The Largest Entertainment Conglomerate Just Got Bigger

More at the NYT - LOS ANGELES — In a move that will reverberate from Hollywood and Silicon Valley to TVs and smartphones around the world, the Walt Disney Company said Thursday that it had reached a deal to buy most of 21st Century Fox, the empire controlled by Rupert Murdoch, in an all-stock transaction valued at roughly $52.4 billion.

While the agreement is subject to the approval of antitrust regulators — and the Justice Department recently a big media company, moved to block AT&T, from becoming even bigger — Disney is acknowledging that the future of television and movie viewing is online. The acquisition, which would make Disney a colossus unlike anything Hollywood has ever seen, is the biggest counterattack from a traditional media company against the tech giants that have aggressively moved into the entertainment business.

So what happens to BlueSky?

So the big Studios now are:

  • Disney / Fox
  • Warner Brothers
  • Universal
  • Paramount
  • Sony

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

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


Careers In Film Summit - October 14th

The Academy will present its 3rd annual Careers in Film Summit on Saturday, October 14th, at the Samuel Goldwyn Theater in Beverly Hills. The day-long event will provide high school and college students the opportunity to learn about careers in the motion picture industry, as well as hear from Academy members, Oscar-winning and nominated filmmakers, and other industry professionals about the skills, education and hard work required to achieve success. The summit includes six panel discussions that also will be live-streamed on

The final panel of the day – starting at 4:20pm – presents five of the leading animation artists in the field today, who will offer students firsthand knowledge of working in the industry and identify essential skills for their respective careers. Sessions also will incorporate film clips and Q & As with students.

All Things Animation – Panelists, 4:20pm, Oct. 14, 2017

Dale Baer, animator, “Who Framed Roger Rabbit”
Neysa Bové, visual development artist, “Moana”
Everett Downing Jr., animator/story artist, “Boss Baby”
Jorge Gutiérrez, director-character designer, “The Book of Life”
Vanessa Morrison, president, 20th Century Fox Animation
Simon Otto, head of character animation, “How to Train Your Dragon”
Moderated by Randy Haberkamp, the Academy’s Managing Director, Preservation and Foundation Programs

Tickets for the Los Angeles event are free, but must be reserved in advance. For more information and to obtain tickets, click here.

Ink and Paint: The Women of Walt Disney’s Animation

Before she began researching and writing Ink and Paint: The Women of Walt Disney’s Animation, author Mindy Johnson didn’t think it would be a long book. But once the research process started, she was amazed by how much she found. “This is an odyssey that has been under way for years,” she said when we got the chance to interview her about her upcoming book.[/vc_column_text][/vc_column][/vc_row]

“The research on this has been pretty crazy. The bibliography on this book is about 8 pages long.”

Ink and Paint: The Women of Walt Disney’s Animation tells the history of Walt Disney Animation from an under-told perspective. In the book, Johnson explores the story of women in cinema, from the dawn of silent cinema, to the very first women in Walt Disney’s Ink & Paint Department, and beyond.

Johnson says: “It’s not just about the department of Ink and Paint. Women were everywhere.”

Families of the women profiled in the book were eager to tell their relatives’ stories. Mindy pointed out that we’ve heard all about the stories of the men who drew at Walt Disney Animation, but we haven’t heard the stories of the women until now.

The book features “some things that have never been seen before,” including previously unseen images and documents that were literally found under the beds of relatives of some of these women. This is something that all Disney fans can get excited about!

It’s not just about the Ink & Paint Department, either! The book looks at women in stenography, Imagineering, and more. There’s even a look at the Studio cats, who were cared for by the women of the Ink & Paint Department.

Here are just a few of the women you can learn more about in Ink and Paint: The Women of Walt Disney’s Animation.


The wives of Walt and Roy, respectively, were “always on hand” in the Los Angeles houses where the Walt Disney Company got its start.

“Walt knew women were the tastemakers and always had that in mind in telling these stories.”


Kathleen was the first employee of the Walt Disney Company! Says Johnson: “She was hired on to do painting—blackening as it was called in those days—because as you’ll see the cartoons were really rather crude, basic. It was really blackening in the pencil lines to convey the story.”


According to Johnson, while Ub Iwerks did “the bulk of the animation” on the Silly Symphony short “The Skeleton Dance,” Mary Tebb “did all of the inking and painting on that.”


