The Fantasy World of Roald Dahl to Life with ‘Revolting Rhymes’

Based on the book written by Roald Dahl and illustrated by Quentin Blake, the multiple award-winning Revolting Rhymes was directed by Oscar nominees Jakob Schuh (The Gruffalo) and Jan Lachauer (Room on the Broom), co-directed by Bin Han To and produced by Magic Light Pictures’ Martin Pope and Michael Rose (The Gruffalo, Room on the Broom, Chico and Rita).

The animation for the two-part holiday special was created at Magic Light’s Berlin studio and Triggerfish Animation Studios in Cape Town. Revolting Rhymes interweaves Dahl’s retellings of classic fairy tales with playful twists and surprising endings. The all-star voice cast comprises Dominic West, David Walliams, Rob Brydon, Tamsin Greig, Bertie Carvel, Rose Leslie, Bel Powley, Gemma Chan and Isaac Hempstead Wright.

More at AWN

Coco - A minor introduction to Mexican cinema and more...

A minor introduction to Mexican cinema and more from Film School Rejects

Gran Casino (1947)

Jorge NegreteJorge Negrete is one of two Mexican music and movie icons who inspired the Coco character Ernesto de la Cruz. He also has a cameo in the animated feature at de la Cruz’s big party. The easiest introduction to this Golden Age star is with this Luis Buñuel flop that barely kicked off the filmmaker’s stint in Mexico. Negrete, guitar in hand, sings his way out of prison and into the story of a murdered oil man. Libertad Lamarque, Argentine star of song and cinema, plays the oil man’s sister and eventual love interest for Negrete.

Gran Casino is little more than a B-movie Western, representative of the country’s cheapie “churro” variety and is arguably a lesser example of the otherwise popular charro singing cowboy genre. For the start of this kind of ranchera musical, see the 1936 Tito Guízar vehicle Allá en el Rancho Grande, and for Negrete’s breakthrough there’s ¡Ay Jalisco, No Te Rajes!, which isn’t easily seen in its preferred full version. Another easily seen but not beloved Negrete classic is the Hal Roach-produced Fiesta.

Nosotros, los Pobres (1948)

Nosotros Los PobresPedro Infante is the other icon on whom del la Cruz is based. Also a famous singer outside of his movie stardom, he was not as much known for leading in musicals. One of his most famous films is the Golden Globe-winning export Tizoc, a romantic drama for which he was posthumously named best actor at the Berlin International Film Festival in 1957. Another, also by Ismael Rodríguez, is this first entry in his popular “Pepe the Bull” trilogy, which also includes Ustedes los Ricos and Pepe el Toro. Translated as “We the Poor,” Nosotros, los Pobres is a social melodrama about a carpenter (Infante’s own initial trade) trying to get by while raising an adopted daughter in a poor neighborhood in Mexico City.

Both Negrete and Infante died young in the 1950s, which surely helped cement them as cultural legends. Like de la Cruz, though, Infante’s death was in an accident — the aviation fanatic was killed in a plane crash rather than being crushed by a giant bell. Despite being one of the inspirations for the Coco character, he too makes a cameo appearance in the party scene. And if you want to see both real Mexican cinema icons together on screen for real, you should check out Two Careful Fellows, a musical comedy in which they play best friends who become enemies, not unlike de la Cruz and Hector in Coco, though their clash is over a woman rather than their professional collaboration.

I should note that some are also referencing Javier Solís as an inspiration for de la Cruz, because he was the third of the iconic Mexican stars who made up the “Three Mexican Roosters.” He was younger (and died younger) than the other two and didn’t even appear in his first movie until after Negrete and Infante were dead — he may have actually been seen as a replacement for fans. I can’t say I know a good title of his to recommend.

Day of the Dead (1957)

Ff DdndbCharles and Ray Eames are much more known for their furniture and architectural design, but they also made a number of films. This one, inspired by Charles Eames’s time in Mexico in the 1930s and produced for the Museum of International Folk Art in Santa Fe, is of course about the Day of the Dead. Instead of being a straightforward educational documentary on the subject, the 15-minute film is a cultural tribute, sharing a slightly informative yet emblematic look at the special objects and rituals of the occasion.

