Find out more about Ward Kimball on Wikipedia. The link opens in a new browser window.
Ward Kimball on Disney Family Album part 1
Ward Kimball on Disney Family Album part 2
Ward Kimball on Disney Family Album part 3
The Firehouse Five Plus Two
Music isn't just used in animation; it can be a key ability for an animator. Animation is performance, with rhythm, timing and a lot of non-verbal expression. Music reaches audiences at a similar deep emotional level. The Firehouse Five play "Jingle Bells" Dixieland style, while apparently playing hooky from animating. But how did the camera get in there - and on a camera crane yet?
Find out more about Glen Keane on Wikipedia. The link opens in a new browser window.
This is from a lecture given by Glen Keane at CalArts. Watching an animator at work is usually as exciting as watching paint dry, but Glen narrates his process as he works. Keep an eye on how much he rolls the drawings to see the motion and how he adds elements to successive drawings rather than finishing one drawing at a time. He is drawing motion, not making drawings move.
These videos are three excerpts from the Access Alberta documentary of the same name, produced about 1999. All of the segments are about classic cartoon (cel) animation. Watch all three and you will have a better idea of the cel animation process as it evolved along with digital technology. You'll also see the full range of animation projects - from the one person, completely independent production to the multimillion dollar theatrical feature.
Excerpt 1 - Dreamworks Animation "Road to El Dorado"
Dreamworks Animation should need no introduction. This documentary goes a little deeper into the production process than many other documentaries do; and you get a real feeling for the complexity of feature animation.
Excerpt 2 - Bruce Wilson's "Friday Night Idiot Box"
"You're out of your mind for making movies anyway." - Marv Newland, International Rocketship. Bruce Wilson made a series of three 30 second cel animated cartoons, completely in the classic manner - making and testing his drawings, inking and painting the cels, and shooting on 35mm film. Marv Newland of International Rocketship helped him with it. This documentary goes beyond most animation documentaries and shows some of what happens on an animation stand. Marv has strong opinions about film's superiority over digital movies; I disagree. But hear him out and make up your own mind.
Excerpt 3 - "Mr. Reaper's Really Bad Morning"
Kevin Kurytnik and Carol Beecher of Fifteen Pound Pink Productions started Mr. Reaper's Really Bad Morning as a more or less conventional cartoon. During production they decided to switch to digital ink and paint and worked with Quickdraw Animation Society to set up the system. They finally output the digital files to 35mm film. This documentary shows the grant supported side of independent animation, though Kevin and Carol work like Richard Williams, doing animation for clients to help them make their independent movie.
I have another site devoted to animation - How-To-Make-Your-Own-Animation.com. It presents making classic animation in a different way - better organized than with a blog.
Start creating your own classic animation!
This 13 minute movie introduces animation fundamentals and shows you how to start animating with your PC and a webcam, video or DV camera using StopMotion Station from StopMotion-Software.com.
A shameless self-promotion movie that shows part of what I have done and what I'm about. Beware! At the end of the movie, I sing my "Moviemaker's Lament" while performing a movie. That's what you see in the screenshot - as I punch keys, I jump around in the movies I have on the system.
The whole purpose of this blog is to get you to create your own classic animation, preferably using my software, which is at StopMotion-Software.com. If you've made a movie you're proud of, using any of my shareware or freeware programs, please let me know and I'd be glad to post it here and help you share it with the world.
I am about as old as the transistor and have been watching movies for about half of their existence. I started playing wih movie cameras and projectors about 1960, and with the early microcomputers about 1978. I love combining knowledge and technology to create tools for moviemaking and especially animation, filling in the gaps I see that prevent me from making full use of hardware, software, and ideas.