November 10, 2019

'Into The Flame' by Sean McClintock (Hue&Cry Studios)



As Floyd sits trying to process the disappearance of his cult obsessed wife, a moth burrows his way into his ear, setting off a series of visions and the adventure of his life. Pushed over the edge and past his breaking point, he’s compelled to run headlong into the unknown.

Behind the Scenes:





Visual Development

CHARACTERS & COLOR

The best part of creating an animated piece is that we can really exaggerate the character’s proportions and push the form and color past what’s expected. That meant we could play with the proportions: small heads, long neck, skinny legs and tiny hands and feet; and have their skin colors be hot pink, which isn’t a huge departure from regular skin tones that could make them look alien, but a color that could be believable and a bit racially ambiguous.


Rose is fascinated by the Lepidoptera cult and as a dreamer of sorts, we wanted her form and especially her hair, to be fluid, organic and distinct, so even as a silhouette, her form would be instantly recognizable. In contrast, Floyd, an overworked businessman, tends to be more blocky in form because we wanted him to feel a bit serious and therefore, starts off dressed in a suit.



While it’s definitely easier to have a narrowed down color palette that’s consistent throughout the film, we wanted each scene to be colored differently based on time of day and the lighting based on the space: indoors or outdoors. It was important to us that the viewers could see the time passing by while Floyd moved throughout different scenes and really feel the vastness of the distance he was running. Color was also a tool to help distinguish Floyd’s visions from reality and help convey the feeling of the space. Floyd’s apartment uses cool, dark colors to emphasize the sadness of his wife’s disappearance. The bar scene uses a combination of violets and darker colors to convey a musty dark place where people seek a refuge from their troubles. In contrast, the outside desert scenes uses warm, washed out colors to accentuate the dusty, bright, barren desert heat.



Shooting Reference
LIVE STUDY

Live-action reference was shot in-house and was used to aid in the character animation process. This crucial step drove insight into our character’s performance. Reference provided animators with a study of the nuanced action. We use these references as a guide to help inform animators and give them a solid foundation. Building on that initial reference, we further enhanced the animations by exploring timing, spacing, overlapping, in-betweens, squash and stretch, and exaggeration. This practice is widely used in the industry, both for 2D and 3D, and dates back to the classics of animation.



Roughs to Clean Up
WORKING IN 2D

Once the animatic’s timing is locked, the character animators are provided with a set number of frames for the shot’s action to fit within. We shoot live reference as a guide to help inform overall gestures and performance nuances. Marrying the design and performance, motion arcs are roughed in and timed out to get a quick idea of how the shot will work. Once it’s feeling right, we move into tie-downs which iron out proportions and key joint placements as well as refining arcs and timing. Next step is taking a pass over the tie-downs to correct and fine tune shapes, and contour lines. In clean up, color and texture is introduced by closely referencing the design frame. The animation develops into its final form and is ready to be composited into the shot.



Building in 3D
COMPOSITING

With each design frame, there were elements that lent themselves to cel and those that needed 3D. Sometimes 3D was used for reference for cel artists to visualize how proportions change in space, especially when extreme lensing was involved. Other times 3D renders would be part of the final composite, especially when we wanted textures to stick to curved surfaces or if we wanted complex rigs such as the dynamic moth antennae. A variety of custom shading techniques were used in order to match the 2D style. Some shaders existed entirely in Cinema4D, often using luminance materials and cel shading. Others used a combination of greyscale materials, object buffers, Cineware 3D position importing, and stylized AE compositing.








November 07, 2019

'Stuffed'

Made by Elise Simoulin, Clotilde Bonnotte, Anna Komaromi, Edouard Heutte, Helena Bastioni, Marisa Di Vora Peixoto



Canigou’s “Tape” Made by Hideki Inaba

October 27, 2019

The Day The Music Died: Remembering Lorenzo Music, Voice of Garfield

Photo © PAWS Inc. - Used by permissionOn Saturday, August 4th, 2001, actor/writer LORENZO MUSIC died of bone cancer* in his Los Angeles home after "months of brutal, heart-breaking illness," writes friend and associate Mark Evanier. He was 64.