A good portion of this short is devoted to the significance of the ofrenda, particularly to all the food placed on the altar and how dead ancestors will come home to feast on their favorite treats. You’ll also see the aztec marigolds, the sugar skulls and skeleton art, and the visiting and maintaining of grave sites that are also part of the story of Coco. While it’s not going to make you much more knowledgable of Mexican culture than Pixar’s movie already provides, there’s no better documentary about the holiday, as far as I’m aware (the Fernando Rey-narrated short Día de Muertos seems decent but I’ve only seen it available in Spanish). Watch Day of the Dead via the Eames Office here.


The Little Priest (1964)

AjaarAnother Mexican cinema icon seen in Coco, easily caricatured in skeletal form, is Cantinflas. He is often likened to Charlie Chaplin, because every national cinema apparently needed their own Chaplin equivalent. He’s also been called a kind of cross between Chaplin and Groucho Marx. Fans of the Mexican comedy legend would probably rather he be honored on his own without need for comparison. Even Chaplin apparently referred to Cantinflas as the greatest comedian alive. I haven’t seen it mentioned officially, but his trickster characters may have been an influence on the creation of Coco‘s Hector.

While the easiest introduction is with the 1956 version of Around the World in 80 Days, for which he earned accolades including a Golden Globe as the valet sidekick Passepartout, and maybe the best place to start is with his 1940 breakthrough Ahí Está el Detalle, which established his catchphrase (translated literally as “there’s the detail”) and cemented him as a star. But many consider his 1960s features, following his Hollywood debut, to be his best work, and El Padrecito, aka The Little Priest, is arguably his best among those. He stars as a young priest who becomes a bullfighter and politician to the delight of the townspeople.

Land of the Dead (1970)

Muertos SantoAnother easily spotted figure in CocoSanto is the most iconic Mexican masked wrestler, or luchador. In addition to his professional career in the ring, he became a movie star specifically in his own genre of lucha libre superhero movies, which actually began without him in the role of his own character back in the early 1950s. They also tended to involve horror premises where Santo fights zombies or vampire women or mummies or Martians. Sometimes, as in this installment, Santo would team-up with fellow Mexican wrestler Blue Demon.

This one is neither his best known (Santo Versus the Vampire Women is most famous for being featured on Mystery Science Theater 3000) nor one of his most celebrated. But, in case the title doesn’t make it obvious, Land of the Dead has Santo visiting the afterlife. As imaginative and colorful as the Land of the Dead is in Coco, the one here is pretty lackluster and only comes into play near the end. Tinted in red and accompanied by stock footage and clips from other movies, the Hell that Santo and Blue Demon encounter is sort of a joke. A lovably cheesy joke.


Rocket Girl - FREE RIG

Rocket Girl - FREE RIG

I still have to test it with my students but I tried moving it around in Maya and it looks like a solid little rig!

Stop-Motion Moana

This guy built a Stop-Motion Moana by ripping apart a Moana doll and using a kinetic armature kit.

Incredibles 2 Official Teaser Trailer

Kyle Bunk McCree Pixel Art

Kyle Bunk McCree Pixel Art

more fun from Kyle













Migros ‘Finn’

Round 1… Fight!

Big Hero 6 Breakdown Reel

Tag Wage Survey

This is the first time in years this survey has seemed even remotely accurate. Although the Max for a CG animator seems low.  I am not sure what category 1/level 1 means either. Most CG studios do not have a union, but maybe more artists who are non-union have participated in the survey?

TAG Wage Survey


Eran Hilleli: messing around with a possible animation synthesizer. work in progress. audio by the mighty giori politi. based on code things by keijiro takahashi.

Lucas the Spider

John Lasseter To Take Leave Of Absence Due To Misconduct Allegations

John Lasseter, Chief Creative Officer at both Disney and Pixar, has announced he’s taking a six month sabbatical after several women came forward with stories about his recurrent misconduct. The Hollywood Reporter detailed the claims of several employees.

The Night I Dance With Death - a Nuit Je Danse avec la Mort

The psychedelic, violent and liberating experience of young man who takes a drug at a party.

