The rise in popularity in using technology for animation has brought about a subsequent explosion in creative output. For decades, animation was the preserve of a few who had the right resources and location to do it. That’s all changed though, and while today anyone can create, produce, and distribute animated content, many offer only excuses as to why they’re efforts do not produce results.
Although the company hasn’t got as far as MTV when they chopped-off the ‘Music Television’ part of their identity, YouTube is nonetheless following them down the same beaten path. Anyone can still post content for free of course, but it is everything that surrounds that tenant of the service that has changed, and not necessarily for the better.
Nickelodeon is launching an OTT service. Yes, basically it’s like Netflix, but just for Nickelodeon shows. That should be an awesome announcement, right? Well, in theory, yes, it should. However the reality is different. Nickelodeon is a major producer of animation in the US, and by launching an OTT service, it endangers the future of the artform.
After a break for the holidays, the podcast returns! This month I chat with animator J.K. Riki who also runs Animator Island.
We touch on a wide range of topics including but not limited to, why people become passionate about animation, is CGI quality an issue in features, and did the Lion King ruin 2D theatrical animation.
As ever, leave a comment below or send me an email to offer any feedback you have. Apologies for the muffled sound; Verizon DSL does not tolerate cold weather very well.
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Everyone can create, but should everyone create? Plenty of great ideas never get off the drawing board, and seemingly terrible ones manage to make it all the way to YouTube. Everybody is different of course, but before they even start creating, here’s six questions every creator needs to ask of themselves.
One of the perennial struggles that I seem to have when it comes to feature films is that they often lose my interest well before the climax, or even the third act. The only difference that truly defines films are their length; everything else is relative, and animated films are no exception. However, there’s a simple trick to making a really great film, and all it involves, is listening to a song. Continue reading “Why Any Great Film Will Imitate This Song”
The year that was 2014 was a great one in many ways for animation in all forms, and yet for all the successes, there were still a few concerns. Here’s some personal thoughts on the year that was, and a few more on the year ahead.
Merchandise has become an ever more important part of the making-money-from-animation pie. Services such as Redbubble, Society6 and Etsy have exploded the number of options available to creators and producers alike looking to profit from their wares. That being said, a good old fashioned auction is still a powerful draw for fans.
After some time in development, I’m proud to announce that today marks the beginning of monthly podcasts here on the Animation Anomaly blog.
This month, my guest is accomplished world-travelling animator Rusty Gray. Currently based in Vancouver, Rusty has studied at Full Sail university and Animation Mentor. He has also launched a website of his own (RustyAnimator.com) that provides plenty of tips and advice to aspiring students and animators.
Although the focus is on education within the animation industry, we discuss a wide range of topics surrounding it from what skills degrees actually provide, to where the future of animation education lies.
Some relevant links from the discussion:
- SAS: The Crisis in Animation Studies
- Michael Bay is the smartest man in movies
- Math in Pixar video
- The Animation Pimpcast with Tom Warburton
- The Modifyers pilot
I’m a bit jittery in this first episode so feel free to provide some feedback either in the comment form below, or via email to charles [at] animationanomaly [dot] com.
The theme music is ‘Big Band Swing (Messin’)’ by Simon Wallace
If we’re being honest, even I wouldn’t have believed that headline if it was written even six months ago. Clearly being only vaguely aware of who Hatsune Miku is wasn’t enough and it took a proper introduction before I ‘got’ her. Of course there’s a lot of appeal to the character of Miku herself, and that forms the basis for many young fans’ devotion. That’s not what makes her appealing to me though; it’s the concept and execution of the character’s role, and what she represents from a business standpoint. To put it simply: she’s the future.
Cartoon Network was the original home for the vast library of Hanna-Barbera and MGM cartoons that Ted Turner had at his disposal. It soon outgrew that purpose as original content began to be broadcast on the channel and eventually banishing them altogether to a new network: Boomerang. To say they languished there is an understatement, but Turner’s attempt to make amends comes too little, too late.