Lorenzo Music was born Gerald David Music on May 2, 1937 in Brooklyn, NY. (According to CNN.com, "Music later took the first name Lorenzo for spiritual reasons, his wife said.") His family moved to Duluth, Minnesota when he was 5. After high school, he attended the University of Minnesota and was actively involved in theatre. According to LorenzoMusic.com (his official site), Music majored in English Literature and minored "in Banjo Playing, Janitorial Work, and Being In A Lot Of Plays." While in college, he also met and fell in love with Henrietta, a female drama student whom he would later marry...and remain faithful to through 4 children and 41 years, right up until his death. They also performed a comedy act together for 8 years -- in the mid-70s, they even had their own syndicated TV series for a short while: The Lorenzo and Henrietta Music Show.

In 1959, he began to pursue acting as a career, but it was as a writer where he found his first true success, becoming "one of the hottest sit-com writers of the 1970s" (according to The Duluth News Tribune) which can be largely credited to his writing for The Smothers Brothers Comedy Hour in the late 60s. He went on to become creator, writer and producer for some of the most popular shows of the 70s (primarily produced by MTM Enterprises): The Bob Newhart Show (described as the "pet project" of Music and David Davis); The Mary Tyler Moore Show and its spin-off Rhoda. Music also co-wrote the theme song "Home to Emily" for The Bob Newhart Show with his wife Henrietta, and for the first 2 years of The Mary Tyler Moore Show he served as "the audience warm-up man, who came out and interacted with the studio audience each Friday night, and introduced the cast members."

Autographed publicity photo donated by Dan HassSeptember 1976 marked the broadcast debut of the aforementioned The Lorenzo and Henrietta Music Show -- an hour-long comedy/variety program starring The Musics, and supporting cast: Samantha Harper, Dave Willock, Bob Gibson, Erick Darling, Sandy Helberg, and Murphy Dunne. Music also co-produced and co-wrote the show with Lewis Arquette, according to Jim Beaver (via Usenet).

The Music's show featured "folk music with acting tips and woodworking," explains fan Susan Sparks (via Usenet). The duo wrote and performed music for the show as well as with their "acoustic folk-country star" guests, and Lorenzo played the banjo, according to another Usenet source.



"The premiere had Mary Tyler Moore as the guest," writes fan Brad Ferguson, via Usenet. "And Music interviewed Carlton the Doorman. (They had a P.A. speaker sitting in the chair opposite
Music.)"



The series lasted barely a month, possibly because it was on the air in the wrong decade -- it was just a little out of place during the disco era. [An interesting note of trivia to add here: During this time, canned laughter tracks were used extensively (and gratuitously) on TV sitcoms. According to suck.com, the Music's show "featured Carroll Pratt working his Laff console on camera, a sop to the postmodern malaise and a boffo joke in and of itself."]



"Lorenzo and Henrietta also starred in a pilot for The New Lorenzo Music Show that same year (actually prior to the above series and thus, despite the 'New' in the title, probably the pilot for the above show)," adds Beaver. "It was, however, a sitcom ABOUT a guy who hosts a variety show. It also starred David Ogden Stiers, Jack Eagle, Steve Anderson, Roz Kelly, and Lewis Arquette. It was produced by Carl Gottlieb (Jaws), and directed by Tony Mordente (of West Side Story)."



In 1980, Music developed and provided the lead voice for a fully animated pilot episode Carlton Your Doorman - a spin-off of the live-action sitcom Rhoda. It was intended to be a prime-time animated TV series, according to Evanier. And though the series was never produced, "the pilot won an Emmy as the best animated special of its season."


But with all his writer/producer credits, Lorenzo Music will still be remembered first and foremost for his unique voice and his preference to keep his face from the public eye. "He craved anonymity and didn't want his picture published," Craig Lincoln wrote in an obituary for the Duluth News Tribune.