❊ ANIMA - Córdoba International Animation Festival (Argentine) : Best Animation - Non narrative - Abstract Prize

❊ 3D Wire (Espagne)
❊ Balkanima - European Animated Film Festival (Serbie)
❊ KDIAF - Kuandu International Animation Festival (Taiwan)
❊ TAF - Thessaloniki Animation Festival (Grèce)
❊ Cinemabrut (France)
❊ FIFIB - Festival International du film indépendant de Bordeaux (France)
❊ Fake Flesh Film Fest (Canada)
❊ Saskatoon Fantastic Film Festival (Canada)
❊ Festival SPASM (Canada)
❊ Paris Courts Devant (France)
❊ up-and-coming International Film Festival Hanover (Allemagne)
❊ Fantastic Fest (USA)
❊ BFI London Film Festival (UK)
❊ Flickers' RIIFF - Rhode Island International Film Festival (USA)
❊ East End Film Festival (UK)
❊ Figari Film Fest - International Short Film Festival (Italie)
❊ HOFF - Haapsalu Horror & Fantasy Film Festival (Estonie)
❊ Fancine - Festival de Cine Fantástico Universidad de Málaga (Espagne)
❊ Sitges - International Fantastic Film Festival of Catalonia (Espagne)
❊ Chacun son court (France)
❊ Godebut European Film Festival (Lituanie)
❊ interfilm - International Short Film Festival Berlin (Allemagne)
❊ Festival du Film Court de Villeurbanne (France)
❊ KLIK! Amsterdam Animation Festival (Pays-Bas)
❊15th ANILOGUE International Animation Festival (Hongrie)

Diffusions / Hors compétition
❊ Pixelatl (Mexique)
❊ KloosterKino (Pays-Bas)
❊ Bogoshorts - Bogotá Short Film Festival (Colombie)
❊ Anima Mundi - Festival Internacional de Animação do Brasil (Brésil)
❊ SESIFF - Seoul International Extreme-Short Image & Film Festival (Corée du Sud)
❊ Kurzfilmtage - Festival international du court-métrage de Winterthur (Suisse)
❊ Cartón - Festival Internacional de Cortos de Animación La Tribu (Argentine)
❊ Festival du film d'animation de Madrid (Espagne)

Réalisateur/ Director : Vincent Gibaud

Animation / Animation : Walter MAZOYER , Sandra CHAÏBAN , Thomas LANDREIN , Fanny Germain , Léa
CHERVET , Faustine DUMONTIER , Simon DUONG VAN HUYEN , Quentin Laurent , Eloïse RAUZIER , Alizée
LAFFITAU , Kévin PHOU , Raphaël ETEVIANT , Kherveen DABYLALL , To-Ahn BACH , Diane TRAN , Céline CHEA
, Pierre-Jean LEMOEL , Julie ROBERT , Fabien MARCADET , Juliette CALABERY , Pierre PMEZ , Stéphane ONA
EDEMRA , Naseer PASHA , Samkat YIN , Eliott PEUPION , Marie BIDEAU , Clément KUBICEK , Manuel GARO ,

Scénario, Script / Scenario, Script : Vincent GIBAUD, Pierre DE CABISSOLE, Valentine DE BLIGNIERE

Décors / Set : Vincent GIBAUD, Jonas GENEVAZ , Camille FOURCADE

Effets spéciaux / Special effects : Yann LEROY , Vincent GIBAUD

Montage / Film Editor : Vincent GIBAUD

Rendu / Rendering : Vincent GIBAUD

Ingénieur du son / Sound engineer : Nicolas MARTIGNE

Montage sonore / Sound editor : Nicolas MARTIGNE

Mixage / Mix : Nicolas MARTIGNE

Musique / Soundtrack : Benjamin H. FORD

Réalisé dans le cadre de la suparésidence à SUPAMONKS Studio :

Distribué par Sève Films :

Montage / Film Editor : Vincent GIBAUD

Rendu / Rendering : Vincent GIBAUD

Ingénieur du son / Sound engineer : Nicolas MARTIGNE

Montage sonore / Sound editor : Nicolas MARTIGNE

Mixage / Mix : Nicolas MARTIGNE

Musique / Soundtrack : Benjamin H. FORD

Réalisé dans le cadre de la suparésidence à SUPAMONKS Studio :

Distribué par Sève Films :

Walt Disney Animation Interns Create “Ventana”


Lesson: Tips for Creating, Finding, and Using Reference for Animation

Many of my students push back when I bring up using reference. For some reason they think it is “cheating.” Using reference for your animations is no more cheating than Norman Rockwell using photo references for his paintings.

