāt quite aware of just how much the landscape is shifting.
But it is shifting! Commercial animators often now work from home with their equipment around at all times, or everything they need fits into a backpack and goes home with them. Kids who want to be animators donāt learn the ropes in an internship, they get a cheap tablet and some free software on the family computer and start by figuring it out. We have cameras in our phones!!!! Now when someone has something they want to make, they donāt need to write a proposal, they just need to open a new file.
But! While painters have unfinished paintings, authors have unfinished books, and composers have unfinished symphonies for all the same reasons that plague every artist, animators have an additional hurdle:Animation sucks and nobody wants to do it!And I donāt mean its hard- all art is hard. I mean the way weāve been trained to break down the task of animation, the globally accepted āhow to animateā, was not written for artists to explore their own creativity. Itās written for a commercial pipeline. And the pipeline seems pretty functional and useful at first! Animation is a multifaceted task, and dividing it into smaller tasks makes the whole thing easier to grapple. But the particular divisions at play are a hierarchy, with creativity at the top and labour at the bottom.
For instance, say you start by coming up with an idea. Wow that was fun! Very creatively gratifying, not so much work though. Then you might make designs, which involves drawing- a bit more work, but you get to come up with a lot of the fun details. Then storyboards- a fair few drawings, and while the bulk of the āideaā has been determined, you get to decide the specifics in how it plays out. Then on to key animation! Quite a lot of work, and pretty much all of the decision making has already been done, but you get to put in the little flourishes of the acting, focus on the minutia. And then in-betweens! Unrewarding, never-ending, gruelling work.In most commercial contexts yes, these steps I listed might be the chronological order of production, but itās also the ascending order of department size and workload, and descending order of creative input, and pay.
Which begs the question: Why would anyone do this for no money, as their personal project? Why would anyone regularly put aside several hours at a time to perform a task about as stimulating as washing dishes, in order to make a fun idea they had 6 months ago they donāt even know if they like anymore? Of course nobody finishes their personal projects, weāve made it as awful as possible! But we keep doing it, because itās the way we know how.
But if thereās no investor who needs to approve each step of production, and if thereās no director who has a grand vision that needs to be upheld at the expense of the people making the work, then this way of approaching animation is completely arbitrary. Everything about it! Pre-planning everything is for the sake of reassuring the money, detailed rough passes are so teams donāt get confused. The whole notion of pose-to-pose animation and āstrong key posesā has NOTHING to do with how movement actually works- itās to condense the decision making to fewer drawings, so that whoever does the drawings in-between is replaceable, and can therefore be paid (and treated) like rubbish. You shouldnāt have to do that and say itās for yourself.So, however you personally work best, I canāt really say. Unless youāre an entire production company wearing a massive trenchcoat, probably not the usual way. Personally, I often like to come up with an isolated scene, and then try and think up the next scene while Iām making the first one. I get to keep adding new ideas, and I find the whole undertaking a lot less scary when I have no idea how big it is until itās done.But obviously youāre not me either, so who knows. But, you are part of a new generation of animators, who can just sit in a room by themselves with a bunch of art supplies and just figure themselves out, like neurotic starving artists have been doing for centuries. Have fun with it!
Vinton was born in McMinnville in 1947. He began creating films in Portland in the 70s. Within the decade, Vinton put Portland on the map as a hotspot for innovative animation and established his place in animation history. Vintonās 1974 short Closed Mondays, which he co-created with Bob Gardiner, was the first Portland made film to win an Oscar.
Most articles about Will Vintonās passing mention that his studio became Laika. They donāt spend much time mentioning that it became Laika through a corporate heist that took his entire legacy from him.

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this was wild start to finish
part 2 of woke Recess: The Ashleys rated everyone and it turned into segregation and class warfare
Hereās my new film! We are all dying in the wasteland
āBetty Boop in Snow Whiteā (1933) - (Max Fleischer) Fleischer Studios
One of the three Betty Boop cartoons featuring the incredible Cab Calloway!
What a restoration!!Ā
*boy looking at coin* ees.. nanarro..
[drops coin] HOh
[coin rolls into gutter]
AAAAAAAHHGH
@ivorytrenchcoat
Okay, i feel the need to explain this.