"Lorenzo would at one time vanish at the sight of cameras," says Greg Burson. "He didn't want a face associated with the Voice."



In January 2001, in a personal quest to find a photo of Lorenzo where he wasn't wearing his trademark dark sunglasses and hat, I asked Mark Evanier why it seemed like Lorenzo was still clinging to his anonymity even in the present and he replied, "It was just a publicity stunt thing he did for a time. He was actually on-camera on many shows before it. The last time we discussed it, he indicated that he felt he'd gotten all possible mileage out of the gimmick and was no longer going to hide his face."


Apparently, this "notion...flowed from all the curiosity he'd aroused when playing the never-seen Carlton on Rhoda," said Evanier. "Thereafter, his publicity photos showed him in silhouette, or with something in front of his face, and he declined all TV interviews that would not present him that way. Although he had appeared occasionally on TV before, the stunt had its intended effect of arousing attention. People began wondering about the face that went with the voice and he often chuckled that he was becoming 'semi-famous' for not being seen."


For animation fans, his definitive role - his legacy, perhaps - will always and forever be his endearing and entertaining performance as the voice of Garfield the Cat in such memorable made-for-TV specials as: Here Comes Garfield (1982); Garfield on the Town (1983), an Emmy Award-winning animated special which he also co-wrote with Garfield creator Jim Davis; Garfield's Halloween Adventure (1985); Garfield Goes Hollywood (1987); the Holiday classic A Garfield Christmas (1987); and the hugely popular animated series Garfield & Friends (1987) which was a mainstay on CBS for 7 successful seasons.


Some of Music's other voice credits include:


  • The original voice of Peter Venkman on The Real Ghostbusters (1986)
  • Tummi -- Disney's The Gummi Bears (1985)
  • Super-Pac -- Hanna-Barbera's Pac-Man (1982)

  • Larry, of Vince & Larry: The Crash Dummies who became pop culture icons in the "Buckle Up For Safety" campaign for The NHTSA. These popular public service announcements very nearly resulted in landing an animated TV series starring the two driving safety spokesdummies Vince (voiced by Jack Burns) and Larry, though "renamed Slick and Spin for the toys and pilot," according to animation historian Dave Mackey.

  • James Madison and Robert E. Lee in Stan Freberg's very entertaining comedy album "Stan Freberg Presents The United States of America, Volume 2: The Middle Years" (1996).

  • Guest roles on "Darkwing Duck" (1992), Talespin (1990), Fantastic Max (1988), The Jetsons (1962), and The Drew Carey Show (1996), just to name a few.

  • "Millions of TV spots" and "billions of radio commercials", according to LorenzoMusic.com.

  • Carlton the Doorman -- Rhoda (1974) - a series which he also co-developed, wrote and produced for MTM.* Carlton never appeared on-camera, which was a large part of his appeal - only his voice was heard over the intercom in Rhoda's apartment. (Carlton had so much appeal, in fact, that at one time there was a Carlton Fan Club.) Lorenzo himself described Carlton as being "in his 20's, blond, skinny with sloping shoulders, messy hair and droopy eyelids. Carlton is lazy, Carlton is slovenly, Carlton is a moocher and a lush."


    * For futher information on Music's credits with MTM (as well as some miscellaneous trivia on his work with the company), visit MTMShow.com.


    + Additional voice credits appear courtesy of Voice Chasers and The Internet Movie Database.


His voice and personality were one-of-a-kind, and he was well loved and admired by those who knew him and his work. This is evident from the quotes and personal anecdotes from his friends, fans and associates -- collected below from all corners of the web:


From Jim Heffernan (college friend): He could not imagine a life outside of show business, and he fashioned a life in show business and a pretty good one at that. He never gave up on show business, and it never really gave up on him.