“Hazel is a very pivotal key person who is completely overlooked in any of the books. [There are] very few mentions of Hazel Sewell or what her contributions were, but let me tell you, this woman was groundbreaking.”

She joined the studio in 1927, and was also the person who introduced the Disney men to Kathleen Dollard!


Virginia started working in the Inking Department in 1942, and then moved on to cleaning cels before they went on to photography.

“Working with ink, it has spoiled me to watch a cartoon. Because I have to see: does the eyebrow land in the same place the same time? I still can’t enjoy cartoons!,” Virginia said jokingly at the D23 Expo panel. She also mentioned that she loved her time working at the Walt Disney Company.


Jane worked in the Animation department, and recalled working with a few other female animators. Fun fact about Jane: she is the person responsible for animating the candles sliding off Aurora’s cake in Sleeping Beauty!


Gretchen was in the Ink & Paint department in the 1970s. Gretchen eventually took over the department and oversaw the change from hand-rendered artistry into digital artistry. That’s a pretty big deal, if you ask us!


Patty worked in special effects animation, and started out at Disney in a program through Cal Arts (where she was classmates with John Lasseter and Tim Burton!). She was the first woman to receive s screen credit as a special effects animator. Epic!

And so many more (check them out below!). We can’t wait to dive into our copy and learn more about all of these women once Ink and Paint: The Women of Walt Disney’s Animation is released!

Whiteboard Animation Company Announces Scholarship Program for Young Women of Color

Next Day Animations is pleased to announce the second year of their scholarship program for young women of color pursuing higher education. Following a successful inaugural year, the "Girls Who Illustrate Awesomeness" Scholarship application will open on Monday Oct. 2, 2017.

The "Girls Who Illustrate Awesomeness" Scholarship offers two $750 awards to young women or gender nonconforming individuals actively seeking to change the world. Applicants are asked to submit a written essay or short YouTube video explaining who they are and what they are doing to make a difference.

"As a values-driven small business, the scholarship program is a concrete way for us to give back and empower young leaders," says Hannah Brown, Operations Manager. "There are so many young women out there doing amazing things, and we're thrilled to be able to recognize and reward them for their hard work and passion. We hope our program inspires other organizations to create new opportunities focused on reducing disparities."

The scholarship will be awarded for the Spring semester of 2018. Qualified applicants are young women or gender nonconforming individuals of color with at least a 3.0 GPA, are currently enrolled full-time in a college/university or will begin in the Spring of 2018.

Last year, the scholarship received over 150 applications, and was awarded to Rona Wang of Massachusetts Institute of Technology and Jael Whitney of Kansas State University. Additionally, six students received honorable mentions. More information on the scholarship and how to apply can be found at

Founded in 2012, Next Day Animations specializes in whiteboard animations and explainer videos for businesses, government and nonprofits, including United Way, Big Brothers Big Sisters, Goodwill and many others.

Hannah Brown, Operations Manager
Ph: 202-747-0404

SOURCE Next Day Animations

Related Links


Stop-motion shorts and TV specials may be submitted for the first edition of ANIMARKT pitching that will take place in Lodz (Poland) in October 2017. Pitching competition will be accompanied by pitching training sessions, panel discussions, presentations, workshops and individual face-to-face meetings.  

The pitching is a part of ANIMARKT – the first in Central and Eastern Europe (CEE) event of a kind, focusing on stop motion / puppet animation. Its second edition will be held in Lodz (Poland) from 2nd to 6th of October 2017. During this five day event producers, distributors, representatives of TV broadcasters, animators and other professionals will share their experience and practical knowledge on working in animation industry.

Pitching sessions

This year ANIMARKT, for the very first time, will have two pitching sessions for creators of short stop-motion projects.Taking part in a pitching training with tutors experienced in animation production will be a great way to gain practical skills on how to pitch and promote a project, while submitting a project to a pitching competition may be a chance to be awarded with the Centre of Audio-Visual Technologies’ contribution in kind in the amount of: 60 000 PLN (ca €14 200), 30 000 PLN (ca €7 100), 20 000 PLN (ca €4 700),” says Agnieszka Kowalewska-Skowron, ANIMARKT programmer. Information concerning the three awarded projects shall be announced on 5 October 2017 during the Closing Gala of the International Festival of Animation Art, ANIMART.

