@maxr David OReilly, great stuff! LOL:)

http://en.wikipedia.org/wiki/Frozen_(2013_film)

 
Manly • 2014
 

 
Credits

Created By: Jesse and M. Justin Moynihan
Written By: Jesse Moynihan and M. Justin Moynihan
Directed By: Jesse and M. Justin Moynihan

Storyboard By: Jesse Moynihan
Timing Supervisor: Larry Huber
Sheet Timing: Emory Ron Myrick
Character Designers: Jesse Moynihan, Danny Hynes, Thomas Herpich, Jojo Baptista
Prop/Efx Designers: Michelle Xin, Jojo Baptista

Background Design: Robert Sato, Jesse Moynihan
Background Painter: James Stokoe
Color Stylist: James Stokoe
Storyboard Revisions: Luke Weber
Manly Hud Design and Animation: Mike Perzigian
Fractal Planet Design and Animation: Jacky Ke Jiang

Executive Producer: Fred Seibert
Producer: Kevin Kolde, Eric Homan
Co Producer: Jesse Moynihan, M. Justin Moynihan
Production Manager: Sylvia Edwards
Production Coordinators: Stephen Worth, Dana Jo Granger
Casting Director: Meredith Layne, Csa
Editor: Andy Tauke
Animatic Editor: M. Justin Moynihan
Compositing: Nicole Torres

Cast
Manly - Jill Bartlett
Nimbus - Joey Richter
Ahriman - Steve Agee
Skinny Ripped - Roger Craig Smith
Eyes-No-Eyes - Roger Craig Smith
"Zealots" - Joey Richter, Roger Craig Smith, Steve Agee"

Voice Director: Meredith Layne
Dialogue Recording: Salami Studios Post Production
Post Production: Sound Design And Editorial
Sound Design and Editorial: Paul Menichini
Foley Mixer: Roberto Dominguez Alegria
Foley Artist: Cynthia Merrill
Dialogue Conform: Mark Mercado
Re-Recording Mixer: Thomas J. Maydeck C.A.S

Score By: Jesse Moynihan, M. Justin Moynihan And Alex Tyson

Animation Checking: Wendy Jacobsmeyer

Track Reading: Slightly-Off Track Inc.
Animation Services: Dongwoo A&E Co., Ltd

Animation Director: Ki-Ho Hwang
Layout Artists: Jae-Ok Lee, Sung-Kyu Kim, Hyun-Duk Hong

Model Checker: Mi-Young Hwang

Assistant Animation Supervisors: Jung-Sil Kang

Key Animation: Hyun-Seok Seo, Seung-Ki Cho, Suk-Ki Nam, Jong-Pil Won, Dong-Kwon Park

Final Checker: Jin Namkung
Background Director: Yoon-Ho Lee
Color Stylist: Oak-Ja Yu
Composition: Tae-Hee Heo, Dong-Pil Ku, Hye-Won Lee

Production Staff: Shinwan Kim, Young-Wun Park, Hoon-Jae Lee

@maxr @BurnetRhoades @jleo - wow. A seemingly endless stream of great work. Thanks for posting.

 
The Man with the Beautiful Eyes • 1999
 

Credits

Director: Jonathan Hodgson
Producer: Jonathan Bairstow
Designer: Jonny Hannah
Poem: Charles Bukowski
Funded by: Channel 4 TV
Voice over: Peter Blegvad, Louis Schendler
Sound design: Jonathan Hodgson
Drum break: Stuart Hilton
Sound Recordist: Liam Watson
Animators: Jonathan Hodgson, Kitty Taylor, Lucy Hudson
Assistant Animators: Bunny Schendler, Martin Oliver
Artworkers: Mark Shepherd, Jonny Hannah
Rostrum camera: Peter Tupy
Producton Company: Sherbet
(c) Channel Four TV

 
PS
@BurnetRhoades lots of great info/tips/knowledge there bro =) Watch list gonna have a banquet... I've watch some of those films, but I'm starting to think that my mind was too busy, that was too much to ingest or that has merged already with my dreams, je je. Salu2

@maxr I believe this is towards the middle. It's the most understated of the shorts and so different than everything else. Most of the animation that makes its way out of Japan tends to be very commercial so it was interesting seeing something so experimental, especially back in the mid '80s when Robot Carnival happened, I think the first of several anthology releases that Katsuhiro Otomo oversaw (Robot Carnival, Mani Mani (aka Neo Tokyo), Memories).

