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Classtime: Q&A with Anthea Kerou

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In Animschool's Introduction to 3D Animation Class, students get the chance to have an animation related Q&A session with their instructor Anthea Kerou. In this case, she answers about the industry, her experience in feature films and gives some great advice to students' careers, among other things. You can't miss it!




This is a clip from AnimSchool's class Introduction to 3D Animation, the first term of the 3D Animation Program. To find out more, go to AnimSchool.com and apply today!



AnimSchool's Class - Pose Analysis Tony Bonilla

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In AnimSchool's Class - Animating Characters, Character Animator at Walt Disney Animation Studios Tony Bonilla analyzes some of the best animated works and explains reasons behind every decision. He even shows some of his own professional work.

         

This is just a small sample of the quality of education our students get.
Come join all the students learning online at AnimSchool


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AnimSchool Interview: Alaa Aldeen Afifah



We'd like to welcome Animator Alaa Aldeen Afifah. Can you tell us a little about yourself, what is your background and how did you get into character animation?

Firstly, I want to say thank you for having me in your Blog.
I've become obsessed with animation and film making at a very young age, when playing video games and watching movies.
Since then, I've come a long way. Now with 11 years of industry experience, I focus on character animation and how to bring characters to life.During my career I've worn many hats, from rigging to modeling but also lighting and other aspects of CG, which gives me  a solid understanding of the entire CG pipeline.
I've started as a self taught animator but when I realized that I couldn't push myself any further I decided to join an online animation school to expand my knowledge.
I would love  an opportunity to work on a big studio like BlueSky, Disney or Sony. 

What is your current work?

Right now I'm a Senior Animator and the Animation Team Lead for Real Image Post Production Studio. I also work as a tutor where I record video lectures specifically focused to the Arab World future animators.


Your shot "The Elf" it's pretty impressive and really funny. You went for a cartoony style there, what were your thoughts before animating it?

Actually, I am always looking for something challenging and that I've never worked on before. For me, this is very important in order to improve my skills as an animator.

Also I have been animating  subtle shots for a while  so I thought it was the right time for something cartoony. I wanted to get out of that mode and try out something new and fresh, where I could push the character's facial even more. And in the process have some fun with it too!





What was your workflow for this shot?

The first thing I wanted to do is determine the cameras position and the entire flow of the shot.
So I did a simple animatic  where I had the character in position and I could see  the shot flow, and also seeing whether my thoughts were working or not.
Basically, I'm very obsessed with Blocking,  and I love staying in the Blocking stage as much as I can so I get to nail down everything I want to see in the shot.
I recorded  lots of video reference for myself playing the two roles. I had different takes for each character and then I chose the best ones and combined them together.

Here is a progression for "The Elf" shot showing my workflow: 


You've worked with the Animschool Malcolm rig for that shot, what do you think of it?
Simply Amazing! Malcolm is one of the best rigs I've ever touched, he is very appealing and expressive, and it has never constrained me or hold me back on doing any expression I had ever thought of.
Not to mention the performance and the speed factor of the Malcolm rig, where I could play the shot  in real time inside Maya's viewport without making any playblasts!


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AnimSchool Classtime: Working with Lattices in Animation with Trevor Young


In this clip, Blue Sky animator and AnimSchool Instructor Trevor Young shows a quick demo on how to create lattices, how to animate them and some ideas on making them clean. Watch it below: 


This is a clip from AnimSchool's class Body Acting, the 4th term of the 3D Animation Program. To find out more, go to AnimSchool.com and apply now!

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AnimSchool Student Spotlight: Jared Johnson


Today we are welcoming AnimSchool Student Jared Johnson. Jared is already working in the animation industry and, as many other colleagues, he keeps studying and expanding his skills along the way.

Tell us a little about yourself, what's your background? How did you get into animation?


