Per your requests, we now have the Disney Talk in an mp3 format!We hope you can distinguish who is talking and
without the visuals and this provides a much smaller file.
Disney Talk, mp3 format (50 meg)
Original Video of Disney Talk (100 meg)
Here is the text from the handout we gave to the attendees:
Fleas on The Shoulders of Giants
Thinking Animation Panel and Book Signing
Tuesday, September 26, 2006
12-1:00 pm
Disney Feature Animation
without the visuals and this provides a much smaller file.
Disney Talk, mp3 format (50 meg)
Original Video of Disney Talk (100 meg)
Here is the text from the handout we gave to the attendees:
Fleas on The Shoulders of Giants
Thinking Animation Panel and Book Signing
Tuesday, September 26, 2006
12-1:00 pm
Disney Feature Animation
This panel seeks to demystify, debunk, and drive the dialogue about the future of 2D and CG character animation. It is motivated by the sea change that is currently affecting our industry. The introduction of the computer has changed an art form that had been, until now, a pen and paper medium for upward of 80 years. Today, traditional animators and artists are giving up their fear of the machine and embracing CG in droves. The art of classical film animation has been ever-evolving since its early days. Artists and the studios have strived to raise the bar visually through storytelling since the first crude attempts at putting moving images on the screen.
We are talking about classical animation and its evolution into computer-generated feature films—think Steamboat Willie and its progression to The Incredibles. It is important to recognize trends in filmmaking, storytelling, and technology for an animator to increase his or her chances of continued employment. Trends and history reveal how evolution of an art form occurs. Paying close attention to the trends and growth of any field helps predict the future of that industry. Three major shifts are responsible for the progression from pencil to mouse in feature animation: aesthetic, audience, and storytelling.
Looking at the interesting turn of events in animation, many questions come to mind. What makes for a smooth transition? What has helped those who have made the jump? How much of the 2D art form is applicable to the digital realm? What have we gained and lost in the rise of CG? What is the impact of more 2D animators entering the CG industry? Without drawing as a craft threshold, is there room for a new set of animation heroes in CG with a signature style like, say, Ward Kimball’s (of Disney’s Nine Old Men fame)? This is a relatively new art in the broader sense of the word, and we are all learning as we go because we are but fleas on the shoulders of giants.
Organizers/Moderators
Tenny Chonin
Walt Disney Feature Animation
Hanna Hurme
Book Soup Sales
Angie Jones
Digital Domain
Angie Jones began her animation career at a San Diego studio with more than 150 traditional animators 12 years ago called Lightspan. Although she was trained at Atlanta College of Art in Fine Arts, she readily embraced animating with the computer. She has worked on numerous productions, including Stuart Little 2, Disney’s 50th Anniversary commercials, Oddworld: Abe’s Exodus, Garfield, Dino Crises 3, Pan's Labyrinth, Zoom, Scooby Doo Too, XMen 2, and National Treasure. You can find out more about Angie here - Spicy Cricket Animation.
Jamie Oliff
Reel FX
Jamie Oliff was trained in classical animation at Sheridan College of Art and Design and has worked in the animation industry for more than 20 years. An award-winning director and long time feature film animator, his credits include the first season of The Ren and Stimpy Show, and many feature length animated pictures such as Hunchback of Notre Dame, Mulan, Hercules, The Emperor’s New Groove, and CG animation on titles ranging from Kangaroo Jack to Scooby Doo Too and National Treasure. He lives in Burbank, CA. with his wife and two children and a biplane project that he never finds enough time to finish.
Panelists
Richard Taylor
Electronic Arts
Richard Taylor has an extensive background in live-action direction, production design, special effects, and computer-generated images for theatrical films, television commercials, and computer games. He began his career as an artist and holds a BFA in painting and drawing from the University of Utah. In 1971 Richard received The Cole Porter Fellowship to USC graduate school, where he earned his Master’s degree in photography and printmaking. In the past 30 years, Richard has lent his talent to a number of companies, resulting in many award-winning commercial spots and seven Clio awards, along with two Hugo awards and two Mobius awards. Richard was a member of the team at Magi, whose commercial for Atari’s Worm War I was the first to win a Clio for computer animation. His other commercial work includes spots for companies such as Ford, RCA, Kellogg’s, Reebok, McDonald’s, UPS, Honda, Toyota, Bud Light, Intel, Norwegian Cruise Lines, Census 2000, Warner Bros., Disney, Duracell, and 7-Up, for whom he launched the internationally acclaimed “Spot” campaign. Richard’s years in the industry have provided him with a wide array of opportunities in addition to commercial work. He has done everything from directing promotional films for major networks, to designing, supervising, and directing special effects and computer-generated images. Richard has worked in various capacities on features such as Tron, Star Trek: The Motion Picture, Looker, Something Wicked This Way Comes, and Where the Wild Things Are. Presently Richard is cinematics director at Electronic Arts Los Angeles. Over the last four years he has designed and directed cinematics for such games as Top Spin, Links 2004, Lord of the Rings: The Battle for Middle Earth 1 and II, and Command and Conquer 3.
