Disney, DVD, and Beyond Forums
https://dvdizzy.com/forum/
The Snowman was actually produced for Channel 4 in the UK, which had recently only begun broadcasting. Although Channel 4 has become more mainstream, it had a particular focus in its earlier years of providing programming for minorities and interest groups and commissioning independent films. I suppose, if anything, it proves that it's the American mainstream which is the problem. If you look at independent cinema throughout Europe and across the world, one will find a number of hand-drawn films (and stop-motion films) which have some scope to think more outside the box and to take more risks. Of course, that's a generalisation, but the fact that mainstream cinema now relies so much on franchises and sequels and techniques/styles that have proven successful elsewhere sort of sums up a sorry state of affairs, not just for animation but for all filmmaking.unprincess wrote:one of the best things about the Snowman was it wasnt scared to end with a down note . Today animated films dont even like it if kids get bored let alone scared or sad. Everything has to be upbeat or exciting and if there a downbeat it must immediately be preceded by a gag or joke so the kids wont get "traumatized". If there's a quiet moment it must be quickly interrupted by noise or a joke in case the kids start to fidget. Blah! I miss the 80's and early 90's animated films, those films had BALLS!
I'm fine with the human stuff, though I am surprised he did yet another short featuring a ballerina fresh off the heals of Duet. You'd think he want a break from that for a bit.unprincess wrote:always a treasure to get something new from Glenn. I love that he appears in the short himself.
Though next time Id like to see him get away from human anatomy and do something more animalistic/nonhuman, like the bear from FATH or Beast.
Hey, why not?unprincess wrote:^yes! he should animate a griffin next!
Source: http://news.fsu.edu/Top-Stories/Experie ... -animationFor the next few weeks, members of the Florida State University community don’t have to go too far to experience a little Disney magic. Thanks to Mery-et Lescher, a doctoral candidate in FSU’s Department of Art History, students, faculty and staff can enjoy an exhibit dedicated to the art and artifacts of Disney’s animated films at the William-Johnston Building art gallery. The exhibit features items from the Disney Renaissance, which spans from the release of “The Little Mermaid” in 1989 through the release of “Tarzan” in 1999.
“The Disney Renaissance was really the last hurrah of hand-drawn animation,” Lescher said. “Hand-drawn is not dead — not by any means, but I don’t want us to lose sight of the legacy. This is an important period in animation, and I feel that it needs to be documented and that’s what I’m here to do.”
so gorgeous! imagine what this team could do on a feature length film! it seems 2d still has some life as far as advertising goes, at least in the UK.Sotiris wrote:A hand-drawn commercial called Make them Giants has gone viral.
O2 goes for animated epic to promote rugby sponsorship
http://www.creativereview.co.uk/cr-blog ... onsorship/
Blinkink’s Elliot Dear directs giant O2 rugby film
http://www.televisual.com/news-detail/B ... -5585.html
Actually, a sequel to The Snowman was made in 2012 called The Snowman and the Snowdog and it was in 2D and used the same style as the original. Most of the creative team who worked on the original returned to work on the sequel. You can watch the making-of featurette, here.2Disney4Ever wrote:I still remember The Snowman. Such a beautifully artistic looking piece of childhood animation, even today. If they remade it now, I would guarantee that it would be CGI.
That would be great although I highly doubt it'll ever happen. Duncan Studio issued a press release about their work on the new scenes added to The Iron Giant and the crew is mainly composed of former Disney animators. If only the studio could get out of the work-for-hire model and develop their own projects, they could really do some amazing stuff; they certainly have the talent for it.unprincess wrote:Also interesting that Duncan Studio is providing the animation for the 2 new scenes. Im kinda hoping that this is the start of more from Bird and Duncan Studio (2d film please!)
Source: http://blogs.indiewire.com/animationsco ... e-20150925Q: Is there any 2D in it?
Genndy Tartakovsky: There is one character we want to keep 2D running around in his imaginary world. We'll see. I feel like 2D has gotten a rotten reputation now and ends up being in the end credits [including Hotel Transylvania 2], so I'm always trying to push for more. But it's hard enough to sell a CG movie let alone a 2D movie.
Source: http://taughtbyapro.com/podcast-28-gett ... -animator/DreamWorks never had a transition or a discrepancy between their CG ranks and their 2D ranks. They trained 2D animators as CG animators and there was never a rift. Whereas that existed at Disney where there were pre-established CG animators who felt this wave of 2D “stars” coming on. Imagine, you’re a CG animator, you’ve established yourself and all of a sudden you hear Alex Kupershmidt, Mark Henn, Ruben Aquino come in and you’re like “Ugh”. There was never that bridge. And no one was gunning for anyone’s job; that’s the funny thing about it.
unprincess wrote:like I stated before I think its about anxiety over the cutthroat job market in animation. Every 2d animator being employed is a 3d animator that's not employed. Also I sometimes get the feeling that CGI animators resent their technique being seen as cheap and artless and compared negatively to the more artsy hand crafted 2d animation style.