From J. Michael Straczynski (associate; Story Editor on The Real Ghostbusters): I knew Lorenzo Music while we were doing [The Real Ghostbusters], but not afterward; we never really hung out or anything. He [was] a roundish, friendly kind of guy. We always had to separate him from Frank Welker and Maurice [LaMarche] in the sound studio, because if they were *ever* in close proximity, all kinds of hell would break out. When Lorenzo was still doing the show, Frank learned to mimic his voice. So one day, in taping, when Lorenzo missed his cue, Frank supplied his line...in [Lorenzo’s] voice. Lorenzo looked around with a "What the hell was THAT?" look on his face.


From Corey Burton (associate; Voice cast member with Lorenzo on Disney's Gummi Bears): My first exposure to Lorenzo was a taping of 'The Bob Newhart Show' way back when, and he came out before the show [and] between scene changes to speak to the audience. He was a very interesting man. I worked with him on 'Gummi Bears.' Always admired him but didn't get to know him very well. He was very intelligent, very talented - he knew what he wanted from the performance. His acting was very subtle, organic - had a certain shading to it. He was very funny, very dry and very entertaining.


From Jess Danis (friend and associate; Lorenzo's voiceover agent at International Creative Management, Inc.): He was one of the most lovingly eccentric people I’ve ever known, a one-of-a-kind. He was seemingly irreplaceable in our business.


From Mike Herlihy (fan): Lorenzo Music was one of those people that I've always enjoyed following. Probably because not enough people knew who he was. When I was in High School (Fairfax in LA), I had a friend that had a crush on Mary Tyler Moore. He went to all of the tapings and I went to a couple. Lorenzo would always do the 'warm up' for the show, this is when someone comes out and gets the audience in the mood to laugh for the sound track. My friend got me to ask for the 'famous jellybean trick'. Lorenzo was happy to oblige. He took a jellybean and threw it up into the lights (TV studios are very high to allow for all of the equipment), and then he would catch it in his mouth.

I also got to see him do this prior to tapings of Rhoda (I remember it was the honeymoon show), and Bob Newhart. He had a very distinctive laugh (Haw, haw, haw), and if you listen carefully to the laughter you will hear him still. In fact I was watching All in the Family the other night and heard him, as I recall he also did the warm up there, even though it wasn't an MTM production. His own show was sadly short lived, his inner beauty didn't shine as brightly through the TV as it did in person. Still I've always enjoyed listening for his infectious laughter, and I always will.




Craig Crumpton (fan; Host: The Voice Actor Appreciation Group, and the author of this tribute article): I've been an avid enthusiast and researcher of cartoon voice actors since the early 1980s, and Lorenzo's voice was among the first I learned to identify. The unique quality of his voice and his endlessly entertaining performances quickly made him one of my favorites. I have especially fond memories of his voice on account of my family's annual holiday tradition of sitting down together to watch "A Garfield Christmas." It features my all-time favorite performance from Lorenzo. Ever since the first time I saw the TV special, whenever I've heard his voice, I've always been reminded of Christmas -- some of the happiest times of my childhood and being with my family. I so closely associate his voice with such pleasant memories of time spent with my family that losing him is a bit like losing a brother, or a very close friend, even though I never had the chance to meet him.


From Ted Arnold (friend): Lorenzo was certainly one of, if not my best, friend. I will miss his emails, his phone calls, and everything else one misses from the security one gets from a friendship of 39 years.



From Greg Burson (associate; fellow cartoon voice actor): I remember a time when Lorenzo was riding the zenith of the commercial world with his highly identifiable voice. He had deciced to increase his market share with different approaches and treatments. He presented these to Chris at Radio-Ranch. Chris excitedly exclaimed these are terrific, great in fact .......but they're all Lorenzo. Lorenzo certainly left his signature with everyone. I'm sure he's now the official spokesperson for heaven. He will be missed. From Valerie Harper (friend and associate; Star of Rhoda): Valerie's heart is breaking, but Rhoda is certain that Carlton the doorman is giving St. Peter at the gate a run for his money.