Like most artists, I began drawing at a very young age. I grew up loving animated movies, cartoons, comic books and video games. For years I thought I would become a comic book artist, but I felt frustrated being limited to a few panels to tell a story. I’m originally from Pennsylvania where I started my art education. While in college, I realized that animation was a liberating medium and I’ve been working in it ever since. I continued studying art and animation in San Francisco and eventually started my career there.



You are currently working in the animation industry, right? Tell us about it.

I am! Currently, I’m working at Gazillion Entertainment as an animator on the “Marvel Heroes” online video game. Before returning to work at Gazillion, I wrapped up animation work on the feature film Free Birds last summer. My career consists of some great opportunities such as video game cinematics, documentaries, and cartoons for adult swim.

What do you like the most when animating?

Blocking is generally the most fun part of the process. It’s the time when you get to play around and experiment the most. Otherwise, I also enjoy the polish stage of adding refined detail and subtlety to animation. It’s easy to get inspired when I come across really good character performance or creature shots. Being able to work on them is a blast too.


You've taken a 3-month Express Class in Character Performance. What were your ideas before taking the class? In what ways do you think Animschool has helped you after you finished it?

Since most of my career has been in TV and video games, I felt it was important to push my skills and work on a more polished, character driven shot. When you work in games, you’re not always able to really sink your teeth into character performance and that’s something I want to make sure I kept working on. The instructor, Christopher Bancroft, really helped keep me on track and focus on what was really important in the shot. I also attended the general reviews with instructor Kevan Shorey. Both had wonderful insight and great eye for detail. They’re the type of animators you want to work with in a studio.

You've done a great work with your assignment. How was your workflow for this shot?


Thank you. I spend a good chunk of time thinking about the shot, asking questions like, “who are the characters? What is the shot about?” Afterward, I draw thumbnails and shoot lots of reference footage of myself to try to explore more ideas. Then follows an initial blocking phase and early feedback (from the instructor). Afterwards, I'd revise/elaborate on the blocking before continuing into splined.

Any particular tip or advice that your instructor gave you that stood out?
One piece of advice that my instructor gave me was to go to general reviews. It's an open class that any AnimSchool student can go to for additional critique. It's always good to get a fresh pair of eyes to view your work. When you're staring at your animation for so long, you can start to miss out on ways to improve it. It's important to remember that animation is a very collaborative art form so one shouldn't be afraid to share it with others.
Thanks for having me!

We thank Jared for this interview. Check out his reel below:

Animschool Classtime: Facial Animation with Chris Bancroft

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In this clip, AnimSchool Animation Instructor Chris Bancroft talks about facial animation and gives useful tips on creating appealing expressions. Watch it below:




This is a clip from AnimSchool's class Character Performance, the 5th term of the 3D Animation Program. To find out more, go to AnimSchool.com and apply now!

Animschool Instructor Interview: Lighting TD Brandon May

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Today we are talking with Brandon May, who works as a Lighting TD at Blue Sky Studios and teaches Introduction to 3D Lighting at Animschool.


Tell us a little about yourself, what's your background? How did you get into Lighting?

I grew up on a farm in a small town in Idaho. I have always been artistic and loved creating art and drawing.   When I got married, my wife convinced me to take an art class.  Reluctantly,  I took one and loved every second of it.  I switched my major and found a bunch of friends who were all in animation.  I naturally gravitated there and ended up being recruited into the BYU animation program.   I chose lighting because it was involved with the final touches and the final look of all the elements in the production.   I loved it and I was the only one who was doing it in my group in the program.   I ended up at Blue Sky Studios as a lighter and I could not be happier.  I love it here. 

What is the best experience you've had so far in a production environment?

I think the best experience would be the feeling I get when I get positive feedback from personal success in my lighting.  It is fantastic to hear someone who is an amazing lighter compliment your work. 


In what project are you working on? What is your job?


I am currently working on Peanuts.  My job right now is pretty – extremely laid back.   This project does not release for another year and a couple months, so we are not doing much. Ha ha.  For a lighter, the work comes in waves.  When we have work, we have a lot to do, and then we get a break.  When we break, we have nothing to do.  It is a schedule I enjoy, but it is not for everyone.  Definitely not a steady work flow. 