ANIMARKT pitching competition is open for short stop-motion / puppet animation projects from all over the world. The submitted project has to meet the following conditions:

  • film duration: up to 25 minutes;
  • 80% of the film is a stop-motion / puppet animation;
  • the film must be at the development stage.

    An additional asset of the project will be the artistic input of the creators (animation director, storyboard author, author of artistic designs, composer, realization of a significant part of the animation) from at least one of the following countries: Poland, Slovakia, Czech Republic, Hungary, Estonia, Germany, Ukraine, Lithuania, Latvia.

    More information about pitching, its regulations and an application form can be found on the event’s Submission deadline is August 31st, 2017.

    About ANIMARKT event

    The main aims of ANIMARKT event are popularization of animation (especially stop-motion / puppet animation) from Central and Eastern Europe on international arena, as well as giving support to its creators and improving networking among animation producers, aiming at international co-productions.

    ANIMARKT is organized by MOMAKIN ( – a company who was born out of a great passion for animation and film, as well as out of the desire to popularize the magnificent art of stop motion animation. The co-organizer of the event and the sponsor of the main prizes in the pitching competition is the Audiovisual Technology Center (Poland). ANIMARKT is co-financed by Visegrad Fund and The Ministry of Culture and National Heritage (Poland). Among partners of the ANIMARKT are: Animánie (Czech Republic), Fool Moon (Slovakia) and PRIMANIMA World Festival of First Animations (Hungary).

    For more information, please contact:

    Iwona Buchcic, sends e-mail), +48 502 598 925

Director Ron Howard selected to take over production of Star Wars stand-alone Han Solo film

Two days after announcing that its production of the second Star Wars anthology film, based on the young Han Solo character, would be parting ways with its directors, Lucasfilm has found a replacement director. Academy Award-winning filmmaker Ron Howard will take over the as-yet untitled Han Solo movie.

Read More Here...

Wonder Woman buries The Mummy at the Domestic Box Office

Warner Bros. Pictures and DC FilmsWonder Woman won a second-straight weekend at the domestic box office with an impressive $57.2 million, a drop of just 45% in ticket sales (it’s usually 50 to 60% these days for a film’s second weekend). That’s higher than the second weekends of Man of Steel ($41.3 million), Batman v Superman: Dawn of Justice ($51.3 million) and Suicide Squad ($43.5 million), despite all three of those movies having bigger opening weekends. The domestic total now stands at $205 million. Internationally, Wonder Woman grossed $58.1 million from 57 markets this weekend and has now earned $230.2 million (with $68.4 million coming from China). That means the global total is now up to $435.2 million, with the film having not yet opened in countries such as Germany (June 15), Spain (June 23) and Japan (August 25). Made for $149 million and directed by Patty Jenkins, Wonder Woman stars Gal Gadot, Chris Pine, Robin Wright, Danny Huston, Ewen Bremner, Saïd Taghmaoui, Elena Anaya, Connie Nielsen and Lucy Davis.

Wonder Woman buries The Mummy at the domestic box office

Artella: Funding your Independent Film and VR Projects


Artella video replay below and talking points from Bobby Beck’s fantastic Webinar on the topic of, funding your independent film and VR projects. These concepts apply to both your animation production and live action productions.


Read More Here...

‘Wonder Woman’ Breaks Glass Ceiling For Female Directors With $97M+ Debut; Earns ‘A’ CinemaScore

Read More Here

5th UPDATE, Saturday writethru after Friday 11:40 PM: After weathering lackluster critical scores and OK fan response with last year’s Batman V. Superman: Dawn Of Justice and Suicide Squad, all is well and correct in the Warner Bros/DC universe as Wonder Woman is both a hit with critics (94% Certified Fresh Rotten Tomatoes) and audiences, earning an A CinemaScore on top of her current $97.1 million opening.