From Kim Campbell (friend and associate; Director of Public Relations: Paws, Inc -- Garfield's Headquarters): I was the lucky person at Garfield-land selected to 'handle' Lorenzo. Actually, Lorenzo was much better at handling me and graciously, patiently walked me through the murky waters of voice-over land. I never had a conversation with him that wasn't either enlightening or entertaining. How many people can you say that about? Lorenzo was compassionate, warm, honest, quick, and always, always very dear. Photo © PAWS Inc. - Used by permission


From Jim Davis (friend and associate; Creator of Garfield): When we held auditions for the voice of Garfield, I wasn't exactly sure what we were looking for -- I just knew I'd know it when I heard it. After dozens of auditions, I began to feel uncertain we'd ever find the right Garfield. Then Lorenzo Music sat at the [microphone]. That was it -- I knew it. He had the perfect dry wit and laconic delivery that helped define the character. He was a huge talent, and a very nice man. Garfield will miss him terribly -- we all will.


From Henrietta Music (Lorenzo's wife): The most compelling thing about him was the sort of relentless, easy, every day humor. He had a dry, sharp wit and it was quick. He was cracking jokes [last] Thursday; we were all sitting around in his room. From Mark Evanier (friend and associate; Writer, Co-Producer and Voice Director for Garfield & Friends): He was — like his distinctive, well-known speaking voice — unique. Those who cast him as a voiceover performer often said that just to hear him, no matter what the script or ad copy, was curiously comforting and satisfying. That was absolutely true, and it was an extension of the man himself. He walked through life with a warming aura of creativity about him...one that enveloped all who came near. To be in his presence was to feel smarter, wittier, more creative and, of course, happier — all by osmosis. He had so many gifts, one body could not contain them all. They were always leaking out, enriching others.

As the writer (and later, co-producer and voice director) of [Garfield & Friends], I came to truly appreciate his acting abilities. He was a thinking performer who would instantly grasp what had been written and, as often as not, come up with a way to maximize the humor. His suggestions were nearly always good, and contributed to making Garfield a truly memorable animated personality. Lorenzo was an enormously versatile, brilliant man with interests in a hundred different directions and talents he never had time to fully flex.

He wrote music and poetry, he produced short stories for his own and his friends' enjoyment, and he even participated in a dance troupe. For a time, he donated one night per week to taking calls on a suicide hot line. The callers never knew his identity but occasionally, one of them would be pouring out a story — "my wife left me, I'm broke, I have an incurable disease," etc. — and would suddenly blurt out, "Hey, you know you sound like that cat on TV?" He leaves behind a terrific family, a legacy of friends who were introduced to one another and inspired by his kindness, and a whole lot of fans. To those of you who never had the chance to know him, I have to say... I'm sorry. [His] work was wonderful, and I know you'll enjoy watching it again and again and again. But being around Lorenzo Music was even better.


For other related links, browse Lorenzo's category at The Voice Actors Ultimate Links Treasury. We at Toon Zone wish to extend our sympathy and condolences to the family and friends of a very talented actor, writer, voiceover artist, producer, performer and musician. For any fans curious to know if there is still some way to honor his memory, Mark Evanier shares, "The family has requested that anyone wishing to make a donation in Lorenzo's name may do so to:" The Subud International Cultural Association 5828 Wilshire Boulevard Los Angeles, CA 90036 I can think of no better way to conclude this tribute (written to honor Lorenzo's memory) than to include what Kim Campbell shares from a recent e-mail she received from Lorenzo, which he ended with a familiar refrain from a song written by Irving Berlin: Blue skies, smilin' on me. Nuthin but blue skies, do I see. Kim adds, "Here's to blue skies for Lorenzo from now on." Rest in Peace, Lorenzo - thanks for all the laughs and wonderful memories. You will not be forgotten.