What's been your inspiration throughout your career? Any mentors along the way?

My inspiration throughout would be my wife.  I love her and she is my support and motivation. My mentors along the way would be Youngwoong Jang and Angel Camacho.   Two uber crazy talented people and I hope to become as good as they are someday.   
One nice thing about working where I do, I don't have to have mentors from anywhere else.  I work with some of the most talented artists in the world.  Especially when it comes to feature animation art.  

The lighting style in Blue Sky productions like Epic and Rio 2 is really captivating, can you tell our blog readers how you go about applying lighting to the scenes? Is there any particular process that you guys found effective?


The lighting on Epic was handled differently than Rio.  With every show, we have art directors who have a visual goal that will separate the look of this film from that film.  At the beginning, we work at finding what that style is and match it.  Much time is spent getting that look before the production begins.  The process is trial and error.  We light and push back the frames and problems we see to the appropriate departments to make changes so that those issues are resolved to make the process as streamline as possible.
"Rio". Twentieth Century Fox Film Corporation. All Rights Reserved
"Rio". Twentieth Century Fox Film Corporation. All Rights Reserved

Picture from the Book: "The Art of Rio" by Tara Bennett

Picture from the Book: "The Art of Rio" by Tara Bennett
"Epic". Twentieth Century Fox Film Corporation. All Rights Reserved

"Epic". Twentieth Century Fox Film Corporation. All Rights Reserved

What goals do you have in your class Introduction to 3D Lighting? Who should attend the course?


Goals for the lighting class are simple.  Teach the students basic principals of lighting and color, and help them feel more comfortable when plusing their demo reels.  I think that every little bit helps when making a demo reel.  If your animation, or rig looks great, but so does the guy that is your direct competition, what gives you the higher ground? I think it is making an overall visually impressive reel.  It shows problem solving, and that you are competent in many artistic ways.  This class will help push you in that direction.

What is the most enjoyable thing about teaching online for you?


I actually like to see the growth.  It is fun watching students grow artistically but in confidence as well.  Both are important.  I also like to see different styles from so many different cultures that are in the class room.   An online class makes the world come together in a single room, and we get to experience a small piece of their culture through their art.  It is actually, fantastic.

We thank Brandon very much for taking the time in doing this piece.

AnimSchool Classtime: Overlap & Follow Through with Thom Roberts

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In this clip, Blue Sky Animator and AnimSchool Instructor Thom Roberts explains in a simple way fundamental animation principles like Overlap, Follow Through and Drag. Watch it below:

This is a clip from AnimSchool's class Introduction to 3D Animation, the 1st term of the 3D Animation Program. To find out more, go to AnimSchool.com and apply now!

AnimSchool Instructor Interview: Animator Kevan Shorey

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Today we are having a very nice conversation with Kevan Shorey, one of the instructors at our General Reviews. Kevan is an Annie-nominated Feature Film Animator at Dreamworks Animation (PDI).

Chris Bancroft made this caricature for his friend.
Tell us a little about yourself, what's your background? How did you get into animation?
It's not a particularly interesting story, I'm afraid. I grew up in Wales, and my love of movies and drawing led me to Animation. I tailored my school studies and subsequent university degrees towards learning both the craft and visual communication/film-making.

What animation style (cartoony, realistic) do you enjoy the most to create?
I enjoy the the hybrid approach. The opportunity to blend the two styles that allows for moments of sophisticated acting to contrast with the fun and energy of pushed, larger-than-life action.

What is the best experience you've had so far in a production environment?
I've only worked as an Animator as I started my career here. I really love being surrounded by talented people who push the medium forward.

In what project are you working on? What workflow are you using right now at it?
I am currently working on The Penguins movie, out later this year. It is a cartoony show using the style set by the Madagascar films. While I've recorded a few bits of reference here and there, my planning has been almost solely in 2D, using my Cintiq to draw and plan using our new software. I am finding it much quicker to plan directly in to the shot and be able to push poses with stylus strokes rather than trying to exaggerate live action reference.