For the weekend of June 2-4, based on late night Saturday estimates:

1.). Wonder Woman  (WB), 4,165 theaters / $38.7M Fri. (includes $11M previews)/3-day cume: $97.1M/Total: Wk 2

2.). Captain Underpants  (DWA/20TH), 3,434 theaters / $8M Fri. (includes $650K previews) /3-day cume: $25.7M/Total: Wk 1

3.). Pirates Of The Caribbean: Dead Men Tell No Tales  (DIS), 4,276 theaters / $6.3M Fri. (-73%)/3-day cume: $21.3M (-66%)/Total:$114.3M/ Wk 2

4.). The Guardians Of The Galaxy Vol. 2 (DIS), 3,507 theaters (-364) / $2.6M Fri.(-51%) /3-day cume: $9.7M (-54%) /  Total: $355.4M / Wk 5

5.). Baywatch (FOX), 3,647 theaters / $2.6M Fri.(-54%)/ 3-day cume: $8.5M (-54%)/Total:$41.3M/ Wk 2

6.). Alien: Covenant (FOX), 2,660 theaters (-1,112) / $1.1M Fri. (-61%)  /$3-day cume: $3.9M (-63%)/Total: $67.1M Wk 3

7.). Everything, Everything (WB/MGM), 2,375 theaters (-426) / $1M Fri. (-50%)//3-day cume: $3.1M (-48%) /Total:$28.1M/  Wk 3

8/9.). Snatched (FOX), 1,625 theaters (-1,033) / $385K Fri. (-65%)  /3-day cume: $1.3M (-68%) / Total:$43.8 M / Wk 4

Diary Of A Wimpy Kid: The Long Haul (FOX), 2,088 theaters (-1,086) / $368K Fri. (-71%) / 3-day cume: $1.3M (-70%)/ Total: $17.9M/Wk 3

10.). King Arthur: Legend Of The Sword (WB/VR), 1,222 theaters (-1,281)/ $322K  Fri. (-64%) /3-day cume: $1.1M (-67%) /Total:$37.1M / Wk 4


3 Idiotas  (LG), 349 theaters / $175K Fri. /3-day cume: $597K/Total: Wk 1

6.). Alien: Covenant (FOX), 2,660 theaters (-1,112) / $1.1M Fri. (-61%) /$3-day cume: $3.9M (-63%)/Total: $67.1M Wk 3

7.). Everything, Everything (WB/MGM), 2,375 theaters (-426) / $1M Fri. (-50%)//3-day cume: $3.1M (-48%) /Total:$28.1M/ Wk 3

8/9.). Snatched (FOX), 1,625 theaters (-1,033) / $385K Fri. (-65%) /3-day cume: $1.3M (-68%) / Total:$43.8 M / Wk 4

Diary Of A Wimpy Kid: The Long Haul (FOX), 2,088 theaters (-1,086) / $368K Fri. (-71%) / 3-day cume: $1.3M (-70%)/ Total: $17.9M/Wk 3

10.). King Arthur: Legend Of The Sword (WB/VR), 1,222 theaters (-1,281)/ $322K Fri. (-64%) /3-day cume: $1.1M (-67%) /Total:$37.1M / Wk 4


3 Idiotas (LG), 349 theaters / $175K Fri. /3-day cume: $597K/Total: Wk 1

Brian Grazer and Ron Howard's Imagine Entertainment is getting into the booming, competitive animation business

From the LA Times by Ryan Faughnder

Hollywood producers Brian Grazer and Ron Howard are stepping into the animated film business in hopes of taking advantage of the booming — and increasingly competitive -- market for family movies.

Grazer and Howard’s production company Imagine Entertainment has teamed with Australian animation firm Animal Logic to develop, produce and finance six movies during the next five years, they said. Financial terms were not disclosed.

Animal Logic, based in Sydney with offices in Vancouver and Los Angeles, is best known for doing the animation for hit films including Oscar-winner “Happy Feet” and “The Lego Movie,” both of which were released by Warner Bros.

The move comes amid animation’s continued dominance at the box office. Four of the top 10 movies last year were computer animated -- “Finding Dory,” “The Secret Life of Pets,” “Zootopia” and “Sing.” The grown-up mid-budget movies Imagine has built its brand around face growing difficulties at the box office.

Imagine, based in Beverly Hills, is best known for live action adult-oriented fare, including “The Da Vinci Code” trilogy and “Apollo 13.” The company has long wanted to dive into animation, but couldn’t afford to take the gamble, Grazer told The Times.

read more here...