Using reference for your animation to get an idea of timing, weight shifts, poses, and nuance is a time old tradition that goes back to the early days at Disney. Using reference is an industry standard today for working professionals.

When I first started out animating in the 90’s reference was not as easy to come by as it is today with smartphone cameras and youtube. Why not use every tools at your fingertips to get the best possible performance?

Reference provides you with:

  • Body mechanics solutions
  • Better planning & saves time
  • Acting choices
  • Appealing shapes
  • Assists in the learning process
  • Why not use it? Why not use every tool at your disposal
  • Observation will create a believable performance
  • Good reference is your road map!

Here are some tips on creating, finding, and using reference for animation:

1. Reference is your roadmap. If your reference is poorly executed or misses the mark for the performance, then your animation will as well.

  • Take the extra time to create good reference.
  • Plan by listening to the dialog until you understand the beats and subtext.
  • If the scene is body mechanics or pantomime driven, equally write down the emotional process behind each movement and record important beats.
  • Make sure your scene is lit well when recording.
  • If research involves finding content on youtube instead of trying to commit the action yourself, find many clips to choose from and study.
  • Frankenstein the clips that work best from your recording or content found online to create the best select to work from.

2. Have fun researching and explore every possibility for your scene to get to a genuine choice.

  • Sincerity comes from exploration.
  • Your first ideas will be trite and overused.
  • Film a friend and see what they give you that is outside of your baseline in acting.
  • Sit with a friend to choose the best clips. Sometimes you look at it too long and need a fresh eye.
  • Give any idea at least 15 minutes to breathe. Do not stand in the way of the creative flow while making reference.
  • You MUST stop and watch the reference recorded to asses what is working.
  • If you keep acting things out without stopping to watch, you will have the same take over and over again.
  • EXPLORE the possibilities!

3. Using reference does not mean copying exactly what is there.

  • Many times you have to plus the action beyond what is in the reference.
  • Do not copy frame by frame.
  • Understand the choices made in the reference and apply the same force to your character.
  • Too much of you in the scene can be bad. Stay true to your character’s baseline.
  • Most likely you will have different proportions than the character. Compensate.
  • Overacting = bad

4. Get all of the technical stuff out of the way.

  • 24 fps on camera, if possible. Phones are usually 30 fps, so convert before using.
  • Camera should be secured on a solid tripod.
  • Check the angle (similar to the shot), is there enough light? etc.
  • Take shades off lamps for better light.
  • Shoot a wider angle than the original staging in Maya.
  • Shoot a close up too, for facial acting.
  • It’s hard to get good acting when you have to stop to fix the lights, tripod, etc.
  • Create the stage, props and furniture first.
  • Set up camera, no lower than a 50 mm lens for camera if you have control.
  • Create marks to look at. Place a teddy bear in front of the actor to look at.
  • Costumes, wigs or clothing can help get into character.

5. Shoot A LOT of reference footage!

  • Try it where you are only speaking, not the actor.
  • Think about the subtext while acting the scene out. Write it down.
  • Speak the subtext and not the actual lines of dialog.
  • Take your best takes and compile them into one, if you don’t have one solid take.
  • Maybe film a friend, who is better and direct them?
  • Sometimes I ask friends to do a take or two for me.
  • Other people can come up with surprising acting ideas for a shot.
  • If it’s not working, maybe it’s not the right clip? Are you forcing it?
  • Reference is easy to make! Redo it if it’s not working.
  • Watch out for clichés. Do not overact!
  • Write down words as you watch that illustrate the emotions, verbs are best.

6. Thumbnail from your final cut of footage to figure out your story poses and work out the important reversals.

  • Study timing and adjust if needed. You can even change the timing in the video.
  • Timing can always be compressed and elongated to plus the action and heighten entertainment.
  • Study weight shifts in the video from hips to shoulders.
  • Analyze specific movements of the situation and idiosyncratic actions.
  • Simplify the movement if it makes the scene stronger, edit the video clip.