Do you think that animators need to have a nomad spirit, kind of a ready to move mentality in order to get the best gigs?
Unfortunately it is the nature of the modern Animation industry to make big demands on those who make a living within it. Work/life balance and lots of moving around becomes much more impactful as you age and gain responsibilities such as older or younger dependants. I wish the industry would do a better job of catering to all types of personality, and not just the nomadic portion but this lift is forced on many.

What's been your inspiration throughout your career?
Those around me. 100%.

What is the most enjoyable thing about teaching animation online?
The sense that I am someone in their aim to improve and grow in the craft they wish to pursue. Even if my observations are merely a spring board to a new idea for an individual then it's a worthwhile endeavour.

How do you explain to a new acquaintance (not related to the industry) what is your work about?
I explain it as creating performance for digital characters. I've found it's the simplest shorthand for the layman.

Have you ever had the "I can't believe where I am working/ who I am working with" feeling?
Oh yes. It took me years to not have that feeling everything single day, but it still intimidates me from time to time.

Having worked in so many cool feature films, what goals do you have?

Just to keep doing what I'm doing, growing as an artist in the process. There's always something to be learned, and I have a long way to go, particularly in broad, comic shots and realistic physical ones.


What does it feel like when you go the the movies and see the people laugh or get emotional with one of your shots?
I don't know that I've had that for my shots specifically - more for a sequence that I worked on. It feels pretty satisfying, actually.

You wrote a great post on your blog about your experience relocating in the US coming from the UK. Being Animschool a school with a lot of international students, what's your advice for international students that want to get their foot in the animation industry?
AnimSchool is definitely a good place to start! Getting noticed is all about the reel, and the contacts made with industry professionals to get that reel in the right hands.

What's your perspective about animation made in the US vs made in Europe?
I don't know that I make any such distinction since there is so much migration of talent. There are amazing people to be found everywhere in Feature, Games, TV and lots of other places.

How important do you think it is networking in this industry?
Very much. It's a small industry and with so much movement between studios many people will know each other, or know of each other, at least.

Let's say we are in 20 years time and your kid would like to study animation, what advice would you give her/him?
While I don't know where the craft will be in 20 years, let's assume it is mostly similar to today. I would suggest a course emphasizing traditional skills then moving on to computer-based stuff to give a well rounded perspective of the craft. Oh, and drawing. Lots of drawing.

Thank you very much Kevan for sharing your time with us!
Thank you. Cheers!

Buster Keaton - Performance analysis

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In AnimSchool's Body Acting, Disney Animator Tony Bonilla analyzes work of Buster Keaton, the legend of the Silent movies era.

This is a perfect example how overacting can lead to some great and funny scenes (which are perfect for animation)




According to Wiki: "Overacting is the exaggeration of gestures and speech when acting. It is often required for the role and is commonly used in comical situations or to stress the evil characteristics of a villain."

Come join all the students learning online at AnimSchool: http://www.animschool.com



AnimSchool Graduate Spotlight: Animator Mark Tan

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We would like to welcome Mark Tan, one of our latest graduates from the 3D Animation Program.


Tell us a little about yourself, what's your background? How did you get into animation?
Mark's drawing at 5 years old.

Like many others, I grew up drawing what I saw.  I didn't just like drawing figures, but telling a story.  My very first creations I made as a kid (around 5 years old) had a scene drawn along with a story written.
Despite these early beginnings, animation never dawned on me as a profession until a counselor at college brought it up.  Once I started, animation totally took over my focus.  We experimented with 2D, paper cut out animation, as well as claymation my freshman year.  In my second year of college, we eventually were taught Maya and all the technical facets of the program.

Along with learning animation, my interest in filmmaking blossomed during college as well.  I watched thousands of films (live action and animated), read screenwriting books, and started to make shorts/music videos.
I chose animation as a profession because I believe at the core of every well told story is a strong believable performance.  Animation gives us the ability to explore the personality of any character without the hinderance of our outward appearance.