This is a Belgian vid for our public transport and the little dude says āier, nen euroā which is Dutch dialect for āhere a Euroā (which the dude he wanted to give it to needed to pay his parking ticket) he then proceeds to drop the Euro and starts yelling. Afterwards, the screen cuts to them sitting on a bus and the little dude says something along the lines of āthis is far easierā
(Note: the little dude is called āHet Stressmannetjeā which translates to āLittle Man of Stress)

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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MY MOON - Official Trailer 1
Here is an updated version of the trailer. Iām very excited to start sharing the final looks of My Moon and more! (yes there is a second one coming). check it out and see if you can spot the difference!
When the working class finally unites and takes out the rich.
Eduard Uspensky and Cheburashka
Today, December 22, is Eduard Uspenskyās birthday (the author of Cheburashka and many other beautiful books and scripts). That calls for a Cheburashka watching party!
(All 4 cartoons with English subtitles ā)
a 1929 Fleischer Studios mouth chart.
short short story vol.102 AROUND YOU
https://www.audio-technica.co.jp/atj/sc/movie/

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i made a shitty short film lol
Meet Jonni Phillips, creator ofĀ āRachel and her Grandfather Control the Islandā
Jonni Phillips is a young animator worthy of note - I know, because she was noted to me. At my first āgeneral meetingā with Eric Homan - this is industry speak, in practice we mostly talked about and watched cartoons - but when I met Eric, Frederator Studiosā VP of Development and my now-boss, I also met Jonni Phillips, via her GO! Cartoon, āRachel and her Grandfather Control the Islandā.
Her short was fully mixed, or nearly there, by the time Eric showed it to me. In context, weād been discussing how for years, most everything pitched to Frederator looked like Adventure Time. āThis,ā Eric said as āRachelāsā characters began flopping across the screen, āactually feels completely newā. I could only agree. As Jonniās career begins within - or perhaps, happily on the outskirts of - an industry that she finds āfolds over itselfā in its desperation to avoid risks, I hope Ericās comment appears to her as it does to me: the highest compliment.
Youāre in your 3rd year at CalArts - why did you choose experimental animation, over character?
It came down to the differences between the programs. In character animation, thereās a lot more focus on making industry-friendly work, while in experimental they let you focus on the kind of art that you want to be making. Iām also really attracted to the experimental animation film world despite my work being more character/narrative driven, and a big part of my artistic career so far has been trying to find a way to bridge the two.
What are your primary techniques?
I do stop motion, traditional 2d animation, and multiplane techniques: stacking glass planes for depth and shooting with a camera above them. It creates the shadows that you can see in a lot of my films. And all sorts of materials - like I used styrofoam in my 1st year film.
Styrofoam! Awesome. Whatās your 1st year film about?
Itās called āThe Earth is Flatā and itās about warped perceptions of reality and perception in general, and using flat earther culture as a jumping off point to try and convey how real warped ways of looking at the world can feel when you actually believe them. Ā
(we proceeded to watch āThe Earth is Flatā, which I recommend you also do ā)
So you stack characters Ā - as physical cut outs - on backgrounds?
Pretty much! My friend Victoria (Vincent, a fellow animator) and I actually made a short with just construction paper cutouts called āStiltonās in Chargeā. It started as a game, where we were taking turns drawing lines, which then became characters, which we made into a film. They look bizarre, which Iām happy with. It actually went to a few fests and screened in front of some small crowds.
What about your next film - 2nd year?
Thatās āGoodbye Forever Partyā - more than anything else Iāve made, I see it as the direction that Iām going in.
Holā on, real quick: whatās the big goal?
My ultimate goal is to make independent animated features. Low budgets, with the focus just on making it. Itās $50 for a thing of paper to cut characters out of - add a couple more materials and youāre solid. It cost me $100 to produce my 20 minute 2nd year film. Itās mostly paper, cut out and animated on glass! I animated it all in 3 months.
(we proceeded to watch āGoodbye Forever Party,ā which I also recommend you do ā)
You must have a lot of paper cut outs.
A whole box of them. I gave a bunch out to friends.
When did you start making films?
I started making lego movies when I was 10, and I incorporated a lot of what I learned through that into making 2d animation. I did a program when I was 16 called CSSSA at CalArts, and went back the next year too. Itās a great program. And then I got into CalArts, turned 18 and pitched to GO! Cartoons.