The Artistry Of 'Samurai Jack'

If you were watching Cartoon Network in the late '90s and early 2000s, you probably have Genndy Tartakovsky to thank for some of your favorite cartoons.

But one of his cartoons stands above the rest as a visual and animated masterpiece — "Samurai Jack." With it's unique drawing style, distinct minimalist feel, and perfectly choreographed action sequences "Samurai Jack" has gone down as a seminal work in cartoon history.

Never having received the ending it deserved, "Samurai Jack" is finally returning to Adult Swim this weekend to finish the epic animated tale started way back in 2001.

A 24-Minute Documentary on The Unsustainable VFX Industry

Hollywood’s Greatest Trick was produced by Sohail Al-Jamea and Ali Rizvi for McClatchy Video Lab, a division of the McClatchy media organization that owns dozens of newspapers around the United States. The reporting for the piece was’ done by Greg Hadley and Elizabeth Koh.

It was one of the most controversial cinematic moments of 2016.

In the final scene of “Rogue One: A Star Wars Story,” a figure shrouded in a white cloak turns, extends her hand, faces the camera and utters one word: “Hope.” Audiences everywhere gasped, screamed and cheered.

Nearly 40 years after the first “Star Wars” movie debuted, the character of Princess Leia had returned to the screen without aging a day, even as the actress who portrayed her, Carrie Fisher, went from 19 years old to 60.

The masterpiece of movie magic, combining old footage and recordings with digital effects to turn back time, raised ethical questions about profiting in perpetuity off the likeness of an actor. When Fisher died just a few weeks after the “Rogue One” premiere, Disney executives reportedly considered recreating her digitally in order to include her in future installments of the franchise, before ultimately issuing a statement saying they would not.

Top 50 highest grossing films of 2016


Animation Workers Reach $100 Million Settlement With Disney in Wage-Fixing Suit

Animation workers have reached a $100 million settlement with the Walt Disney Company, Pixar, and Lucasfilm in a class action lawsuit claiming that the defendants violated antitrust laws by conspiring to set animation wages via non-poaching agreements.

Disney and its companies were the last remaining defendants in the litigation. Earlier this month, a federal judge gave preliminary approval to a $50 million settlement with DreamWorks Animation, following previous settlements of $13 million with Sony Imageworks and $5.95 million with Blue Sky. All of the sums will be put in a settlement fund.

more at Variety...

Pixar's Recruiting Team Shares Invaluable Information During Twitter Q&A Session

Via Pixar Post

Twitter has become one of the most unique social media tools allowing its user base to have a digital connection to people and companies that they admire the most. On Monday, December 19, the Pixar Recruiting team held a very informative Twitter Q&A session - answering more than 100 questions in just over an hour.  If these types of Q&A sessions sound familiar - you'll remember that director Andrew Stanton and most recently director Lee Unkrich both held impromptu Q&A's while experiencing travel delays.

The Pixar Recruiting team did a wonderful job tackling a broad range of topics and sharing invaluable information with those who submitted their questions. This also reminded us of the Steve Job's video, "Don't be afraid to ask for help", where he states, "Most people never pick up the phone, most people never ask, and that's what separates sometimes, the people that do things between the people that just dream about them". 



@PixarRecruiting what are some intangibles you look for in candidates & some suggestions to highlight them?

@medsan14 Be your authentic self! Other than appreciating our movies, know why you want to work here. That'll help us understand you better!


@PixarRecruiting What helps a reel or portfolio stand out from the rest?

@thalliez succinct (no more than 1:30) put only ur best work, keep focused to the discipline you're interested in



@JoyOfodu yes absolutely! all interns are paired with a mentor and receive consistent feedback


Is it possible for some1 who has no formal film-related xperience but is extremely interested in Pixar to get a job there? @PixarRecruiting

@_nikkipoison Yes, there are many jobs that don't require film experience. Check out our careers page! 



@PixarRecruiting Story Intern: Does enrollment in a workshop CEU qualify to be an Intern candidate?


@PixarRecruiting are you hiring for freelancers?

@deborahatorres We don't typically hire freelancers. For shows, project-based positions are called ROS (run of show). Good luck!


@PixarRecruiting Hi, and thanks for hosting this! Do you ever do internships for experienced (Gen IT) people who want to work @ Pixar?

