Untold Tales

‘Mouse in Transition’: Detour Into Disney History (Chapter 6)

Before I got hired at Disney Features, I sold a few magazine articles and developed a love of writing for print, where there was nothing between writer and reader but words on a page. When I became a Disney employee, I realized I was surrounded by animation veterans with vivid memories of the rambunctious days at the old Hyperion studio, and the creative struggles that went into making "Snow White," "Pinocchio," and the other early features. Talking to older Mouse House staffers, it dawned on me they could provide great source material for articles.

Events

‘A World of Characters’ Opens This Saturday At San Francisco’s Airport

Typically, the airport is a place that travelers want to spend as little time at as possible, but cartoon fans may want to rethink that strategy. In Japan, a four-day animation festival will be held entirely in an airport later this year, and in San Francisco, a new exhibit of cartoon advertising characters will open this weekend.

Internet Television

Netflix, Scholastic Reboot ‘The Magic School Bus’

Just in case you were worried that Netflix’s slate of upcoming animated programming was looking a little too Dreamworks heavy, the streaming site has announced plans to launch an updated version of the Scholastic Media educational series "The Magic School Bus."

motion capture

‘Lord of the Rings’ Animation Supervisor Randall William Cook Speaks Out On Andy Serkis

Our post on Andy Serkis's inflammatory rhetoric about the limited role of animators on his motion capture performances generated a robust, often heated, discussion in the comments. By far, the most informative comment was provided by 3-time Oscar winner Randall William Cook, who was the animation supervisor and designer at WETA on the "Lord of the Rings" trilogy that was released between 2001 and 2003.

motion capture

Andy Serkis Does Everything, Animators Do Nothing, Says Andy Serkis

In his never-ending quest to be recognized as a serious thespian, character actor Andy Serkis continues to minimize the role of the animators who make his performances possible. With each interview he gives, Serkis seems to do more and more of the work, and the animators less and less. About the only thing Serkis doesn't do at this point is build his own motion capture rigs and provide his own craft services.

Interviews

Interview: Ralph Bakshi on the Animation Industry, Then & Now

Ralph Bakshi pulled himself away from his drawing desk in New Mexico to chat with Cartoon Brew about his legacy, his latest project "The Last Days of Coney Island," which he recently funded on Kickstarter, and what he really thinks about the computer’s role in animation these days.

iPad

A Filmmaker Tests Out The NFB’s $1 Animation App, StopMo Studio

The NFB StopMo Studio app for the iPad provides essentially everything you need to jump into creating an animated film. You won't have any issues getting comfortable with the user interface if you've worked with animation programs before, and it seems more than approachable for newcomers young and old. Once you open up the program, you're welcomed with a short and succinct tutorial that covers the basic tools, and then opens up to allow you to explore the rest of the options available.

Advertising

New Spots: Hermès by Julien Vallée and Honda by Smith & Foulkes

The following two spots attracted my attention for the inventive ways in which they mixed live-action with animation: "Metamorphosis" for Hermès, directed by Julien Vallée of Vallée Duhamel, and "Inner Beauty" for Honda, directed by the venerable production team of Smith & Foulkes through Nexus Productions.

Fine Art

Joshua Mosley’s ‘Jeu de Paume’ Makes The 2014 Whitney Biennial

The Whitney Biennial is one of the most anticipated events in the world of art museums. Begun as an annual survey of American art in 1932, it became a biennial in 1973. Its overall purpose is to show a snapshot of the contemporary art world, often focusing on very recent works. For the art intelligentsia, it is often an excuse to complain about a) the state of contemporary art, and b) the curatorial choices made, or both—with occasional exceptions, such as the 2012 Biennial, which was met with overwhelming praise.

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