Comprising more than 15,000 hand-painted images, Theodore Ushev’s “The Physics of Sorrow” is the first fully animated film made using encaustic hot wax painting.
Filled with humor and emotion in equal parts, Netflix’s first animated feature, Sergio Pablos’ hand-drawn, feel-good family holiday movie “Klaus,” checks off all the right boxes. The “Despicable Me” creator included something for everyone in this clever Santa Claus origin tale wrapped in the idea that one simple act of kindness always sparks another.
A record 92 animated short films have qualified for the 92nd Academy Awards, a list that will be winnowed to 10 contenders when the shortlist is announced Dec. 16. Alongside entries such as Sony’s “Hair Love” and Magic Light Pictures’ “Zog,” challengers include lauded films from animators such as Tomek Popakul’s “Acid Rain,” Siqi Song’s “Sister” and Theodore Ushev’s “The Physics of Sorrow.”
Disney’s “Frozen” turned the fairytale paradigm on its head when it swept into theaters in 2013, inspiring a generation of freshly empowered Annas and Elsas to “Let It Go” on its way to winning Oscars for animated feature and original song.
In a field dominated by CGI-animated studio sequels, Netflix has turned a spotlight this awards season on traditional hand-drawn animation with two very different movies.
Amid the big-budget Hollywood sequels jockeying for position, this year’s awards race has a sizable contingent of contenders from overseas, including both foreign-made films and co-productions. The pack is led by indie animation mainstay GKids, but Netflix has also entered the fray as a distribution partner and entries from China are slipping into the mix.
No race for the animated feature Oscar has been as dominated by sequels since the category’s debut in 2001 as this year’s. Leading the conversation are big-studio front-runners “Toy Story 4,” “How to Train Your Dragon 3” and “Frozen 2.”
Women have long been in the spotlight at DreamWorks Animation, well known for promoting female talent within their ranks to leadership roles. Here, six female directors share their memories of working at the studio during its first quarter century: Lorna Cook, Vicky Jenson, Elaine Bogan, Jennifer Yuh Nelson, Brenda Chapman, and Jill Culton.
Named president of DreamWorks Animation in January, Margie Cohn runs the studio’s film and television divisions, overseeing the release of two feature films each year via parent company NBCUniversal and the roughly 25 series in active production.
Bursting onto television screens this fall, The Casagrandes follows a large, loving family living together in the big city. A companion to the Emmy Award-winning The Loud House, the new 2D-animated series highlights the culture, humor and love of growing up in a multi-generational Mexican-American family, and is set to debut October 14 on Nickelodeon.
Animation Magazine has rounded up 10 of the hottest VFX supervisors whose work over the past 12 months has dazzled and delighted audiences, with effects ranging from photorealistic animals serving as lead characters to immersive digital environments and larger-than-life creature animation.
From Adobe through Vicon, Animation Magazine has rounded up details on what attendees can expect from developers at SIGGRAPH 2019. Here are 11 of the hottest technologies in the spotlight at this year’s show.
Following 70 festivals and 13 awards for her short film ‘Solar Walk,’ the award-winning independent animator talks about distribution and monetization.
With the lofty goal of transforming the cultural understanding and language of animation as an artistic medium, in its fourth year the GLAS Animation Festival continues to grow, packed with special guests, more than 20 special programs, and a new Vimeo Staff Pick Award.
How To Train Your Dragon’ series writer and director Dean DeBlois reflects on his ten years with the beloved franchise, detailing how new technologies helped bring ‘The Hidden World’ to the screen.
Head of character animation Simon Otto helps bring more than 65,000 fantastical dragons to life for one of the biggest sequences in the culmination of the studio’s ‘How To Train Your Dragon’ trilogy.
‘Dog Days Are Over’ for ‘BoJack Horseman’ and ‘Tuca and Bertie’ director: Amy Winfrey dishes on her ‘Free Churro.’
From concept art to finished frames, production designer Pierre-Olivier Vincent brings a singular touch to the final film in the blockbuster ‘How To Train Your Dragon’ trilogy.
Independent VFX artist and director Jean-Marie Marbach pushes motion graphics to new heights with his award-winning music video made entirely with Adobe After Effects and Red Giant’s Trapcode Suite.
Directors Pierre Perifel, JP Sans and Liron Topaz delve into the making of their CG-animated short ‘Bilby’ — including the use of the studio’s new Moonray light rendering engine — in a new exclusive video and accompanying Q&A.
Technical art leads Cassidy Curtis and Theresa Latzko keep things shipshape in their quest to take the cinematic VR Short by Oscar-winning director John Kahrs onto the high seas.