What's the best part of online education?

The best part of online education is having access to some of the most skilled in the industry today without having to travel at all.  I told myself before enrolling that if these guys can't help me improve drastically, then I'm not trying hard enough!

What do you like the most when animating?

I really enjoy shooting video reference prior to going on the computer.  There is something special about actually acting out your scene.  The possibilities seem endless.  There are also quirks and small details captured on video that can be helpful as well.  It is much easier to approach a shot when you have the majority of your movements and expressions locked down in a video edit.

What type of animation inspires you?

I can't really say I favor any type of animation, but I can mention a few scenes/shorts that inspire me.

1.  Seeing the work of Min Hong, Alaa Abu Hanish, James Kim, and many others before and during Animschool fueled my motivation to improve.

2. I will always remember the shot in Finding Nemo where Dory tells Marlin that when she looks at him, she's home.  It's amazing how much is achieved with a character that's basically a floating face with fins. 

 

3. Another scene I always enjoy watching is Presto.  The staccatto movements and upright poses of the magician purely give way to his whole personality in one shot.  There is a lot of fun animation in the whole short, but the held poses are what seem to be the funniest to me. 




4. I was really into the early works of Nick Park, Bill Plympton and Don Hertzfeldt when I started out college years ago.  I found shorts like "Creature Comforts", "How to Kiss" and "Rejected Cartoons" to be very entertaining. 

 

You've done some great shots along the way at Animschool and some of them have been featured at the Student Showcase. Which one did you like the most? How was your workflow for this shot?

I think my most successful shot came out of class 6 with Melvin Tan.  He was the most picky and pushed me the hardest on my shot from start to finish.  I chose a very challenging audio clip after hours of searching, and that was just the beginning of the journey.

I approached the video reference like I always did, but I remember Melvin had very clear and distinct decisions on what didn't work for him.  The main notes of the first reference was to make the performance more confrontational by breaking less eye contact in the beginning of the scene.  After about 50 total takes, I finally reached something close to begin animating with.



In what ways do you think Animschool has helped you to be a better animator?

Animschool's animation program structure helped me sharpen my skills from the ground up.  

In Animating Characters, two major things I picked up was the idea of lead/follow, as well as how to balance the weight of your character in space.  

In Body Acting, texture was a big focus on how to break up the flow of the dancer in the subway to add more interest.  Also, the opening up of the face for eye direction, avoiding wall eyed positions of the irises, proper spacing/smear frames, and the importance of breaking down video reference better (and enhancing the appeal in your work).

The last three classes involved more complex characters and lip sync.  I learned a lot more about polish and all the little details that really make your shot shine.  The most important thing throughout this back end of the program was that I learned what it takes to finish a good shot.  

Any advice or tip that you remember from an instructor that you've had along the way?

Lead and follow has helped me a lot.  Choosing what to lead the action to another pose always helps to break up the animation and add a more natural feel.  Though I have gone too far sometimes, this concept is always on my mind. 

Are you currently working in the animation industry? Tell us about it.

I am currently trying to get work in feature films.  My last gig was animating Ninja Turtles for promotional and commercial spots for the movie.  Some of it was recently used in a music video for a song from the movie's soundtrack.

How do you see yourself in 5 years time?

Right now I'm hoping to be making a living working in the movie industry.  I don't know what 5 years in the future holds for me, but I'm going to put my effort in one day at a time and see where that takes me.

Any hobbies, sports or other activities that you would like to share with us?

I'm into weightlifting, play basketball regularly, and occasionally play tennis.  When not sitting at a computer, I try to stay as active as possible.

Any quote to get yourself motivated?

Save nothing for the swim back.

What are your plans now that you've graduated from Animschool?

As I stated earlier, I want to gain experience in the animated film industry.  I have worked on video game cinematics, video game animation, and television.  I have recently started the job hunt.  Wish me luck! 

