Where Pixar Artists Come From

Forget slaving away at a fancy art school for four years, as it turns out all you have to do is make some copies and draw a smiley face or two on a coffee mug.



CGSociety has a great article on Jason Deamer, Character Art Director for Pixar.

So, when Jimmy Hayward, a skateboarding friend and Pixar animator, told him that Pixar was hiring office help, he applied. “It was right after ‘Toy Story,’” he says. “I knew about Pixar because I had seen their shorts in animation festivals, but it didn’t occur to me there would be any future for me at Pixar. I thought I’d just be moving furniture.”

And, that’s what he did. Moved furniture, fetched sandwiches, made copies, sat at the front desk and walked through hallways filled with production art for ‘Monsters, Inc.’ and ‘A Bug’s Life.’ In his spare time, he doodled.

It's a great read, and always inspiring to see someone who doesn't mind getting in on the ground floor and working their way up through a company like Pixar.

I've been drawing faces on thong underpants and leaving them around my office building, so we'll see where that takes me.

EDIT: I'm an idiot and forgot the link...

CG Society Article On Jason Deamer

Interview with TMNT's Kevin Munroe

The director for Warner Bros' "TMNT" recently sat down for an interview with Animated Views.



AV: Can you think of any of the other rules that Pete had?

KM: Turtles are not interested in girls - at all. Not that I probably would have wanted that anyway, but I mean it’s just a big pet peeve with Pete. It’s like you having a crush on a French poodle. He’s a turtle, and she’s a human. There’d be no crossover, right. So there was that.

That's one of the funniest things I've ever read in an interview, and yet at the same time I now feel dirty for having a crush on my French poodle.

Read the Entire Kevin Munroe Interview at Animated Views

10 Quick With Ray Chase

Well it's been some time since we had a 10 Quick interview here on Bleeding Pixels, but we've got a treat for everyone today. Ray Chase, animator on such projects as "Jimmy Neutron," "The Ant Bully," and most recently "The Very First Noel," has graciously agreed to sit down and answer some silly questions for us!

Ray is actually my very first Mentor at AnimationMentor, and so I just couldn't resist hitting him up for an interview. He seems like a great guy, despite an unhealthy obsession with turning his cubicles into pirate ships, but I'll let you judge that for yourself...

1.Tell us a bit about yourself. How did you break into the business?

My name is Ray Chase and I have been doing character animation for over 7 years. Like many, I grew up on Star Wars and for the longest time I thought that working at a place like ILM, doing FX for films, was what I wanted to do. I had always been interested in animation but never really thought much about it as a career. Then Who framed Roger Rabbit? came out and really inspired me. Right around this time the Disney/MGM Studios opened in Orlando Florida. Seeing these folks actually making the magic was another huge dose of inspiration. At that point I pretty much decided that THAT was what I wanted to do. I wanted to be an animator.

From that ureka moment to landing my first big break took a bit longer than I had anticipated. I graduated from the University of Maryland Baltimore County in 1993 and started applying for a 2D internship with Disney Feature Animation Fla; at the time computer animation didn't really exist as we know it now. It became clear that while my drawing ability was getting better, I would most likely not cut it as a traditional animator. Then a little movie called Jurassic Park came out followed the next year by another little movie called Toy Story, and almost immediately another avenue opened.

Fortunately after college I did land a job doing animation at a place called FTI Consulting. They did animation and such for people going to court and the like; lots of moving arrows... that sort of thing. The nice thing about FTI was that they didn't have a problem with me working on my own stuff as long as their work was getting done. So I would spend my days working on patent disputes and such and then spend my nights trying to wrap my head around character animation. It took me awhile, because I was mostly figuring it all out on my own, but ever so slowly I started to get better. I had still really wanted to get in at Disney Florida, because I am a big Disney nerd, but ultimately I got hired at this little studio in Texas that nobody had really heard of. In July 2000 I started work on DNA Productions first feature film, Jimmy Neutron Boy Genius.

2. Which of your work are you most proud of?

I always tend to think that my work is just "ok". Maybe as artists we are just naturally harder on ourselves I don't know. There are some shots i did on Ant Bully which I think turned out pretty well. A few shots with Lucas sitting on the mushroom talking to Zoc, and some shots of the Head of Council that were reimagined for the final film. I still look at them and feel that they are just "ok" though; I have yet to impress myself. I really rely on the feedback from peers to determine whether a shot was successful or not.



