In this exclusive series, the filmmakers behind each of this year’s Oscar-shortlisted shorts reveal their favorite shots.
He’s directed some of Disney’s most beloved films of the modern era, but making I’m Hip required John Musker to do something he hadn’t done regularly in the last 40 years: animate.
Director Michael Emry teamed with U.K. visual artist Troy Browne to put together the vibrant spot.
After screening at dozens of festivals, ‘Hand’ is now available to stream.
Emanuele Kabu’s new short is made digitally on paper. We asked him how that’s possible.
“Slow Light” employs paper cut-out stop-motion and b&w hand-drawn animation to differentiate between overlapping timelines.
Based on a true story, Valley’s short was nominated for the Oscar in 2017.
Introducing the world of the illustrious Mr. Panicker and his tall tales.
That which is above is like that which is below, and that which is below is like that which is above.
A producer explains how they built a pipeline for the upcoming hybrid series “Royals Next Door.”
Daniel Hashimoto developed the ultimate A-ha template, then used it to create the ultimate parody video.
Max Punchface is only interested in two things – punch AND kicking.
Joanna Quinn’s new film “Affairs of the Art” took years to make, but that was a reward in itself: “It was like an extended college, and I felt I was learning new things about animation, drawing, and direction all the time.”
Welcome to our series of interviews with the directors of this year’s Oscar-nominated animated shorts.
The Virtual Businessman must get all the beans and kill Grampa.
The director describes the software’s unique advantages, and explains how he harnessed them in his recent commercial for Ariana Grande’s R.E.M. fragrance.
Music video for “Frutos Rojos” by Monterrey, Mexico-based psych rockers Los Mundos.
Meet Bill Jennings of Newbury, Vermont. A man of unique thoughts and powers.
Veteran animator Morgan Williams offers motion designers some valuable advice — and runs courses for those who want to learn more…
Zeyu Ren explains how he thinks Quill could benefit all animators working in 3d.
Director Jérémy Clapin walks us through the making of his new feature “I Lost My Body.”
In her autobiographical film, Regina Pessoa expands her repertoire, introducing object animation and wall drawings alongside hand-drawn animation.
For his new film, acclaimed animator Theodore Ushev adopted a style of painting pioneered by Egyptians thousands of years ago.
Canadian animator Chris Dainty walks us through the complex production process of his new NFB short.
A new way of looking at Hong Kong through animation…
The Nick Jr. series is a striking hybrid of live action and animation. Its creators break the production process down for Cartoon Brew.
The happenings of someone’s nostrils.
Colombian animation studio Venturia shares tricks and techniques they used to create a vintage-style animation piece.
The misadventures of Black Vinyl LP, a superhero shunned by the citizens he protects.
For the first time this century, all the BAFTA short animation nominees are hand-drawn films. We explore the visual development of each film.
A unique look at “Spider-Man: Into the Spider-Verse” at its earliest stages.
Working with a limited budget, Nigerian artist Shofela Coker created a lush series of “breathing paintings” for the hybrid documentary “Liyana.”
Behind the scenes of the uniquely styled photocollage/2d/3d G-Shock ads featuring the animated Gorillaz.
Although Nick DenBoer uses standard off-the-shelf software, he’s using the tools in pursuit of a comic vision that is infrequently seen in the vfx arena.
On the day of the film’s world premiere, director Milorad Krstić talks about his action-packed and intellectually stimulating animated thriller.
Glassworks, Headless Productions, and MPC collaborated to create the stunning visual landscape in “A Monster Calls,” opening wide in the U.S. today.
There’s never been a better time to composite your vfx/animation projects and do color grading — for free.