"Canon Fodder" might be the closest to experimental in Memories but it's been so long since I saw Mani Mani I don't remember if it had a really wacky experimental piece too.

edit: Ah, I see he has a new anthology, released last year as Short Piece.

A bored afternoon in Illustrator and AE back in 2003,

Wow guys, very interesting reading all those insides, it really is.
I know nothing about those houses though, so hope you don't mind me contributing with

It's about spending time together (2011) by Ainslie Henderson

Yes, true about Dreamworks. They cranked out so many flops, their unofficial motto was “Stop Dreaming, Start Working!” Their live action movies haven’t fared too well either, nearly bankrupting the company twice. So now they’ve turned to India and China for cash, which may produce a new variety of europudding or almond/mango pudding, if we consider the movies made after the Hong Kong film industry crashed in the 90's. What movies?!! The only HK movies I remember are mostly from the 80's.

http://latimesblogs.latimes.com/entertainmentnewsbuzz/2012/02/dreamworks-animation-china-studio-oriental-dreamworks.html

http://www.fool.com/investing/general/2014/05/18/one-thing-could-save-dreamworks-

—— and ... Pixar knows story

Pixar Rules of Storytelling

http://www.pixartouchbook.com/blog/2011/5/15/pixar-story-rules-one-version.html

Robin Wright gets animated in The Congress by Ari Folman ( Waltz with Bashir) :

Variety REVIEW: http://variety.com/2013/film/reviews/cannes-film-review-the-congress-1200482236/

Yes, photographing the backlit cels ads a lot of tonality and texture to otherwise flat tones. But Nimh, like most of Don Bluth's features, was an amazing film for layout and cinematography (in addition to animation and design). The use of color tones and colored lighting that draws your eye is just gorgeous and, I believe, this was the first animated film to create shadows through multiple exposures and masks rather than painted into the cels. A few years later Nelvana would incorporate the same technique, along with very liberal use of backlit, bi-pack effects passes for Rock & Rule.

My storyboarding professor hated Bluth and some of his storytelling techniques but I always just chalked that up to him having some kind of beef from earlier in his career maybe, but he loved to talk about how all Bluth films had to have a "disco ball" in the scene, commenting on the use of backlit effects and so much effort put into the cinematography and layout of the films, particularly Nimh.

I love it though. Especially because while Jeffrey Katzenberg was turning Disney Feature Animation into a balloon animal factory Bluth stuck to the character design principles from the height of Milt Kahl and Frank and Ollie's contributions to the Disney FA look, like from the Jungle Book and Robin Hood era, with heavy use of straight against curve and very graphic, solid drawing, with loads of interest. It just doesn't get any better than Milt Kahl at Disney.

It's interesting the reference to Richard Williams film up there. Back then this was an extremely controversial production that drew a line through the industry. I think everyone agreed that Williams was insane but there were reportedly concerted efforts to undermine his film and some rather big names today at places like Pixar took part in, reportedly, actual sabotage working as, essentially, spies for the "establishment", meaning Disney Feature Animation (which had become rather evil, with respect to anything threatening their supremacy in the States). Nobody could live up to William's standards for line quality and everything, I mean everything, being "on 1's". Supposedly, under outside orders, assistants under Williams were going in and not only throwing out inbetweens from portions of the film already completed but altering the drawings so that William's work would be more consistent with the more lax efforts employed in the completion of the film, after he reached out for help and lost control.

Most likely not since the "Red Scare" have there been lists of animators considered persona non grata in the industry based on where they fell in the drama surrounding this film. I can assure you, what you see in the finished film isn't the real film. I was fortunate enough to see a pencil test version from before all the meddling and controversy, with a majority of work done by Williams himself, and it's some of the most stunning animation I've ever seen with sequences of moving perspective that I still cannot believe were done without the aid of computers. And it was all "on 1's".