3. What are the main tools and/or programs you use to create your work?

As far as animating I work exclusively with Maya. I think its important to point out that the computer really is a tool for the animator. I know people say this a lot but I am still surprised how many folks still don't completely understand what that means. The idea and the art comes from the individual. The computer is just a means for getting those ideas and that art created. For me, animating in the computer is like organic sculpting. I can bend and shape the character to do whatever I want. And if my idea didn’t work and I don’t like the results I can change it. The nice thing about working in CG is that you can keep pushing and pulling on the shot until it’s just the way you want.


4. What's a typical day in your life like?

I wake up in the morning and lie in bed staring at the ceiling for a few minutes....oh wait that's probably not what you meant. Most days I will have shots already assigned, so when I get to work I pretty much jump right into my shots. Depending on the stage I am in I could be planning, blocking, or working through the shot towards a final. I try to stay pretty focused during the day because I’m not a big fan of the overtime. I feel that if the production has been planned correctly and that if I am making solid progress each day, there shouldn’t be a need for the OT. I enjoy my job but I want to get home to my family when the day is done.



5. Who or what are some of your artistic influences?

I suppose I am influenced more in broad strokes than anything else. I tend to be sort of a sponge in that regard. I feel my mind is a loge of movies, actors, jokes and experiences that I am constantly drawing off of whether consciously or subconsciously. I’m a huge fan of the traditional films that came out of the Disney studio and my work tends to lean more to their kind of natural style. Great animation is always inspiring and makes me want to do better. And there is a lot of really great animation being done right now.


6. Would you say that you're a 3D artist who dabbles in 2D from time to time, or a 2D artist who happens to work in 3D?

Interesting question. I was never classicaly trained in 2D so I suppose I am more of a 3D artist trying to incorporate the ideas and principles of 2D. I have wanted to try doing some 2D work just to see what that feels like. Only recently have I started to draw again by getting involved with drawergeeks.com and it feels good. Beyond poorly drawn thumbnails, I haven’t drawn much in the last 6 years, so its fun to rediscover that love of drawing.



7. What are 3 of the best things about your job, and what are 3 of the worst?

I'll answer this in more broad terms. The best things about being an animator? Not knowing what's coming next is pretty cool. You can start your week and you know that you will get shots assigned, but you may have no idea what they will be. You know that in a couple weeks you will have completed those shots, you know this, but yet you don't know what these shots will be. Sometimes I think "this time next month I will have done X more shots...I wonder how they will turn out?" It's exciting because there is always this empty canvas sorta sitting there and that makes coming to work, to fill that convas, a fun experience. So that is 1 of the best things. Working with some really great people has been another perk of the job. Animators, I have found, are silly people and I have had the pleasure to work with some really silly folks. Lastly, I would say that what we do as animators really touches the world which sounds a little zen. But when you see kids chatting online about the Neutron show or when my daughter goes on and on about daddy's movie (Ant Bully) you start to realize how what we do, really touches and inspires in ways you never really considered. And that's a good feeling. As for the worst parts of the job. Getting laid off certainly sucks...lol but lets leave it with the good points. I feel warm and fuzzy now and don't want to ruin that buzz.



8. You've worked on a couple of feature films now, a television show and some short films. Is there a format of those three that you prefer, and why?

I love working on feature films because you have the time to really craft your performances, to try stuff out and to be able to concentrate on the craft. In television the pace is so crazy you have to really just focus on getting it done; if you can manage to get a good performance great, if not, well...no time to worry about it. It's interesting to look at episodes of the series, to see some of the hundred's of shots (I averaged it out to be around 700+) I did and go "not bad" or most times "ooo that didn't work...nice try though". The thing is, television made me a faster and more efficent animator so, thanks for that television animation. Working on short films or shorter term projects has been fun as well because you get a nice variety since the projects may only be a couple months. Typically you are on a feature for 12 months or more and there were times when I would come to work and go "sigh...I'm tired of ants".

9. How did you wind up working as a Mentor at Animation Mentor? What has your experience been like with the school so far?