Jerry Beck
Cartoon Brew
Jerry Beck has become one of the most knowledgeable and well-rounded animation historians ever known. His dreams of becoming a cartoonist rooted from his early childhood with cartoons such as Yogi Bear and Huckleberry Hound. Despite the fact that animators were not in demand by the time he graduated from high school, he still found a career in the field that he loved as an animation scholar. Working as an associate alongside Leonard Maltin, an experienced animation researcher, they published Maltin̢۪s book, Of Mice and Magic: A History of American Animated Cartoons in 1980. From then on, Beck would take part in various cartoon research projects, both solo and with partners such as Will Friedwald. Many of his findings on the subject are in the form of books such as The 50 Greatest Cartoons and Warner Bros. Animation Art, but he has also created television specials and has even taught several college courses on the history of cartoons, as well. In addition to being an animation historian, he is also an animation producer, and has been, and is working on creating cartoons.
Floyd Norman
Disney Publishing Group
Floyd Norman began his cartooning career while still in high school assisting Bill Woggon on the Katy Keene series for Archie Comics. He attended Art Center College of Design as an Illustrator major. Floyd started working as an animation artist for the Walt Disney studio on Sleeping Beauty and eventually graduated to the story department where he did story sketch on The Jungle Book. This was the last film Walt Disney personally supervised. Floyd wrote and produced animated segments for Sesame Street, Villa Alegre, and dozens of educational films. Also, Floyd supervised animation layout at Hanna-Barbera Productions and storyboarded several shows including The Flintstones, Smurfs, and Scooby Doo. He wrote scripts for The Quicky Koala Show, The Real Ghostbusters, and Monster Tales. Floyd returned to Disney in the early eighties to join the Disney Publishing Group. He wrote the syndicated Mickey Mouse comic strip and contributed stories for Disney Comics. As Project Supervisor in Creative Development Publishing, Floyd created, wrote and designed several children's books. After a ten year absence from film, Floyd returned to his roots doing story work on several feature length Disney animated films, Hunchback, Mulan, Tigger Movie, Dinosaur, and Toy Story 2. Intrigued by the new digital realm and interactive computer media, Floyd helped develop computer software for painting and animation. After a long and varied career, Floyd enters a new millennium more excited than ever about the possibilities of a new media. Now Floyd works with his previous associates adding his special blend of wit and whimsy to the Afro-Kids.com website.
We are talking about classical animation and its evolution into computer-generated feature films—think Steamboat Willie and its progression to The Incredibles. It is important to recognize trends in filmmaking, storytelling, and technology for an animator to increase his or her chances of continued employment. Trends and history reveal how evolution of an art form occurs. Paying close attention to the trends and growth of any field helps predict the future of that industry. Three major shifts are responsible for the progression from pencil to mouse in feature animation: aesthetic, audience, and storytelling.
Looking at the interesting turn of events in animation, many questions come to mind. What makes for a smooth transition? What has helped those who have made the jump? How much of the 2D art form is applicable to the digital realm? What have we gained and lost in the rise of CG? What is the impact of more 2D animators entering the CG industry? Without drawing as a craft threshold, is there room for a new set of animation heroes in CG with a signature style like, say, Ward Kimball’s (of Disney’s Nine Old Men fame)? This is a relatively new art in the broader sense of the word, and we are all learning as we go because we are but fleas on the shoulders of giants.
Organizers/Moderators
Tenny Chonin
Walt Disney Feature Animation
Hanna Hurme
Book Soup Sales
Angie Jones
Digital Domain
Angie Jones began her animation career at a San Diego studio with more than 150 traditional animators 12 years ago called Lightspan. Although she was trained at Atlanta College of Art in Fine Arts, she readily embraced animating with the computer. She has worked on numerous productions, including Stuart Little 2, Disney’s 50th Anniversary commercials, Oddworld: Abe’s Exodus, Garfield, Dino Crises 3, Pan's Labyrinth, Zoom, Scooby Doo Too, XMen 2, and National Treasure. You can find out more about Angie here - Spicy Cricket Animation.