Mindhunter's Brilliant Editing - A Breakdown

October 15, 2019

Treehouse



Music by: James Arthur and Ty Dolla
Director/Lead Animator: Anthony Schepperd
Animators: Taik Lee, Carolee Karpell, Ian Foster, Francis Amisola, Puks Phadke
Producers: Randi Wilens, Jori Teplitzky
Colorists: Carolee Karpell, Amelie Swann

Klaus - Trailer

September 15, 2019

Mountain



Directed and Designed by Dave Prosser
Produced by Studio AKA
Producer - Nikki Kefford-White
Animation by Dave Prosser, Marie-Margaux Tsakiri-Scanatovits, Daniel Chester, Adam Avery, Cristobal Infante
Sound Design by Joe Tate
Music by David Kamp
Mixed by Maiken Hansen
Special Thanks to Kyung Hwa Lee

September 12, 2019

For the Refugee - HIAS



Produced, Directed and Designed by Moth
Produced by Sovev Media
Written by Paul Wolfe
2D Animation by Claudio Salas, Daniela Negrin Ochoa, Joe Bichard, Jennifer Zheng
Sound Design and Music by Marian Mentrup
Voice Over by Daniel Ziegler

September 09, 2019

L'HOMME AUX OISEAUX (The Man With Birds) by Quentin Marcault

Animator's Guide to Health and Wellness - Part 4: Food & Sleep

Foods That Boost Productivity
Many foods can help keep your brain healthy and alert.

Some foods, such as the fruits and vegetables in this list, as well as tea and coffee, have antioxidants that help protect your brain from damage.

Others, such as nuts and eggs, contain nutrients that support memory and brain development.

You can help support your brain health and boost your alertness, memory and mood by strategically including these foods in your diet. Certain foods you eat play a role in keeping your brain healthy and can improve specific mental tasks, such as memory and concentration, here’s the list:
Eggs
Fish
Oranges
Blueberries
Broccoli
Avocados
Nuts
Pumpkin Seeds
Green Tea
Whole Grains
Turmeric
For fish, we’re talking non-processed foods, these are the Omega oils, the fatty fish like salmon, mackerel, tuna, and herring. For whole grains we’re talking brown rice, barley, bulgur wheat, oatmeal, whole-grain bread, whole-grain pasta. For specifics on nuts and seeds; almonds, cashews, peanuts, flaxseed and chia seeds. Turmeric improves memory, boosts serotonin and dopamine, which both improve mood, and helps new brain cells grow. To reap the benefits of turmeric, try cooking with curry powder, adding it to potato dishes to turn them a nice golden color or try making turmeric tea. Kale, Dark Chocolate, and Coffee are also known to help brain function.

Try to work in most of these foods into your system every week. Some teas have caffeine in them, so just like coffee, try to have those in the morning to help wake you up, and that way it won’t interfere with your sleep that evening.

Sleep Quality

A good night’s rest is very, very important. 6+ hours of quality (uninterrupted) sleep will help greatly with your daytime productivity. Here's some tips on how to get that good night's rest.

Adopting new habits to help you sleep:
• Stick to a regular sleep schedule. Support your biological clock by going to bed and getting up at the same time every day, including weekends.
• Avoid naps. Napping during the day can make it more difficult to sleep at night. If you feel like you have to take a nap, limit it to 30 minutes before 3 p.m. If it's the weekend (or a day off), take all the naps you'd like, knowing you'll be going to be later anyways.
• Limit caffeine. Stop drinking caffeinated beverages at least eight hours before bed. While alcohol can make you feel sleepy, it interferes with the quality of your sleep, nicotine is a stimulant, and caffeine stays in your blood for 8 hrs. 
• Avoid late meals. Try to avoid heavy, rich foods within two hours of bed. Fatty foods can take a lot of work for your stomach to digest and spicy or acidic foods can cause heartburn. It's hard to do this, because most people love a snack just before bed, but it can get your metabolism going and keep you awake. 
• Get regular exercise. Regular exercise can improve the symptoms of insomnia, but it’s not a quick fix. It takes several months to feel the full effects. Aim for 30 minutes of activity 3 to 4 times per week—but not too close to bedtime. Add more exercise time when you can work it in and as your body gets used to it, you energy level will go up and sleep quality will improve.
Develop a better bedtime routine - It’s not just what you do during the day that affects the quality of your sleep, but also those things you do to prepare your mind and body for sleep:
• Make sure your bedroom is quiet, dark, and cool. Noise, light, and heat can interfere with sleep. Try using a sound machine or earplugs to hide outside noise, an open window or fan to keep the room cool, and blackout curtains or a sleep mask to block out light. 
• Avoid stimulating activity and stressful situations before bedtime. This includes vigorous exercise, big discussions or arguments, or catching up on work. Instead, focus on quiet, soothing activities, such as reading, knitting, or listening to soft music, while keeping lights low. 
• Turn off screens one hour before bedtime. The light emitted from TV, tablets, smartphones, and computers suppresses your body’s production of melatonin and can severely disrupt your sleep. Instead of emailing, texting, watching TV, or playing video games, try listening to a book on tape, a podcast, or reading by a soft light. 

