Asides

Thoughts on This Labor Day

Animation /

Via: The Atlantic

So today is Labour Day here in the States which basically is a day off in honour of the working man. As a working man myself, I sure do appreciate it. However, it would seem that the symbolism is much more than that, with a heavy attachment to labour unions mentioned juts about everywhere.

Digging up a post by Richard O’Connor from a while ago in my mind, I was reminded of this quote from a 1945 issue of The Top Cel, the union newsletter for those on the east coast:

Why A Union


Fundamentally, a union is simply a device for raising the individual employee to a somewhat more comparable bargaining level in relation to his economically superior employer.

Can we visualize any single employee to a somewhat more comparable bargaining level in relation to his economically superior employer.

Can we visualize any single employee, without a union, striding boldly into Mr. Terry’s or Mr. Buchwald’s office, for example, and demanding an increase in pay from $15 to $26?

But, those same individual employees, when standing together as a union, can get all of those things and more, as we did thru our union last year and can continue to do in the future if we broaden our understanding of the immense power we have as a union and learn to use it.

It is somewhat unfortunate that such a disparity existed (and still exists today) between management and employees. Each is mutually beneficial to the other and it makes no sense to have one lord it over the other.

A co-worker of mine put it best however:

If a company treats its workers right then there’s no need for a union.

He’s right too. Studios should realise that they can gain much from treating workers with the respect they deserve. Some of the stories relayed over on The Animation Guild’s blog make for sorry reading about the state of management in some studios.

Just a few thoughts for the day that’s in it.

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John B. Knutson Presents A Series of Posts You Should Probably Pay Attention To

Animation /

Over at the Random Acts of Geekery blog, John B. Knutson has just begun a series of posts that are definitely worth your while following even if you are familiar with the subject matter.

The challenge he has set himself? Well it’s quite simple really, he going to track down and blog about every single film mentioned in Leonard Maltin’s seminal tome,‘Of Mice and Magic’.

He’s started with J. Stewart Blackton and early Windsor MacCay so now’s your chance to get in on the ground floor.

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11 More Animation Blogs That Everyone Ought to Read

10 Comments / Animation, Link, List /

Dave Levy recently posted a list of the animation websites he reads on a daily basis (and his blog should most definitely be in your bookmarks already). Seeing as he is a man of good taste, there is no need to amend his list. Indeed, you should check it out to make sure you are reading the same websites he does.

So, as an addition to those, here are 11 more that any self-respecting animation fan would readily admit to reading on a daily basis.

1. Cartoon Brew

Industry standard-bearer and the home page of anyone who is anyone in animation. Guaranteed to either raise a smile or your ire, Jerry beck and Amid Amidi offer up a continuous stream of animated goodies. From the latest TV series to the weirdest merchandise known to man, no animation website is more respected.

2. TAG Blog

The Animation Guild Local 839 is your one stop shop for all the labour news and views from the Golden Coast. Dishing out equal amounts of industry headlines and labour items of note. The TAG blog is a must for current affairs relating to working in the animation business. Sometimes trite, it is nonetheless peppered with commentary from workers and sage advice from union heads.

3. Chuck Redux

The website for all things Chuck Jones. Run by his grandson Craig Causen, Chuck Redux features everything from Oscar’s worldwide travels to the creations from the mind of the man himself. I wrote about it a while back and if you are in any doubt as to why you should read it, look no further than here.

4. John K.

The one and only John Kricfalusi. As if you needed a reason to read his blog, where he discusses techniques, characters and animation in general. Always controversial but guaranteed to advance your knowledge of this fantastic artform.

5. Mr. Fun

Floyd Norman remember Disney when it was run by Disney and then some. Every day he posts his thoughts on working then and now, sometimes throwing in a witty cartoon for good measure. Looking for insights on what it was like to work way back when? Floyd’s is the only website you need.

6. Brian Sibley

Writer and broadcaster from the UK, Brian has not one, but at least three blogs that are worthy of reading. Purveyor of tidbits that are absolutely not to be found anywhere else on the web, Brian’s blogs are a must read. Heck if Michael Sporn recommends them, you know they’re among the best to be found.

7. Deja View

Andreas Deja, famed animator with a sense of humour, recently started his blog. The guy’s one of the best animators about, so expect plenty of technique analysis from the Nine Old Men and more. What more can I say, I look forward to every post.

8. Disney History

If you’re looking for various bits and bobs from the history of Disney, look no further than Didier Ghez’s blog, self-described as:“Interesting discoveries about Disney history, vintage Disneyana, Disney artwork, the Walt’s People book series, and new books about Disney.” Do you need any more reasons to visit? I think not!

9. Joe Murray

Creator of Rocko’s Modern Life and Camp Lazlo, Joe Murray has been around the circuit more than once, and he’s learned a thing or two in the process. On his blog, he offers updates on his studio, news on KaboingTV, anecdotes from the past and advice on how to make it in a fiercely competitive industry. One that should absolutely not be overlooked.

10. Nina Paley

Independent animator, free thinker and open-culture advocate, Nina Palely uses her blog to document the latest in her working life, spread thoughts on free and open culture and to advocate changes in the way the entertainment industry works.

11. Yowp

Do you even remotely like old Hanna-Barbera stuff? Good, Yowp has you covered for just about anything and everything to do with early Hanna-Barbera. From the animators to the writers to contemporary media coverage, this blog has it all.