Jamie Oliff
Reel FX
Jamie Oliff was trained in classical animation at Sheridan College of Art and Design and has worked in the animation industry for more than 20 years. An award-winning director and long time feature film animator, his credits include the first season of The Ren and Stimpy Show, and many feature length animated pictures such as Hunchback of Notre Dame, Mulan, Hercules, The Emperor’s New Groove, and CG animation on titles ranging from Kangaroo Jack to Scooby Doo Too and National Treasure. He lives in Burbank, CA. with his wife and two children and a biplane project that he never finds enough time to finish.
Panelists
Richard Taylor
Electronic Arts
Richard Taylor has an extensive background in live-action direction, production design, special effects, and computer-generated images for theatrical films, television commercials, and computer games. He began his career as an artist and holds a BFA in painting and drawing from the University of Utah. In 1971 Richard received The Cole Porter Fellowship to USC graduate school, where he earned his Master’s degree in photography and printmaking. In the past 30 years, Richard has lent his talent to a number of companies, resulting in many award-winning commercial spots and seven Clio awards, along with two Hugo awards and two Mobius awards. Richard was a member of the team at Magi, whose commercial for Atari’s Worm War I was the first to win a Clio for computer animation. His other commercial work includes spots for companies such as Ford, RCA, Kellogg’s, Reebok, McDonald’s, UPS, Honda, Toyota, Bud Light, Intel, Norwegian Cruise Lines, Census 2000, Warner Bros., Disney, Duracell, and 7-Up, for whom he launched the internationally acclaimed “Spot” campaign. Richard’s years in the industry have provided him with a wide array of opportunities in addition to commercial work. He has done everything from directing promotional films for major networks, to designing, supervising, and directing special effects and computer-generated images. Richard has worked in various capacities on features such as Tron, Star Trek: The Motion Picture, Looker, Something Wicked This Way Comes, and Where the Wild Things Are. Presently Richard is cinematics director at Electronic Arts Los Angeles. Over the last four years he has designed and directed cinematics for such games as Top Spin, Links 2004, Lord of the Rings: The Battle for Middle Earth 1 and II, and Command and Conquer 3.
Jerry Beck
Cartoon Brew
Jerry Beck has become one of the most knowledgeable and well-rounded animation historians ever known. His dreams of becoming a cartoonist rooted from his early childhood with cartoons such as Yogi Bear and Huckleberry Hound. Despite the fact that animators were not in demand by the time he graduated from high school, he still found a career in the field that he loved as an animation scholar. Working as an associate alongside Leonard Maltin, an experienced animation researcher, they published Maltin̢۪s book, Of Mice and Magic: A History of American Animated Cartoons in 1980. From then on, Beck would take part in various cartoon research projects, both solo and with partners such as Will Friedwald. Many of his findings on the subject are in the form of books such as The 50 Greatest Cartoons and Warner Bros. Animation Art, but he has also created television specials and has even taught several college courses on the history of cartoons, as well. In addition to being an animation historian, he is also an animation producer, and has been, and is working on creating cartoons.
Floyd Norman
Disney Publishing Group
Floyd Norman began his cartooning career while still in high school assisting Bill Woggon on the Katy Keene series for Archie Comics. He attended Art Center College of Design as an Illustrator major. Floyd started working as an animation artist for the Walt Disney studio on Sleeping Beauty and eventually graduated to the story department where he did story sketch on The Jungle Book. This was the last film Walt Disney personally supervised. Floyd wrote and produced animated segments for Sesame Street, Villa Alegre, and dozens of educational films. Also, Floyd supervised animation layout at Hanna-Barbera Productions and storyboarded several shows including The Flintstones, Smurfs, and Scooby Doo. He wrote scripts for The Quicky Koala Show, The Real Ghostbusters, and Monster Tales. Floyd returned to Disney in the early eighties to join the Disney Publishing Group. He wrote the syndicated Mickey Mouse comic strip and contributed stories for Disney Comics. As Project Supervisor in Creative Development Publishing, Floyd created, wrote and designed several children's books. After a ten year absence from film, Floyd returned to his roots doing story work on several feature length Disney animated films, Hunchback, Mulan, Tigger Movie, Dinosaur, and Toy Story 2. Intrigued by the new digital realm and interactive computer media, Floyd helped develop computer software for painting and animation. After a long and varied career, Floyd enters a new millennium more excited than ever about the possibilities of a new media. Now Floyd works with his previous associates adding his special blend of wit and whimsy to the Afro-Kids.com website.
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