@LRacer2 We're glad you're here! Interns must be currently enrolled in an undergraduate or graduate program, or graduated w/i the year


@PixarRecruiting Do technical interns contribute to PIxar's feature films or short?

@vfxchrono Yes! The TD interns work on films in production. We also have a classroom based internship that is only offered in the summer.


@PixarRecruiting What advice would you have for a college sophomore applying for a marketing internship?

@dreespinosa Use your cover letter to tell us about you and why you are interested in marketing. We read all of them!


@PixarRecruiting Set Shading: Is coding a must have quality? I focus more on the artistic side.


@PixarRecruiting When looking at student reels (for internships), do you prefer the reel that is flawless or the one that has potential?

@CyrusMickaela We like to see projects, finished pieces and work in progress. We're looking for potential for certain!


@PixarRecruiting For PUP many different types of application materials are suggested, which do you most like to see?

@jtishler22 Pick a medium that aligns with where you'd like to go: for tech roles: Github/code samples, for art/anim: portfolios, etc.


@PixarRecruiting What is the most creative, striking thing you've seen in a story/anime reel that lead to hiring the artist?

@brushmechanic_ clear story telling without any dialogue. knew what characters were feeling by their expressions and body language


@PixarRecruiting Can you tell me a little bit about the interview process? Assuming there is one.

@Jdunk55 every discipline has a different interview process but the basics are phone interview, video interview(s), and onsite interview(s)


@PixarRecruiting for TD effects internship, what kind of work do you look for in a reel?Does having Live Action film experience help?

@alex_nny LA good; anim better! Houdini exp = great! We need to see that you have a good visual eye.


@PixarRecruiting How much does being an intern affect your chances of being hired later down the road?

@OliviaLovesSnow Depending on which internship, it can be a feeder into a more permanent role, depending on studio needs


@PixarRecruiting Is it OK to have a degree in animation but apply to work in art or story?

@wendi_locklar absolutely! There are many people working at Pixar in areas that have degrees from other areas. We look for passion!


@PixarRecruiting what is your least favorite thing people do when trying to get a job at Pixar? (Besides tweeting at you) ?

@theHsEdition Apply for every open position. We are a studio of specialization and look for individuals with an interest in a specific role


@PixarRecruiting Do you hire remote software developers?

@dustineichler Due to the collaborative nature of our Studio, all our employees are here onsite.


@PixarRecruiting Do you like to see 2D animation as well as 3D?


@PixarRecruiting I am applying to the story internship. What should I definitely have in my portfolio? What are things to avoid?

@chelsealerond17 Story boards she be included. Also include your sketch book. Make it easy to navigate


@PixarRecruiting since a lot of editing software is very similar, is being proficient in the one Pixar uses required for an intern?

@_BAMFOn Basic knowledge of the Avid makes us smile in Editorial. Final Cut great, too. Don't have to be pro but we need to build on it.


@PixarRecruiting Is there a career path from architecture school to Pixar, designing settings? Many people there with that background?

@imagineerland Yes, there are folks with architecture bg's. They usually do well in modeling depts doing digital assets and sets.


@PixarRecruiting @DisneyPixar I would love to work for Pixar. I am a graphic designer currently working at a local newspaper. Need any good graphic designers? ?

@thismeltingsnow @DisneyPixar We don't hire graphic designers often but check our website from time to time

Katzenberg Possible Replacement for Michael Lynton at Sony Entertainment

17via The Wrap

Michael Lynton dropped a late Friday bomb on Hollywood in the form of his resignation as CEO of Sony Entertainment and Corporate Executive Officer of Japan’s Sony Corporation.

After 13 years at the top of the Culver City, California lot overseeing both Sony’s motion picture and music businesses, Lynton announced he would be concentrating full time on his position as Snapchat’s board chairman in six months time.

While the coming days will shed light on why Lynton departed, the immediate question is clear: who is taking his chair?

Never one for idle hands, Katzenberg isn’t going to go fly fishing for the rest of his days after the recent unloading of his DreamWorks Animation to NBCUniversal for $3.8 billion. Katzenberg has survived many years in a volatile business, is iconic in the clubby circles of Hollywood and is a decisive leader.