My good buddy Mike Walling recommended me for the program. I had wanted to get involved with AM for some time because it seemed like such an awesome idea. Learn animation from the people that do animation. I could have used AM back in '93 I tell you that. So yeah I got involved with AM a little over 6 months ago and the experience as been just great. I love doing the live Q&A's because, not only do I love to talk, but I love to talk about animation. It's funny because on a day in, day out basis we never sit around and talk about the art form really. We look at each others shots and give feedback, but never really sit around and discuss the art; we are too busy getting the work done. So for me that is a great aspect of the program to talk with the students about animation. And everyone is so excited to be part of the program and to be learning, that I get totally inspired off of their energy.



10. Tell us a bit about "The Very First Noel." What was your role(s) with the project?

The Very First Noel is the very first project that I animated on here at ReelFx. It was written and directed by Carrie and Yarrow Cheney who are not only animators themselves but super awesome to work with. They wanted to go for a style that was remensant of the old Rupolph the Red Nose Reindeer stop motion specials, which was fun because the character were more simple than what I had been used to; there weren’t 50 controls on the face or anything like that. The story is told in the form of a poem, about the three wise men and their following of yonder star. It was a lot of fun and interestingly enough many of my animation buddies from DNA worked on the project as well so that was pretty cool.

Amazing, Super-Awesome, Bonus Question #11
11. What is it like having a gifted artist such as Dave Johnson in your current crop of Student at Animation Mentor? Please use each of the following words in your response, "Amazing, Talented, Genius, and Falafel."

[Editor's Note: The expected response to this question was something along the lines of, "Dave? Yeah... he's about as talented as a Falafel. It's amazing that he considers himself a genius, when he's to a genius what roadkill is to fine dining."]

Dave is probably the most amazing and talented student I have ever mentored. Some may even call him a genius...I would say he is falafel, but since I'm not sure what that word means I will choose not to (is that ok Dave..do I get my $10 now)


A big thank you to Mr. Ray Chase for agreeing to answer some questions, despite his busy schedule. If you'd like to see more of his work, get info on "The Very First Noel," and check out his pirate-themed cube, swing on over to his website!

Thanks again, Ray!

Ray Chase's Website

Flused Away Voice Actor Interview

Coming Soon has an interview up with Hugh Jackman and Andy Serkis, two of the stars of the upcoming "Flushed Away."



"At the beginning, he was more upper class, almost royal -- that aristocratic attitude. He had two hamsters who were his servants," Jackman told ComingSoon.net. "So, the whole thing, going down into the sewer, was more, 'Oh, you people.' It was a little bit removed and snobbish, which actually made him not very likable. And so, we changed it from being that to being more sheltered, basically. He lives in this pampered life. He doesn't think of himself as a mouse, he thinks of himself as a James Bond character. He's having the time of his life. And, he sings occasionally."

Wait... so does this mean that having two hamsters servants doesn't entitle me to being snobbish? I most certainly think it does, and to you I say good day, sir.

I SAID GOOD DAY.

Coming Soon's "Flushed Away" Interview

Mike Walling Interview

All around cool guy, mentor at Animation Mentor, Animator for "Open Season," and former "10 Quick" victim right here on Bleeding Pixels, Mike Walling, was interviewed by the folks over at Strut Your Reel recently.



A couple of big [pieces of advice] were keeping things simple, clear and graphic. Simplicity is always more in animation. I think the biggest AHAA moment I had was some advice I got from my supervisor about thinking graphic. He showed me that every frame is a pose so keep them all looking appealing from a graphic stand point. In other words, don’t let the computer do too much of the inbetweening.

Strut Your Reel's Mike Walling Interview

10 Quick with George Schermer

Ahh... my Blogger troubles continue. I was only able to get one of George's images posted for this 10 Quick, but it will have to do for now. He was kind enough to answer the questions in the first place, so I'd hate to delay this any longer. If Blogger manages to correct the issues it's currently experiencing, I'll most certainly get George's other samples up ASAP.

But enough whining from me.

In the meantime, you can visit George's Site and view them for yourself!

Now you may be asking, "But, Dave, why would I want to go to some guy's website who I don't even know?"

Well the answer is simple. George just happens to be a pretty darn good 3D artist. Better than most I'd even venture to say. Not only that, but he worked on "Gopher Broke," and "Rockfish," among other things, for Blur Studio, which makes him a-okay in my book!

Take it away, George!