Mark, thank you very much for this interview and all the best for your future outside Animschool!

Watch Mark's demo reel:

Videography reel:

AnimSchool Classtime: Storyboard Critique with Moroni Taylor

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During the Summer Term, our supplemental general Art Class is Story Class with Moroni Taylor, free for all AnimSchool students! 
Moroni has storyboarded on 14 features including Iron Giant, Ice Age, Horton Hears a Who, Rio and recently Epic. 
In this clip, he goes over a Critique of a Storyboarding Assignment to one of our students, Ayman Moadad. Watch it below: 



Come join all the students learning online at AnimSchool: http://www.animschool.com

How Do I Choose the Right 3D Animation School?

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What Should I Look for in an Animation School?

In order to shoot for the top in your profession, you need to learn from the best. Look for instructors who are currently working at some of the most popular studios in the industry. From Dreamworks and Disney to Pixar and Blue Sky, make sure the level of instructors prepares you for the 3D workforce. Students should have full-time pros available that provide continuous interaction and help with problem-solving.
Are the sessions with the instructors live--not stale, out-dated recordings of past lectures?


Any fair comparison will show: from animation, modeling and rigging to drawing and art classes and additional open review sessions, AnimSchool offers many more hours of live teaching than any competing school, dollar for dollar.



What Aspects of Learning 3D Animation are Important?

There a number of animation courses out there, so look closely at what they offer. Your school should provide students with the highest quality character rigs, the best instructors in live classrooms, then the access to watch recordings of all of those classes, the chance to get multiple review sessions each week, extra classes to develop your art and drawing skills, a place to collaborate with other students, see each others' assignments and leave comments.

A 2009 study, "The Development of Professional Expertise" showed the best way to learn at the highest level is to get expert coaching. Have the student's performance evaluated so the student begins to notice the differences -- the gap between their performance and expert-level performance. The process is repeated so the student's perception matures along with their ability to follow any set of steps. To use this approach it isn't enough to just watch lectures on your own, so look for a school that can provide this steady feedback loop.

Look for an actual registered school, so they have a long-term commitment to your education, helping advise you through the program and advocate for you after graduation. A school can provide that continued support and relationship of trust, more than any loose set of workshops or standalone classes. Learning animation isn't a quick fix -- it's a long process, so you want a school that is there to assist you along the way.

Look for a dedicated support staff. People ready to answer the phone whenever you call with a problem.

The school's curriculum should give students a broad overview of the animation field, while focusing on specific skills that will qualify the students in a competitive field. You may not want a school that teaches too broad a curriculum: by the time you're done, you may be a jack-of-all-trades and master of none-- and unable to find a job.
A school that is too focused one one job only may leave you with limited options to branch out to neighboring skills. A school teaching more than one narrow job title may be a big benefit if you ever want to try a different job in 3D animation.
Or if you may want to make your own 3D animated short someday.


AnimSchool offers the best environment for aspiring students of animation-- we offer our students all of the benefits listed above. But remember that while your school provides you with opportunities and tools for success, it is up to the student to apply the teaching with many hours of focused effort, daily.

Are Drawing Skills Important for Learning 3D Animation?

Can you learn 3D animation skills even if you can't draw well? Even if you are not skilled at drawing now, look for a school that is committed to teaching the art as much as the technical skills involved in learning 3D animation.

You can apply to animation schools with limited drawing ability, but you should plan on becoming a better artist through your schooling -- and beyond! The animation world needs artists with a confident vision of what they want to create, more than technicians looking to others for artistic vision.

You could get by without drawing, since it's true that some animators, modelers, and riggers don't draw well. But developing drawing will develop your artistic ability, which increases your skill and makes you more attractive to employers.

As Pixar and Disney president Ed Catmull says, learning how to DRAW is really about learning how to SEE.

AnimSchool offers our students a free live drawing or art class most terms, and free access to all previous drawing and art class recordings -- hundreds of hours of learning.