Below is a video explaining an approach to re-timing reference footage presented by Cameron Fielding that might work for you to get the timing you want for the scene. By simply bringing in the footage as an image sequence and animating the frames in the graph editor you can re-time the footage on the fly while animating. You could even figure out the blocking poses and re-time them before ever setting a keyframe on a puppet!

7. How to choose which take from all of that footage?

  • Critical eye, ask a friend to watch with you.
  • You will know the right take, trust your gut.
  • Look for specific actions that do not feel overused.
  • Learn your own idiosyncrasies. If you point a lot make sure that is something your character would do, too.
  • What is successful and how can you plus it?

MUSE Main Titles
Fernando Domínguez Cózar created this opening titles for the Jaume Balagueró´s new film “Muse”, a thriller based on the novel ” La Dama número 13 ” by José Carlos Somoza. The Dante´s Divide comedy has an strong presence on the “Muse” film since the main character, Samuel, has an special link with literature. The opening titles are based on one of the Divine comedy´s infernos: The fate of suicides.

Since the suicides have “denied the God-given sanctity of their bodies on earth,” they are deemed unfit for human form. The soul grows into an anguished and gnarled tree. The placement of the soul is haphazard and disordered – “anywhere that fortune tosses it” – analogous to how the Suicides treated their bodies.

The opening titles are a representation of this tate of suicides´s inferno, the human anatomy is the main character of the piece. Melted bodies forming abstract forms mixing and forming trees, nature elements and surrealist creatures inhabit this fiction.

Direction – Fernando Domínguez Cózar
Music – Arnau Bataller
Producers – Yukio Montilla, Fiona Vidal, Emília Fort, from “O”
Design, Animation, liquid simulation, lighting setup, render, comp & postproduction – Fernando Domínguez Cózar.
3D scanning – Leonstudio: Javier León Carrillo, Juan Carlos López Alba
Modeling & texturing – Fernando Domínguez Cózar & León studio: Esaú Pérez Guerrero, Javier Jaén Cavaín,
FX – Fernando Domínguez Cózar & Leónstudio: Manuel Martín Márquez.

Models –
Marta Rosendo Crespo
Juan Ignacio Sirviente González
Sara Fornell Chumilla
Cecilia Gatica López
Francisco López Rodríguez
Carmen Barrena Coello
Santiago Belizón Seguí


IN-SHADOW: A Modern Odyssey

Embark on a visionary journey through the fragmented unconscious of the West, and with courage face the Shadow. Through Shadow into Light.

“No tree, it is said, can grow to heaven unless its roots reach down to hell.”
-C.G. Jung

This film was created with earnest effort, diligence, and sacrifice. It is an urgent call to growth. If you are moved by the content, please SHARE.

Written, Directed & Produced by Lubomir Arsov
Original Soundtrack “Age of Wake” by Starward Projections
Composited by Sheldon Lisoy
Additional Compositing by Hiram Gifford
Art Directed & Edited by Lubomir Arsov

'IN-SHADOW' is an entirely independently funded, not-for-profit film. If you'd like to support the artist, DONATE here:

Gallery quality ART PRINTS available here:

Film Website:
Music Composers:

© Lubomir Arsov 2017


Satan's boulder busting destruction is halted by a stubborn foe, testing his shape shifting abilities. Scored to an old phonographic gospel recording, this highly metaphorical animated short illustrates the relentless resistance, and ultimate victory, over a gritty penetration of abuse.

-2017 Woodstock Film Festival, Best Animated Short.
-2017 Bend FIlm Festival, Best Animated Short.
-2017 Raleigh Film Festival, Best Animated Short.
-2017 ASIFA-East (Association Internationale du Film d'Animation) 2nd Place.
-2017 ASIFA-East (Association Internationale du Film d'Animation) Best Sound.
-2017 ASIFA-San Fran Audience Award, 1st Place Independent Films.

