We do our best at Animator Island to provide you with weekly (and often twice weekly now!) updates. Sometimes, though, life has other plans. Unfortunately due to some medical emergencies and family needs we’re going to have to take a short break from updates while we handle some of that “life stuff.” We apologize for the inconvenience and hope you’ll check back the first week of October for a return to regularly scheduled updates! Thank you for your patience.
-JK, Ferdinand, and the Animator Island staff
As animators who also happen to be human beings, we make mistakes. And over the course of hundreds of frames with thousands of unique movements and subtle actions, we make a LOT of mistakes. It’s part of the job, and so is fixing them. So how can you get the mistakes out of the way and get on the right track sooner? Today we’ll take a look at how to get the failing out of the way lickity-split so you can arrive at a successful animation even faster.
For three years and counting, Roy and Vonno Ambriz have been working on their passion project “Revoltoso”, a stop-motion film that combines the heat of the Mexican revolution, the passion of artistic creation, and the flare of Picasso. What started as a small project has grown to incorporate a 60 member crew and an improvised studio space in their private home. Find out all about this wild and enthusiastic Guerilla film making process, which has been advancing against all odds, and how you can help make this dream a reality. Please feel free to support them on kickstarter.
Anime. Chances are good you either love it or you hate it. And if you’re an animation teacher, very often you fall into the hatred category for the simple fact that young, starry-eyed animators refuse to work in any other style if they’re obsessed with Anime and Manga. Some professors even go so far as to say it’s not legitimate animation! What do you think?
Great (or even decent) composition can make or break your animation, because composition and layout are the first thing an audience views even before any movement takes place. Today we take a closer look at “breathing room” in composition. What it is, how it works, and when to break the rules and do things “the wrong way.”
Are you using video editing software during the production of your animated films? Let’s explore the many ways that it can benefit and guide your whole workflow from the animatic all the way to the final export.
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Legendary acting teacher Ed Hooks tells us about how he got into teaching acting for animators. We also dive into some acting theory, discuss what recent films might be missing in comparison to the old classics and also have a short look at animation in games. Character animators, this is a must-watch!
In the animation community the release of trailers for upcoming films is big news! On any given trailer release day Twitter is overwhelmed by posts about the video, and it’s harder to avoid spoilers than to learn practically everything about the soon-to-be-released movie. Avoiding them, though, might actually be in your best interest.
World, object, gimbal, local? Do you know when and why to animate something in a certain translation or rotation mode? Animator Jacob Frey gives us a tour through the settings in Maya, explains what a gimbal lock is and tells us a useful hidden translation mode called “Live Object Axis”.
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