Is Location Essential to Learning Animation?

You may look for animation colleges close to your home, or one close to the places you'd like to work someday. But did you know you can also learn right from home on the web?
Some students supplement their studies at a brick-and-mortar college at an online school like AnimSchool. They may attend at the same time as they're attending college, in between terms, or after they've graduated.

Since 3D animation is a competitive field, many find they graduate traditional college only to discover it's very hard to land that first job without the close mentorship of top animation pros.

Some students choose not to go college and go straight for the highly successful learning model available at an online animation school. Far from being disadvantaged, many of those students find they qualify for top animation jobs -- over their brick-and-mortar peers.


AnimSchool is all online--on your computer, over high-speed internet. Using the latest in web conferencing technology, students can learn the craft of 3D computer animation right from home.

Will I be Certified?

Look for a school that offers certification for their instruction. That means they have complied with all state regulations and tax laws for operating a school, follow licensing laws designed to protect students from fly-by-night classes that may be here today and gone tomorrow, and have the proper infrastructure for administering student needs. But remember, the most important qualification is not a piece of paper, but the skills you present in your portfolio!


AnimSchool provides students with a 21-month certificate program, and employers are recognizing the quality of our graduates who've earned those certificates.


Whatever choice you make, AnimSchool is here to help if you want to learn 3D animation at the highest levels.
Click here to apply to one of our programs (or take a single class).

New AnimSchool Character: Marshall

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For Immediate Release

Orem, UT  United States - September 11, 2014 -- AnimSchool is proud to present our newest character, Marshall, exclusively for AnimSchool students!

AnimSchool is the leader in appealing, flexible characters. Our students animate with the most refined, advanced characters, using the popular AnimSchool Picker.

Marshall has clothing options: shirt, jacket, pants, shoes, poseable toes, as well as fat controls and UV's for textured rendering.

AnimSchool rigs are built with each part and control being tested to extreme levels, making the strongest poses possible. You can see the range of motion and poseability students can achieve with Marshall.

AnimSchool students are using him to great effect, like this shot below from graduate Ricardo Puertas!

To use Marshall, apply to an AnimSchool program or individual class.

AnimSchool characters and the AnimSchool Picker are used by more than 20,000 users worldwide, and have been used to win numerous animation contests and for commercial needs. AnimSchool is known as the most trusted name for appealing 3D characters.

With over 200 students, AnimSchool was founded in 2010 to bring character-focused 3D animation instruction to students all around the world, through live online sessions with the best film professionals.


Contact:
Isaac Nordlund
AnimSchool
admissions@animschool.com
560 South State Street, Suite F3
Orem, UT 84058

801 765-7677


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Lecture on smear frames - Jeremy Lazare

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In AnimSchool's Body Acting, Blue Sky Animator Jeremy Lazare talks about smear frames, their advantages and disadvantages.


         


Smear frames are commonly used in animation industry. Our Instructor will point out some of the successful examples. This is just a short take from 2 hours lecture that can be available if you join Animschool.

Come join all the students learning online at AnimSchool: http://www.animschool.com

AnimSchool Interview: Milian Topsy

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We'd like to welcome Character Animator Milian Topsy. Tell us a little about yourself, what is your background? How did you get into character animation?

I discovered the animation world by visiting a small 2D Animation Studio in Paris when I was still in High School, and it was kind of a revelation! It looked so cool to work on fun projects, with passionate people. 
I entered a school in Lyon, called Emile Cohl, where I focused for 2 years on traditional animation, drawing, painting, sculpting, etc. Then I entered a new school for 3 years, Supinfocom Arles, where I specialized in CG Animation.
This allowed me to put together my love for animation with my love for technology and computers. It was also a way of not being handicapped by my “not so good” drawing skills, and really focus on pure animation. 
I've graduated 1 year ago, and I'm now working in London, trying to keep improving.

What are you currently working on?

I work at Passion Pictures, where I'm an animator on different commercials, I also do some freelance work here and there. I keep animating personal tests, in order to work, hopefully, on feature films at some point.