Official Selection:
-2017 Athens Anifest Animation Festival, Athens Greece (World Premiere)
-2017 Festival de Cannes, Short Film Corner.
-2017 Austin Film Festival
-2017 Savannah Film Festival
-2017 Bend Film Festival
-2017 East Lansing Film Festival
-2017 Raleigh Film Festival
-2017 Kansas International Film Festival
-2017 Savannah Film Festival
-2017 Ellensburg Film Festival
-2017 Coney Island Film Festival
-2017 Orlando Film Festival
-2017 Buffalo International Film Festival
-2017 Queen City Film Festival
-2017 In Short Film Festival
-2017 Santa Cruz Film Festival
-2017 Shorts on Tap London
-2017 ASIFA South Animation Conference and Festival
-2017 Naperville Independent Film Festival
-2017 Woods Hole Film Festival
-2017 Walla Walla Movie Crush
-2017 Literally Short Film Festival
-2017 Atlanta Shortfest
-2017 The Fredrick Film Festival
-2017 Woodstock Film Festival
-2017 Pachuca Film Festival, Mexico
-2017 ASIFA-San Francisco
-2017 ASIFA-East Film Festival (Winner)
-2017 Anima Mundi Brazil.
-2017 Woods Hole Film Festival
-2017 Marthas Vineyard Film Festival
-2017 Phoenix Comiccon
-2017 Open World Animation Festival
-2017 Philadelphia Independent Film Festival
-2017 We Like 'em Short Film Festival


Film by Anna Prado!!! senior thesis at RCAD, 2017

Allisk8r is a 3d animated film that highlights snappy, flat cartoon animation style, fast action, and colorful throwback design

In prehistoric times, a little alligator with a big attitude gets his kicks skateboarding and being a cool dude. But will Allisk8r be able to catch a break once the dino-law gets on his case??

story, modeling, rigging, animation, editing, lighting, comp, all done by me!
my art tumblr:

Music commissioned from Christian M Krogsvold AKA Waterflame, who did an amazing job!

Title on the board commissioned from my friend Kylee Solari, also amazing!

The Daily Dweebs

The Daily Dweebs’ is a pilot episode of an animated series revolving around the pet Dixey and his shenanigans in 1950’s American suburbia.

More information:

This pilot was created by the Blender Animation Studio in Amsterdam, The Netherlands, and made possible with support from thousands of people from all around the world via subscription to the Blender Cloud. Entirely made in Blender, released as Creative Commons for Blender Cloud subscribers.

Join today.


How Much Does Animation Cost Per Second By Callison Slater

From Callison Slater's Blog

Famous examples of animation, along with how much each second cost to create (Budget Adjusted for Inflation / Running Time).

Hopefully, this can help other animators and potential clients judge pricing more clearly.

Keep in mind, though, that the employment laws and studio systems differ from country to country, and different animation styles require different amounts of time and resources.

Studios usually hire entire teams of animators, celebrity voice actors, etc., so not every bit of the budget went toward animation, but animation is typically the most expensive part of any film.

Plus, if you were hired to create something that looked like Toy Story 3, for example, someone would need to pay for the rigging, modeling, animation, and rendering, so most expenses are unavoidable.

For more tips on animation, storytelling, and film-making, check out the free eBook here


$49,059 per second



Toy Story 3 (2010)

$36,639 per second


 Brave (2012)

$33,217 per second


 Wreck-It Ralph (2012)

$24,689 per second

Ratatouille (2007)

$25,759 per second


Finding Nemo (2003)

$21,027 per second


Hercules (1997)

$19,292 per second


Coraline (2009)

$11,690 per second


Toy Story (1995)

$9,990 per second


Beauty and the Beast (1991)

$6,906 per second


Snow White (1937)

$5,448 per second

Akira (1987)

$2,852 per second


The Simpsons (1990)

$1,030 per second

Steamboat Willie (1928)

$495 per second


Millennium Actress (2003)

$397 per second



South Park (2006)

$223 per second


For more tips on animation, storytelling, and film-making, check out my free eBook here


SyncSketch - FREE - 8$ a month

It's been fun watching SyncSketch grow into a full media collaboration tool. This is a little story about how we started this whole journey ...

I use this tool in my classrooms and pay the basic 8$ a month myself.

Schools can buy at educational pricing.

Tool for Character Animation: Keyframe Pro - 79$

Keyframe Pro is a feature rich, high-performance playback and review tool designed for professionals and students working in games, TV, and film. Built from the ground up, and focusing on the expanded needs of animators in production, Keyframe Pro is a powerful addition to any animator’s toolkit. This has a nice interface that docks into maya and you can make it always on top to use as reference without having to make an image place in Maya to project your reference onto.