1. Tell us a bit about yourself. How did you break into the business?

I'm originally from a small town in Tennessee. I guess I've always liked cartoons, but it wasn't until around junior year of high school that I found out there were people who created them and actual courses I could take to end up working in the animation industry. So, I graduated from The Ringling School of Art and Design, back in 2000. I got my first job at a small broadcast design company in Manhattan. After two and a half years there I decided to send out my reel and was lucky enough to land a job at Blur helping animate Mickey's Twice Upon a Christmas. Now I've been at Blur for over 3 years.

2. Which of your work are you most proud of?

Without a doubt it's Gopher Broke. I remember seeing the final product at the theater and thinking, "Wow, this is a professional looking cartoon." That was the
first time I watched something I had made and wasn't noticing the mistakes.



3. What are the main tools and/or programs you use to create your work?

I've used quite a few CG programs, but at the moment we're using 3Ds Max for most of our pipeline...and starting to use Softimage XSI for animation.

4. What's a typical day in your life like?

Full of aches and pains...I'm gettin' old, dangit!!!

I get into work around 9:30ish...do the email thing and surf the web for a few minutes, then it's time to work. I take off for lunch around noon, then I'm working til 7 or so. I don't really have a set schedule, sometimes I'll be sketching out new scenes in the morning, other times I'll be filming reference at 5pm. It's always different.

5. Who or what are some of your artistic influences?

Oh man...I have way too many to list. I'm an avid (I mean AVID) comicbook reader. Movies (The Incredibles being quite high on that list). Commercials. Since I worked in the broadcast business, I try to keep up on the newest commercials and the studios that produce them. Studio AKA has to be my hands down favorite commercial house right now. The work they produce is so creative...they really push the boundaries of our medium. But even when I walk around Blur I find myself looking over my coworkers shoulders seeing great work. I think to myself, "Why can't I be that good?" It's depressing...but inspiring at the same time :)

6. Would you say that you're a 3D artist who dabbles in 2D from time to time, or a 2D artist who happens to work in 3D?

I'm a 3D artist who dabbles in 2D, but then gets frustrated and goes back to 3D.

7. What are 3 of the best things about your job, and what are 3 of the worst?

The 3 best: Laid back environment, there's no heavy lifting, and I'm making cartoons....how cool is that?

The 3 worst: Sometimes that environment isn't so laid back, hours of work lost to a program crash, and I think computers will soon be able to do my job.


8. Tell everyone about your side project "Cathode and Propellarhead." Is this project still moving forward, and if so, what is your ultimate goal?

Well, I'd like to say I have future plans for it, but I don't.... Unfortunately..... Cathode and Propellarhead was a property I developed at my old studio. We were developing properties that could ultimately be made into TV shows and the like. I was planning on doing a monthly episode kinda thing (kinda like a comicstrip), but I never really got around to producing more than 2 (5 were developed, but only two were completed.) Maybe I'll go back to it someday, but for now my attention has been focused on a new project.

9. Tell us a bit about your role in Blur shorts "Gopher Broke" and "Rockfish." If either of these make it to the big screen, is there any chance we'll see your work in the feature versions as well?

I was an animator on both Rockfish and Gopher Broke. Rockfish was the project I cut my mocap teeth on. I did the shot where the guy sits in his bobber and the dog jumps up and hangs from the side. I think I animated about 7 or so shots on Gopher Broke. The shots where the gopher climbs out of his hole and jumps behind the rock, the "Cloud o' Crows" shot...which take note, was not made with Massive, just me and a notepad telling me what Crow 55 was doing :) and some of the end shots where he sees the truck and tries to dig a hole to get away.

And seeing as I'm still employed by Blur, hopefully I'll be able to work on those features if they come around :)

10. Jason Taylor suggested that I hit you up for these 10 questions. We've also interviewed Jeff Fowler, another of your Blur chums. Any dirt you'd like to dish on either of them?

Well, Jason will spontaneously start acting like a monkey (don't ask) and Jeff likes to steal my colored pencils....or maybe that's the other way around....but seriously, they're both great guys and I'm glad I've gotten the chance to work with both of them.



Thanks to George for taking the time to answer these questions!

For more of his outstanding work, swing over to George's Site.

I hear he just put on a fresh pot of coffee!

Thanks, George!