15th Annual VES Award Nominees

Via Jeff Heusser,  FX Guide, 

Nominees for the 15th Annual VES Awards were announced today by the Visual Effects Society. Nominating panels were held in the San Francisco Bay Area, London, Montreal, New York, New Zealand, Sydney, Vancouver and Los Angeles. On-Line Viewing & Voting (Members Only) will commence January 21st, followed by the Awards to be held on Tuesday, February 7, 2017 at the The Beverly Hilton Hotel.

Congratulations to all the Nominees:

Outstanding Visual Effects in a Photoreal Feature

Doctor Strange
Stephane Ceretti, Susan Pickett, Richard Bluff, Vincent Cirelli, Paul Corbould

Fantastic Beasts and Where to Find Them
Christian Manz,Olly Young, Tim Burke, Pablo Grillo, David Watkins

Miss Peregrine's Home For Peculiar Children
Frazer Churchill, Hal Couzens, Andrew Lockley, Jelmer Boskma, Hayley Williams

Rogue One: A Star Wars Story
John Knoll, Erin Dusseault, Hal Hickel, Nigel Sumner, Neil Corbould

The Jungle Book
Robert Legato, Joyce Cox, Andrew R. Jones, Adam Valdez, JD Schwalm

Outstanding Supporting Visual Effects in a Photoreal Feature

Kevin Baillie, Sandra Scott, Brennan Doyle, Viktor Muller, Richard Van Den Bergh

Deepwater Horizon
Craig Hammack, Petra Holtorf-Stratton, Jason Snell
John Galloway
Burt Dalton

Jason Bourne
Charlie Noble, Dan Barrow, Julian Gnass, Huw Evans, Steve Warner

Pablo Helman, Brian Barlettani, Ivan Busquets, Juan Garcia, R. Bruce Steinheimer

MIchael Owen,Tyler Kehl, Mark Curtis, Bryan Litson, Steven Riley

Outstanding Visual Effects in an Animated Feature

Finding Dory
Angus MacLane, Lindsey Collins- p.g.a., John Halstead, Chris J. Chapman

Kubo and the Two Strings
Travis Knight, Arianne Sutner, Steve Emerson, Brad Schiff

Kyle Odermatt, Nicole P. Hearon, Hank Driskill, Ian Gooding

The Little Prince
Mark Osborne, Jinko Gotoh, Pascal Bertrand, Jamie Caliri

Scott Kersavage, Bradford S. Simonsen, David Goetz, Ernest J. Petti

Outstanding Visual Effects in a Photoreal Episode

Black Mirror; Playtest
Justin Hutchinson-Chatburn, Russell McLean, Grant Walker, Christopher Gray

Game of Thrones; Battle of the Bastards
Joe Bauer, Steve Kullback, Glenn Melenhorst, Matthew Rouleau, Sam Conway

Stranger Things; Demogorgon
Marc Kolbe, Aaron Sims, Olcun Tan

The Expanse; Salvage
Robert Munroe, Clint Green, Kyle Menzies, Tom Turnbull

Westworld; The Bicameral Mind
Jay Worth, Elizabeth Castro, Bobo Skipper, Gustav Ahrén

Outstanding Supporting Visual Effects in a Photoreal Episode

Black Sails; XX
Erik Henry, Terron Pratt, Aladino Debert, Yafei Wu, Paul Stephenson

Penny Dreadful; The Day Tennyson Died
James Cooper, Bill Halliday, Sarah McMurdo, Mai-Ling Lee

Roots; Night One
Simon Hansen, Paul Kalil, Theo le Roux Preist, Wicus Labuschagne, Max Poolman

The Man in the High Castle; Volkshalle
Lawson Deming, Cory Jamieson, Casi Blume, Nick Chamberlain

Vikings; The Last Ship
Dominic Remane, Mike Borrett, Ovidiu Cinazan, Paul Wishart, Paul Byrne

Outstanding Visual Effects in a Real-Time Project

Call of Duty: Infinite Warfare
Brian Horton, Keith Pope, David Johnson, Tobias Stromvall

Dishonored 2; Crack in the Slab
Sebastien Mitton, Guillaume Curt, Damien Laurent, Jean-Luc Monnet

Fantastic Beasts and Where to Find Them; Virtual Reality
Andy Rowans-Robinson, Karen Czukerberg, John Montefusco, Corrina Wilson, Resh Sidhu