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British Cartoons From the 80s that Americans Sadly Missed

10 Comments / Animation /

I suppose it’s a sign that I can safely say I remember a time when there wasn’t 24 hour cartoon channels. Yes, I am a child of the 1980s, and I have very fond memories of not only watching cartoons, but waiting for cartoons to come on.

Anyway, here’s a couple of my favourites that I don’t believe made the transition across the Atlantic, which is a shame. However, thanks to the wonder of YoutTube, you can (well, at least the openings anyway). Enjoy!

Count Duckula (which rocks a very thriller-esque theme)

Bonus! The end sequence, which in all likelihood has yet to be bettered in terms of effort.

Danger Mouse

http://www.youtube.com/watch?v=Nf8bInp52sE

Bananaman

http://www.youtube.com/watch?v=Hq2KXudEjkI

The Family Ness

Raggy Dolls

Superted

Thomas the Tank Engine

And my very favourite, Postman Pat

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Using Neuromarketing for Animation: Good or Bad?

Animation /

 Via: Fast Company

The other night, we watched the Morgan Spurlock documentary POM Wonderful Presents The Greatest Movie Ever Sold. It was an entertaining enough look at how products get into films and how studios use them to help pay for and promote them.

Interestingly enough, there was no explicit mention of animation. Not to say that it doesn’t go on of course. Pretty much every animated film contains promotion to some extent. Yes, the film itself is a form of ‘promotion’, it being the vehicle that drives all the ancillary sales of merchandise and DVDs. Need proof, look no further than the final Harry Potter film. It contains no advertising whatsoever apart from on, the Harry Potter itself.

However, one aspect of the films that I found most intriguing/disturbing, is the whole idea of neuromarketing. In the film, Spurlock is basically shoved into an MRI and shown images of products. During the analysis afterwards, he is shown how his brain reacted when shown an advert for Coca-Cola: it released hormones that indicated he wanted the Coke.

As scary as that may sound, its been known about for years. What is not so well known, is that movie studios use it to perfect their product before releasing it. In the course of the documentary, we see Spurlock having a look at the schedule for the day of the neuroanalysis firm he visited. The film right before his: Toy Story 3.

Now you might say to yourself “But Charles, Toy Story 3 had an emotional story to begin with!” Well, yes, it does. However keep in mind that even stories can be analysed to make sure they extract the right emotions from the audience. Fast Company discussed the practice back in February when they took a look at the rise of “neurocinema” and how it is likely to affect future films.

Animation is not immune as this quote regarding Rango from Steve Sands, head of neuroanalysis firm Sands Research demonstrates:

Often animation can be more engaging for the brain than real actors. Look at the strong response to Avatar,

And check out the image below that shows brain activity while watching the trailer for Rango.

 Via: Fast Company

The downside to all of this? Well for one, now you know that the opening montage in UP was nothing more than a tightly crafted, artificial play on your emotions. There was no need for skill in the writer’s room because the data told them exactly what they needed to do in order for you to well up. Michael Barrier hits it right on the head when he calls it “emotional manipulation” because that’s exactly what it is. The images flashing before you were specifically and intentionally made to engage your emotions. You just can’t help it!

Now, you could argue that that is the case with any such scene in any movie. Films are supposed to engage emotions after all, that’s why you watch them. However, Mike nails it again when he compares UP to Dumbo (emphasis mine):

The difference between, say, the opening sequence in Up and Dumbo’s reunion with his mother can be summed up in one word, the old Disney shibboleth “sincerity”.

Why rely on your own or your team’s judgement when you can just do a neuroanalysis and have the data tell you exactly what you need to do. That’s not filmmaking, it’s sheer laziness and insincere because the emotions are not meant, they’re demanded. Major studios would rather have it that way though, because if you’re going to cough up $300 million on film, it had better perform as expected, and the data never lies*.

Will this result in better films? Meh. However I would much rather see a film that allowed me to control my own emotions rather than having them dictated to me. It’s practically cheating with your film and nobody likes a cheat.

*Garbage In Garbage Out applies but it’s safe to say that the marketing firm knows what it’s doing.

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Hispanically Speaking News: Guillermo del Toro Remaking The Disney Classics

Animation, Disney /

The first sentence says it all:

Del Toro is remaking “Haunted Mansion,” “Pinocchio” and “Beauty and the Beast”.

I for one, will be stopping my commentary here. There’s a hurricane approaching and no beer in the house. So having news like this on my mind is not the best way to start my Saturday.

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An Animator’s Open Letter to Andy Serkis

Animation /

 Via: Collider

Andy Serkis has become the public face of motion-capture technology and one of its biggest proponents. However, it seems that he also believe that a motion-capture performance is worthy of an Academy Award for acting.

Animator Tim Borrelli took issue with this and has crafted an open letter in response where he outlines why, if motion-capture is considered an “act”, then animators must also be considered “actors”.

It’s a very well written letter that does outline the fallacy of suggestion that motion-capture is really acting. Serkis’ stance is actually quite surprising, given the recent push to have motion-capture considered as animation. Thankfully, that campaign was rejected by the Academy, leaving motion-capture to inhabit a wasteland between live-action and animation.

Borrelli really does hit the nail on the head with this statement though:

Animators, both hand-keyed and motion capture artists, breathe life into their characters. They push performances of their characters to an artistic limit, based on the direction they are given

He’s absolutely right, and that fact has been gnawing away at animators for years (even decades) because they are never recognised as being actors, even though they produce an acted “performance” (one frame at a time).

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