Natural Sleep Aids
In the supplements/vitamins section at your local grocery store you can find these things to take a few an hour before sleep:
• Valerian is an herbal extract. It is one of the leading natural supplements for managing anxiety and insomnia. Some limited findings show that valerian may reduce the time needed to fall asleep and may improve sleep quality. 
• Drink Tart Cherry Juice. A ½ cup to a 1 cup of tart cherry juice is a tasty way to drift off to sleep, and is a natural sleep aid that I personally think really helps. Tart cherry juice is a natural sleep aid because it’s full of tryptophan. Tryptophan is an essential amino acid that coverts to serotonin, which then coverts to melatonin. Melatonin helps maintain our sleep and wake cycle by causing drowsiness and lowers body temperature, working with the central nervous system to sync our biological clock. Its production is inhibited by light, but released in low light/darkness. 
• Get More Melatonin. This chemical is oh-so-important to sleep, but our body needs outside sources to get it. While it can be taken as a natural supplement in pill form, here are some foods that will help boost production: Pineapples, Bananas, Oranges, Oats, Sweet corn, Rice, Tomatoes, and Cherries.
There’s nothing like a nice cup of tea to help you unwind. Particularly, one of these five relaxing blends, you can 'sleepy teas' in any specialty tea shop:
1) Seaberry Spa
White tea, ginger, lemon balm, rosemary, raspberry leaves, sea buckthorn, chamomile, sandy everlasting flower.
2) Mother’s Little Helper
Peppermint, lemongrass, hibiscus, rosehips, chamomile, valerian root, cornflowers.
3) Serenity Now
Currants, rosehips, lavender, spearmint, blueberries, quince, apple, hibiscus, rose petals, strawberries. With natural rose water and strawberry flavouring.
4) The Big Chill
Apple, lemon balm, silver lime flowers, apple mint, mango, lemon myrtle, peppermint, apricot, valerian root, sunflower.
5) Organic Dream On
Lemongrass, chamomile, hibiscus, licorice root, lemon peel, orange peel, lemon myrtle, fennel seeds, rose petals.
....and one last thing is Magnesium.
You can get it in powder from at the Bulk Barn, it comes in a white cylinder jar, it's completely natural, you put a scoop of it in your mug, then slowly pour hot water in the mug, watch it fizz up, stir it, and drink it a half-hour before bedtime.

Here's Jaiden Animations' hilarious take on health and fitness for artists:


Sometimes to meet deadlines a very late night or even an all-nighter is inevitable, here's ways to cope:

August 24, 2019

'The Lake' by Gunner



Illustration: James Noellert, Rachel Reid, Nick Forshee
3D Animation: Rachel Reid
3D Modeling: Ryan Reid, Collin Leix, Nick Forshee
3D Rigging: Chris Nelder
2D Animation: John Hughes, Collin Leix, Marcus Bakke, Nick Forshee
Cel: Guille Comin, James Noellert
Producer: Brandon Delis
Audio: Steve Saputo, Bryan Pope
Music: Marcus Bakke
Lake Monster: Boots

August 22, 2019

'Fender Pedals' by Gunner



Project Lead: John Hughes
Story: Michael Burdick
Animation Direction: John Hughes
Art Direction: Michael Burdick
Illustration: Michael Burdick, Andy Most, Jay Quercia, John Hughes, Collin Leix,
Cel Animation: Matthew Everton, Ryan Boyes, Rachel Reid, Andy Most, Jessica Rowden, Eli Watkins, James Noellert, Collin Leix, Michael Burdick, John Hughes
2D Animation: Marcus Bakke, Collin Leix, John Hughes, Ian Sigmon, Nick Forshee
3D Animation: Collin Leix, John Hughes, Marcus Bakke
Producer: Brandon Delis



Animating on 3s is the best!!