He has multi seat pricing too for schools.

bh_camZoom - FREE


This a tool used in production often when you are working with a plate to zoom into the shot without changing the camera.

Maya has a 2D pan Tool that I do not like as much as Brian's.  It's Free.

ShotMask VP2 - FREE

Shot mask enables you to burn shot info onto your playBlasts easily.

The recent update adds a custom Maya node that can leverage Maya’s Viewport 2.

ShotMask VP2 is the successor to the original shot labeling tool that was developed over 4 years ago. The script offers a more interactive approach to creating camera masks through it’s new user interface. The shot labeling tool also internalizes a simple python API that makes it possible to write custom scripts or automate the creation process as part of a larger pipeline.

Shot Mask VP2, as the name implies, is only meant to work with Maya’s ViewPort 2. The tool is written in Python, and comes with full source code provided so that you can extend or modify it as needed. Once again, Shot Mask VP2 is free, and is available for Maya 2015 and up.

Creating shot masks has never been easier in Maya.

bh_Ghost Onion Skin Tool for Maya - FREE

bhGhost is a very useful (and free) onion-skin tool for Maya animators.

It was created by Artist and animator Brian Horgan.

It's Free



bh_AnimProxy Tool For Maya - 5$

Great tool to work out simplified timing for bouncing balls in animation.
Now available! -  5$

Some progress on my 'bh_AnimSphere' tool, now called bh_AnimProxy since it can create cubes too.. I've added a GUI where you can choose sphere or cube, with scale and texture options and a delete button to revert to the character again.

One of my iAnimate students -  Brian Horgan is also a tools developer. He has written a few tools that can assist and help the animation process in Maya.

His Ghost Tool is a popular Maya add-on that can let users onion-skin poses.

This bh_AnimSphere or AnimProxy Tool is his latest.

The tool will allow you replace any controller selection in Maya with a primitive sphere. This helps you work out the basic timing and arcs first before getting into the details.

A click of a button will replace a controller with a sphere (or cube). Likewise, another click will toggle everything back again.

You can get AnimProxy here.

Riham Toulan’s New Space Switcher for Maya - 27$

Technical Animator at Dice AE in Stockholm, Riham Toulan has a new space switch tool available and it looks like it’s an elegant and easy tool for animators.

Character animation and space switching go hand-in-hand. Being able to switch spaces while maintaining an object’s position is crucial when a character needs to handle props, interact with the environment, or even other parts of the same character. Some space switching tools can be a UI and UX mess. This doesn’t seem to be the case with Toulan’s Space Switching Tool. It was designed to create a reliable space switching set up that also uses a selection based marking menu to switch between spaces. Of course, it can do this while keeping the position of the object intact.

The tool provides a very flexible design that would easily allow the user to edit, add, remove and bake created spaces. “I made this tool so it is both animator and riggers friendly,” Toulan says. “The UI is pretty interactive and the requirements for creating the setup are minimal. When adding a new space the tool guides the user by loading the previously made setup info to the tool.”

Space Switch Tool is $27 for a basic license or $150 for a commercial license.

Learn more about Space Switch Tool here.

Tool for Character Animation: Blue Pencil - 49$

Blue Pencil 2 is a robust and comprehensive Maya plug-in for 2D drawing, animation and review.

Providing a wide selection of drawing tools, layers, transformations, retiming, simplified sharing and more, Blue Pencil 2 is a powerful addition to the animator’s toolkit.

For more details visit


49$ and they have multi-seat pricing for schools.

Zootopia Progression Reel

Ana Ramírez - Pixar Concept Artist for Coco

Ana Ramírez
Pixar concept artist and CalArts alum Ana Ramírez detailed her contributions to creating the colorful world of Coco at this year’s Ottawa International Animation Festival.

Her graduate film is above - So Long, Yupi


GLAS Animation - Call for Entries

Submission by December 31

GLAS Animation welcomes all animation techniques
Films must be completed after January 2016
Short films submitted must not exceed 40 minutes
Feature length films must exceed 40 minutes
Short films that are online are welcome and eligible for consideration
Each applicant must be the rightful owner of submitted films and own all literary and musical rights.
Films must be comprised of 50% animation to be considered.

For more information, click here.