What is the "Croco" project about? What was your part in it?

So "My Little Croco" is the graduation short we did at Supinfocom Arles with Etienne Bagot-Caspar, Yohan Cohen, François Mancone and Maïckel Pasta. It's about a crocodile who adopts a green bean (looking like him) and will take care of it, like his own baby; it should be online soon. The production took us 9 months, and I was responsible for the main part of the animation. There were a lot of characters (crocodile, sheep, otter, monkey, fox, rabbit) and we tried to find a different way to act for each one of them. For example the sheep is an old lady, the otters were a bit dumb, the foxes crazy kids, etc. So it was really fun to play with all theses characters. We also had to animate a lot each day, so it's really great to have now the time to plan and polish my personal shots.






You have an interesting reel with some shots from the popular Nike Soccer commercial, what was your job there?

Thank you! Yes this commercial was really interesting to work on, especially straight after school! I was a junior animator on this, so it was very challenging to work amongst more experienced animators, and to receive great advices from them. I hope I'll have the opportunity to work on another project like this one soon! 




You have also worked with a cool Malcolm Mod. Who made it? What was it like to work with Malcolm?

A friend of mine did it, Maïckel Pasta (who studied at Supinfocom with me). He's an amazing artist, from drawing to CG Sculpting. He managed to create a very appealing character, and it was a real pleasure to give him life. I didn't have as much flexibility as on the genuine Malcolm (the face and the shoulders were quite different, so the rig wasn't matching exactly). It required a bit more work to find the right shapes, but nothing too dramatic. 


Malcolm is a fantastic rig, the best I've used so far! Very appealing, amazing facial rig; you can do everything you want with it! That's really great AnimSchool allows everyone to use it, and I can't wait to work with it for my next animation!
The next shot I'll be working on (still using the Malcolm Mod) it's going to be kind of a tribute to "The Incredibles" that I loved so much! And it's also a way to practice a more dynamic shot and body acting too.



Thank you very much Milian and all the best in your animation career!

Check out Milian's demo reel here:


AnimSchool Classtime: Cutting with Moroni Taylor

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During the Summer Term, our supplemental general Art Class was Story Class with Moroni Taylor, free for all AnimSchool students! 
Moroni has storyboarded on 14 features including Iron Giant, Ice Age, Horton Hears a Who, Rio and recently Epic. 
In this clip, he talks about Cutting and how to put your shots together. Cutting helps you direct your audiences attention to the information you want them to see.  Some really interesting stuff! Watch it below: 


Come join all the students learning online at AnimSchool: http://www.animschool.com

Animschool critique time - Manuel Bover

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In AnimSchool's Body Acting class, our instructor - Manuel Bover critiques early blocking of student’s work, pointing
out things to improve in later stages. In Animschool, you get these critiques once per week, and if you need additional directions - you can always head over to General and Animation critiques, offered to our students for free.

          

Students learn to take critique in a positive way, in order to prepare them for real life scenarios where their shots will get changed, edited or even discarded. Students are also encouraged to critique each other, which helps them advance in their animation skills. 

AnimSchool Video Interview: Animation Student Allen Ostergar

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In this opportunity, we had the pleasure to have a Video Interview with one of our students, Allen Ostergar.

Allen is an Animation Student who has just finished an Internship at BlueSky Studios. He talks about what made him choose an online school like AnimSchool, his inspirations and some other activities he's been doing besides animation!

He shares with us his Internship Reel and some cool stuff he has learned during his time at BSS, so you won't want to miss it!



Watch it here:


Allen's Demo Reel:




AnimSchool Gaming Interview: Carbine Studios Cinematics Lead Seth Kendall

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AnimSchool Gaming Instructor Jarrod Showers interviews Carbine Studios Cinematics Lead Seth Kendall.

Seth tell us about his career journey at Carbine, working on the MMO game Wildstar!
http://wildstar-online.com/en/

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