August 21, 2019

‘Allergy Pills’ by Daniel Damm



Direction And Animation: Daniel Damm
Concept and Background: Fernando Peque
Compositing: Drazen Zeljković, Daniel Damm
Additional Animation: Martin Nyberg
Ink and Paint: Daniel Damm, Sidonie Vidal, Rembert Montald
Additional illustrations: Rembert Montald
Music Composer: Pedro Marques
Sound Design: Rita Gradim
Voice Over: Alexandra Sirola

August 19, 2019

The Hand-Drawn Cinematography of 'Adam and Dog'

Here's an analysis of the compositions and colors of Minkyu Lee's 2011 film "Adam and Dog".



See the short film here.

It was nominated for Best Animated Short Film for the 85th Academy Awards and won Best Animated Short Subject at the 39th Annie Awards. It is a retelling of the Adam and Eve story (as found in the first three chapters of the Book of Genesis), but from a Dog's point of view. Dog wanders around, alone. Then one day he meets a strange creature, Adam. Side by side, they spend their days in the flourishing garden, and become inseparable companions - until a new creature arrives: Eve. After meeting this new companion, who is similar to him, Adam neglects Dog. But after the Fall of Man, when the two Humans must leave the Garden, he consorts with them into the realm of hardship.

First off, lets look at samples of rough line tests from the film.
The movement of the characters on screen will always affect the shot's composition. The space they occupy within the frame and how they move inside the frame makes the staging organic and ever-changing.



by Jennifer Hager



by James Baxter



by Jennifer Hager

For the sound design, Vladimir Sivc wanted to leave room for the music and let the sounds themselves lead the story. Much of the sound design was created with his voice and effects like the hippo was simply his voice pitched down with a tremolo (vibrating effect) mixed with the reverb. Dog sounds were also created with him barking into a condenser mic, and kept modifying the tone until it worked, and other vocals were used for many of the birds as well. All other SFX was recorded with a zoom H4n and Rode NTG1 shotgun microphone.

Written and Directed by: Minkyu Lee

Animation by:
Minkyu Lee
Jennifer Hager
James Baxter
Mario Furmanczyk
Austin Madison
Matt Williames

Associate Producer:
Heidi Jo Gilbert

Technical Direction:
Ethan Metzger

Musical Score:
Joey Newman

Consultants:
Glen Keane
Thomas Ethan Harris


Various versions of the 'rule of thirds', centered compositions, diagonal lines/shapes, negative space, leading lines, repeating elements, clear silhouettes, and the use of dynamic symmetry and dynamic rectangles are methods seen in many of the compositions for this film.



Hand-drawn character animation + hand-painted background art. Natural color palettes are used, from the sunny, joyful sequences to the dark, rainy somber ones. Even bright sunny days are treated with a fairly muted earth-tones color design.

Observe the astounding hand-drawn cinematography of Adam & Dog.
















































Expertly staged and planned out, Point of View shots like these use the classic "shot / reverse-shot" to connect the audiences with these characters, seeing what they see and in doing so helping to experience what the on-screen characters are experiencing, which feeds into every animated filmmaker's ultimate goal: to convince the audience that there's a thought process going on inside the characters' heads, that you can tell what they are thinking and feeling.

Wide shots tell us where they are and uses visual storytelling to inform us of the environment they're in. The closer we frame the characters in the shots, the more intimate it becomes, the more we can tell what they're thinking and feeling the more that it shows us about the character, and what they're doing.