How similar was your pitch to the final project?
My pitch had all the same plot points. The idea was to pitch for practice, I never expected it to go anywhere. But then they were like, āOk, letās make itā. I hadnāt ever pitched anything professionally - I figured it out as I went along.
When did you come up with āRachelā?
I came up with the characters in like early high school and had been trying to figure out something to do with them for a really long time. Ā I tried different things with it, but never solidified anything, so I opted to use it as a foundation for my GO! Cartoons pitch. At the time I was really interested in Edward Snowden, and government surveillance and intelligence, so all that got brought in. It definitely started out as an āon a whimā thing.
So you were actually still in high school when you pitched?
Yeah! I practiced my pitch with my old animation class at my arts high school, OCSA. Ā My friend Mathieu Libman from that class got into CalArts for EA with me, so heās seen it at every incarnation, and itās been cool that heās been there for the whole process. Kai Lynn Jiang, who voices Rachel and designed the backgrounds, was the first person I ever showed the pitch to.
What turned you to cartoons?
As a kid, I was really into comics, and cartoons. I loved Ed, Edd and Eddy.
What things inspire you most / are your favorites?
Moral Orel -Itās this Adult Swim cartoon that parodies old Christian stop-motion shows like Davey and Goliath. Ā But in the 3rd season, thereās all this exploration of the people in the town itās set in, their emotional realities. Itās really beautiful in a lot of ways. But I wouldnāt recommend it to everyone - the humor is pretty gross. You gotta get past that.
Also - Clone High. And BoJack Horseman, Iām really inspired by the tone. It balances humor and the dramatic really well! Brad Neely, who had an Adult Swim show called China, Illinois - I like his internet work a lot. Itās very specific character humor.
Don Hertzfeldt made a film called Itās Such a Beautiful Day thatās just my favorite thing Iāve ever seen. Heās really interesting, how his work went from kind of stupid jokes, to things that are really existential and beautiful. And thereās a Soviet union era Latvian cartoon called Fantadroms that I like - Iām really just glad and surprised that it exists, itās so bizarre.
Estonian animator Priit Parn is an inspiration, and Amy Lockhart, who does great cutout work. Sally Cruikshank, whoās amazing and makes a lot of independent animation. And Danielle Kogan, another independent internet animator. Also the comedian Alan Resnick.
What else do you love?
Nathan For You, 30 Rock - they often feel like cartoons. Spongebob. And I love stuff that my friend Victoria Vincent does, like āCat Cityā - I voiced the titular cat. Victoria was the voice of Stacy in āRachelā and sheās also the basis of Stacyās character design.
What would you be if you werenāt going to be an animator?
My gut impulse is cult leader. No, scratch that. Cult member. Right now, Iām writing my thesis film with my friends Jenna Caravello & Haein Michelle Heo, called āThe Final Exit of the Disciples of Ascensiaā. Iāll be animating it and doing all the production stuff next year. Itās kind of about sympathizing with cult members - I drew inspiration from Heavenās Gate. It came about because as Iāve watched videos of Do, the late leader of Heavenās Gate, heās sucked me in, making me believe itāalthough his message resulted in all of his followers killing themselves, so I always have to remind myself that what heās saying isnāt actually real. So I wanted to make a film exploring how people fall into these sorts of beliefs. In it, theyāre actually right - part of the film takes place on the planet only they believe exists. From that basis, Iām looking at how people develop their perspectives, especially really fringe beliefs.
Like in āThe Earth is Flatā?
Yeah - I consider all of my movies to take place in the same world. Different visual representations in each film manifest from the characterās different perspectives and worldviews.
Do you like much mainstream animation?
I love the new Mickey Mouse shorts directed by Paul Rudish, The Amazing World of Gumball, Mission Hill, the Simpsons, Spongebob, Bojack, Adventure Time⦠The main reasons I wanted to pitch to Frederator were Mel Roachās Rocket Dog and Jesse Moynihanās Manly. They showed me how Frederator prioritizes what the artist envisions for their short, and how they want to do it.
What do you think distinguishes what you like from what you donāt?
