What is your name and your current occupation? My name is Alexandre Belbari, I am 24, and at the moment I work as a Creature Animator in a Film company called Trixter, I am animating Wolves for an Upcoming BBC Series.
What are some of the crazier jobs you had before getting into animation? My best memory of work would be pizza delivering in France, I was doing this job at the same time of my animation studies. It s bloody dangerous but really fun for a small period. As you get a low salary, you put all your efforts on getting a maximum amount of tips from the client ;p
What are some of your favourite projects you’re proud to have been a part of? As I am a total fan on Marvel films, I was really proud to work on the last Xmen- First Class, and it was also my first film project. Another favourite project would be Prometheus , it was a really good experience! ( I haven’t seen it yet but I usually love Ridley Scott movies )
How did you become interested in animation? When I was really young, when I saw for the first time Jurassic Park and Terminator 2. From that moment, my dream was to work in visual effects, Then I saw Continue…
Much of the evolution of Pixar Animation comes in the details. Textures have evolved in amazing ways since Pixar’s first short debuted, and the quality can be seen especially when you compare the first Toy Story to Toy Story 3. The intricacies of any given surface are truly amazing.
The same can be said with just how expressive the faces of Pixar’s characters have become. There’s so much more fluidity and room for subtlety. The eyes especially have evolved to display much more emotion so we don’t get that dead-eyed effect that we saw so often in the motion-capture animated work of Robert Zemeckis.
Seeing all of Pixar’s work in chronological order like this shows how far Pixar has come in a short amount of time, and it’s amazing to see how far they’ve gone in another 30 years.
Business Insider has an article up about how Pixar creative genius John Lasseter became the next Walt Disney and built a $10 billion empire.
No studio can match the creativity, heart, and cleverness found in all Pixar films, and it seems those principles can be traced back to Lasseter
“You want the movies to touch people,” Lasseter said in an interview for Pixar’s 30th anniversary this year. “Make ’em funny, make ’em beautiful, make ’em scary, but in the end you want that heart of the movie to be so strong.”
Lasseter’s and Pixar’s success are linked. He cofounded the animation studio that has now made nearly $10 billion worldwide. He championed computer animation at a time when the technology was still quite infantile. He created and directed “Toy Story,” which started it all (more than 250 computer-animated films have been made since). He kept asking questions that resulted in better animation all around and better Pixar films.
What is your name and your current occupation?
Hello! My name is Jerry Suh and I am currently a Background Painter at Nickelodeon Animation Studios.
What are some of the crazier jobs you had before getting into animation?
I went to Savannah College of Art and Design (SCAD), GA and we have a huge fashion program there. I was never interested in fashion before, but I applied for a modeling gig when they were looking for fitting/show models for their big annual fashion show for graduating seniors. It was quite crazy because there were hundreds of girls in the audition, from in and outside of Savannah. What was even crazier was that one of the juries was Miss J who is known for America’s Next Top Model. I don’t know how, but I did get in to be one of the few models to represent the SCAD Fashion Show. And yes, Miss J coached my walking! It was really fun and exciting experience that I did not expect to happen, and I am glad it did.
What are some of your favorite projects you’re proud to have been a part of?
Baxter is a 3d animation short directed by Ty Coyle. Working on Baxter as an Assistant Art Director / Lighter was a really rewarding experience. It’s probably because of the sense that we were really making a film together, and that every collaboration and individual contribution turned into a real result we could see. Ty was also an amazing director to respect our creative input for the film. I did a lot of concept art to set the overall mood of the film, then color scripted every shots to show crews the overall aesthetic of the film and help the lighting team lit their shots, then lit two of the highlighting shots of the film myself.
Where are you from and how did you get into the animation business?
I am from South Korea but I moved to Boston. about 10 years ago. As cliche as it sounds, it’s been my dream to pursue animation since I cannot remember how long ago. But as I grew Continue…
In Piper, “a hungry sandpiper hatchling discovers that finding food without mom’s help isn’t so easy.” What I love about this short film is that it takes the best of Pixar’s character-based animation and blends it with the narrow depth of field, with the almost photo-real cinematography emulating macro photography.
Barillaro has been with Pixar for some time, acting as a supervising animator on Wall-E, Brave and The Incredibles. Piperis his directorial debut, and I hope we see more from him. I also hope that Disney Consumer Products Group doesn’t drop the ball again and not make some cute plushes based on this animated short, as I’m sure they’d sell well in Disney stores worldwide. Pixar and Disney’s animated shorts always seem to get the shaft from the merchandising departments.
The score for the short was composed by Adrian Belew, who is best known for his work as a guitarist and vocalist of the progressive rock group King Crimson. His songs have appeared in a bunch of movies and television shows, but this is his first attempt at composing an original score. This came about as Barillaro used Belew’s compositions as temp music while he was developing the short film. Finding Dory director/Pixar brain trust member Andrew Stanton knew the musician and made the introduction.
Ink and Pixel has an interesting article up about Disney/Pixar’s Monster’s University with some nice development art.
From the site:
There’s no doubt in my mind that MONSTERS UNIVERSITY had the chips stacked against it from the moment of its conception. I say this because I remember the vehement reaction to the announcement of the film via social media – and just how much of a three-ring-circus that turned out to be. I think that part of the reason for the anti-MONSTERS U sentiment is that after the roaring success of 2010’s TOY STORY 3, Pixar experienced its first true misfire with the release of CARS 2 in June of 2011. As a sequel to the 2006 original, CARS 2 seemed to cast a spell of disenchantment over critics and audience members alike with its uninspired plot and cast of lackluster character leads. Oh sure, the film still made a fair bit of coin with a worldwide return of $559,852,396 in box office receipts, but fans’ once-resilient faith in the Pixar brand had been shaken none the less.