Distributor GKIDS has set Friday, December 19, as the North American release date for the Irish hand-drawn feature Song of the Sea. The film will open on the 19th at the IFC Theater in New York and the TIFF Bell Lightbox Theater in Toronto, before expanding to Los Angeles and other major markets throughout the holidays. (x)
South Korea’s Studio MIR, responsible for the animation in The Legend of Korra and the fourth season of The Boondocks, has signed a major deal with DreamWorks Animation to produce four animated series over four years. Each 2D animated series will consist of 78 episodes, Variety reports.
Chuck Jones’s original model sheet, graphite and colored pencil on paper glued to a 12 field sheet of animation paper, for Wile E. Coyote and the Road Runner, circa 1945. Their premier was in his 1949 short cartoon, “Fast and Furry-ous.”
Speaking of Wile E. Coyote. You do know that he’s in a competition to be chosen as the one thing that says, “Smithsonian” out of all of the items currently in Smithsonian exhibitions, don’t you? Today’s the last day of voting for round one and Wile E. is very close to being moved to the second round — your vote might be the one to do it! Click here to vote! You’ll find him in the “Culture” section.
Hey Tumblr! I’m Alex Hirsch, creator of the animated TV series Gravity Falls. For ages now I have lurked in anonymity, hiding in the shadows of the internet, watching as you’ve GIF’ed our jokes and shipped our characters and done unspeakable things to my dear Pines Twins. You…you’ve got some issues Tumblr. We’re all worried about you.
Pressing on! I have decided to finally emerge from beyond the fourth wall to share with you that I myself have a shameful secret. That secret is that despite my success as a cartoon show creator, I can barely hold a pencil. My understanding of the word “anatomy” just means adding abs to everything. I once mistook a kneaded eraser for a piece of gum and chewed on it until someone told me to stop. The point is, without a team of incredible layout artists, background painters, character designers, prop designers, storyboard artists and colorists, Gravity Falls would look like this:
Thats why I’ve created Gravi-Team falls, a place where we will be uploading artwork, cut scenes, and other strange goodies from the amazing crew that brings this show to life. I’m inspired every day by these amazing geniuses, and now I want to pass that inspiration on to you. If you like Gravity Falls, amazing art, and procrastinating, than this is the Tumblr you’ve been Tumbling for! Ladies and Gentlemen…GRAVI-TEAM FALLS!
All opinions, rants, swears and typos do not represent the opinions of the Disney Company or any of the individual Jonas Brothers.
Drawing from films is a ridiculously useful exercise. It’s not enough to watch films; it’s not enough to look at someone else’s drawings from films. If you want to be in story, there’s no excuse for not doing this.
The way this works: you draw tons of tiny little panels, tiny enough that you won’t be tempted to fuss about drawing details. You put on a movie - I recommend Raiders, E.T., or Jaws… but honestly if there’s some other movie you love enough to freeze frame the shit out of, do what works for you. It’s good to do this with a movie you already know by heart.
Hit play. Every time there’s a cut, you hit pause, draw the frame, and hit play til it cuts again. If there’s a pan or camera move, draw the first and last frames.
Note on movies: Spielberg is great for this because he’s both evocative and efficient. Michael Bay is good at what he does, but part of what he does is cut so often that you will be sorry you picked his movie to draw from. Haneke is magnificent at what he does, but cuts so little that you will wind up with three drawings of a chair. Peter Jackson… he’s great, but not efficient. If you love a Spielberg movie enough to spend a month with it, do yourself a favor and use Spielberg.
What to look for:
Foreground, middle ground, background: where is the character? What is the point of the shot? What is it showing? What’s being used as a framing device? How does that help tie this shot into the geography of the scene? Is the background flat, or a location that lends itself to depth?
Composition: How is the frame divided? What takes up most of the space? How are the angles and lines in the shot leading your eye?
Reusing setups, economy: Does the film keep coming back to the same shot? The way liveaction works, that means they set up the camera and filmed one long take from that angle. Sometimes this includes a camera move, recomposing one long take into what look like separate shots. If you pay attention, you can catch them.
Camera position, angle, height: Is the camera fixed at shoulder height? Eye height? Sitting on the floor? Angled up? Down? Is it shooting straight on towards a wall, or at an angle? Does it favor the floor or the ceiling?
Lenses: wide-angle lens or long lens? Basic rule of thumb: If the character is large in frame and you can still see plenty of their surroundings, the lens is wide and the character is very close to camera. If the character’s surroundings seem to dwarf them, the lens is long (zoomed in).
Lighting: Notice it, but don’t draw it. What in the scene is lit? How is this directing your eye? How many lights? Do they make sense in the scene, or do they just FEEL right?
This seems like a lot to keep in mind, and honestly, don’t worry about any of that. Draw 100 thumbnails at a time, pat yourself on the back, and you will start to notice these things as you go.
Don’t worry about the drawings, either. You can see from my drawings that these aren’t for show. They’re notes to yourself. They’re strictly for learning.
Now get out there and do a set! Tweet me at @lawnrocket and I’ll give you extra backpats for actually following through on it. Just be aware - your friends will look at you super weird when you start going off about how that one shot in Raiders was a pickup - it HAD to be - because it doesn’t make sense except for to string these other two shots together…
“The Governors Awards allow us to reflect upon not the year in film, but the achievements of a lifetime,” said Academy President Cheryl Boone Isaacs. “We’re absolutely thrilled to honor these outstanding members of our global filmmaking community and look forward to celebrating with them in November.”
Miyazaki is an artist, writer, director, producer and three-time Oscar nominee in the Animated Feature Film category, winning in 2002 for Spirited Away. His other nominations were for Howl’s Moving Castle in 2005 and The Wind Rises last year. Miyazaki gained an enormous following in his native Japan for such features as Nausicaä of the Valley of the Wind, Laputa: Castle in the Sky, My Neighbor Totoro and Kiki’s Delivery Service before breaking out internationally in the late 1990s with Princess Mononoke. He is the co-founder of Studio Ghibli, a renowned animation studio based in Tokyo.