The work I like tends to come from creators who have distinct visions and intentions behind the stories theyāre telling and the visuals theyāre putting together. Ā I feel like whatās been happening in the animation industry for a while is that a lot of established studios are trying to do the same thing theyāve done in the past or recreate lightning in a bottle or whatever, and everything folds over itself and a lot of stuff ends up feeling the same as everything else. Thereās a few exceptions, a lot of which I think Iāve mentioned, but itās frustrating to see a lot of new and interesting voices not able to emerge because studios want stuff that feels like Spongebob or Adventure Time. I love both of those shows like everyone else, but itās frustrating to see the same few sensibilities kind of repeated over and over, when thereās so many people out there making really interesting work that Iād love to see be included.
Whatās the ultimate remedy, that you imagine?
I donāt know⦠Iād love to start my own studio, that focuses on amplifying voices we donāt hear from as often: trans directors, directors who are POC, female directors, gay directors, people who have unique sensibilities, etc. Letting them create the work they want to create, unrestricted by industry patterns and trends. Iām surrounded by incredible artists here at CalArts, and the stories theyāre telling are profound and unique. And yet, entering the industry, theyāre judged by their potential to conform - not to innovate and do things a new way, tell new stories. Itās like weāre all molding our voices to a system that doesnāt necessarily respect or represent us.
So what direction do you want to see the animation industry go in?
Iād love to see it go in a more progressive direction. I think itās stagnant now - there arenāt enough risks being taken. Things getting green-lit are quite like whatās already been done. Iād like to see the industry empower people who are doing new and interesting things and pushing the field forward - while still creating entertainment. I think we should make room for different takes on filmmaking, timing, pacing, humor, pretty much every aspect of production. Let innovative artists make the work they want to make and celebrate it.
Youāre deep in the animation field, before even graduating. What are some dreams totally outside of animation?
Iād love to have an artistās commune, a sort of utopian refuge for creative people. Not mutually exclusive with the new studio idea. And Iād like to try live action film someday. In Experimental Animation, weāre required to take classes outside of animation, we have to take classes in dance, music, , theater. I started a band called Bug Lime Slush with my friends Haein Heo and Sam Lane⦠we dress up like birds.
What do you envision as the future of āRachelā?
I have a LOT of ideas about it. A lot of stuff had to be taken out - Iād like to do a directorās cut. It was always supposed to be very manic and unfocused, and Iām glad that weird energy stayed intact throughout the process.
Basically - global warming has melted everything. The island is left uncovered, and a couple more islands too. I used to be super into the lore, now Iām more interested in the interpersonal relationships between the characters. I always wanted God to be in it - literally looming over them, watching everything, very pissed off. I wrote a scene of Grandfather greeting God from the top of a glass dome that surrounds the island, and Him just turning away in vague disgust.
Iāve come to see Rachel as the brain, and Grandfather as the arms of their operation. And Iāve become pretty interested in the president. When he got elected he abolished democracy and replaced free elections with a new rule, āwhoever kills the president becomes the presidentā, which he thought was going to let him stay president forever because he thought everyone loved him, but now the citizens of the island are always trying to kill him.
Rachel and her Grandfather were originally based on two aspects of my personality, Rachel being productive and isolated and creative, and Grandfather being more hyperactive and social. Rachel as time has gone on has become a lot more smarmy and chaotic, especially when I try to write her now⦠Grandfather has kind of turned into more of a shy dude who still has a lot of energy, mostly heās just motivated by trying to help Rachel out with executing their operation. Ā
Bā¦b..bu..bu.. BONUS! question: Care to respond to any YouTube comments?
Itās pretty funny. Iām enjoying responding to a lot of the weirder or more unfounded comments. Ā Iāve noticed some kids think that the animation style looks lazy. I think objectively, it looks like there was a ton of work that went into it (which there was) - I think you just gotta understand how animation works to know how much effort goes into making something look like that, where itās always morphing and changing and you have to coordinate it all. I think that even if you donāt like the drawings, which are just meant to look rough and loose and intuitive, the animation itself is still pretty impressive.
I feel like that too. Thanks for the meet-up and great talk Jonni! Stoked for the future of your work with Frederator and beyond. Donāt forget to hit me up when that socialist studio launches.
- CooperĀ ā