Gears of War 4
Kirk Gibbons, Zoe Curnoe, Aryan Hanbeck, Colin Penty

Quantum Break
Janne Pulkkinen, Elmeri Raitanen, Matti Hamalainen, Ville Assinen

Uncharted 4
Bruce Straley, Eben Cook, Iki Ikram

Outstanding Visual Effects in a Commercial

Coke Mini; A Mini Marvel
Vincent Cirelli, Michael Perdew, Brendan Seals, Jared Simeth

For Honor
Maxime Luern, Leon Berelle, Dominique Boidin, Remi Kozyra

John Lewis; Buster the Boxer
Diarmid Harrison-Murray, Hannah Ruddleston, Fabian Frank, William Laban

Titanfall 2; Become One
Dan Akers, Tiffany Webber, Chris Bedrosian

Waitrose; Coming Home
Jonathan Westley -Wes, Alex Fitzgerald, Jorge Montiel, Adam Droy

Outstanding Visual Effects in a Special Venue Project

Dream of Anhui
Chris Morley, Lee Hahn, Alex Hessler, Kent Matheson

Pirates of the Caribbean; Battle for the Sunken Treasure
Bill George, Amy Jupiter, Hayden Landis, David Lester

Soarin' Over the Horizon
Marianne McLean, Bill George, Hayden Landis, Dorne Huebler, Thomas Tait

Skull Island: Reign of Kong
John Gibson, Arish Fyzee, Sachin Shrestha, Anshul Mathuria

Voyage of Time: The IMAX Experience
Dan Glass, Brett Harding, Tom Debenham, Brian Delmonico, Matt Pulliam

Outstanding Animated Performance in a Photoreal Feature

Fantastic Beasts and Where to Find Them; Niffler
Laurent Laban, Gabriel Beauvais-Tremblay, Luc Girard, Romain Rico

Rogue One: A Star Wars Story; Grand Moff Tarkin
Sven Jensen, Jee Young Park, Steve Walton, Cyrus Jam

The Jungle Book; King Louie
Paul Story, Dennis Yoo, Jack Tema, Andrei Coval

The Jungle Book; Shere Khan
Benjamin Jones, Julio Del Rio Hernandez, Jake Harrell, James Hood

Warcraft; Durotan
Sunny Wei, Brian Cantwell, Brian Paik, Jee Young Park

Outstanding Animated Performance in an Animated Feature

Finding Dory; Hank
Jonathan Hoffman, Steven Clay Hunter, Mark Piretti, Audrey Wong

Kubo and the Two Strings; Kubo
Jeff Riley, Ian Whitlock, Adam Lawthers, Jeremy Spake

Kubo and the Two Strings; Monkey
Andy Bailey, Dobrin Yanev, Kim Slate, Jessica Lynn

Moana; The Mighty Maui
Mack Kablan, Nikki Mull, Matthew Schiller, Marc Thyng

Outstanding Animated Performance in an Episode or Real-Time Project

Call of Duty: Infinite Warfare; Omar
Bernardo Antoniazzi, Aaron Beck, Jason Greenberg, Chris Barnes

Fantastic Beasts and Where to Find Them
John Montefusco, Michael Cable, Shayne Ryan, Andy Rowan-Robinson

Game of Thrones; Battle of the Bastards; Drogon
James Kinnings, Michael Holzl, Matt Derksen, Joeseph Hoback

Game of Thrones; Home; Emaciated Dragon
Sebastian Lauer, Jonathan Symmonds, Thomas Kutschera, Anthony Sieben

Outstanding Animated Performance in a Commercial

John Lewis; Buster the Boxer
Tim van Hussen, David Bryan, Chloe Dawe, Maximillian Mallman

Opel Motorsport; Racing Faces; Lion
Jorge Montiel, Jacob Gonzales, Sauce Vilas, Alberto Lara

SSE; Neon House; Baby Pixel
Jorge Montiel, Daniel Kmet, Sauce Vilas, Peter Agg

Waitrose; Coming Home
Jorge Montiel, Nick Smalley, Andreas Graichen, Alberto Lara

Outstanding Created Environment in a Photoreal Feature

Deadpool; Freeway Assault
Seth Hill, Jedediah Smith, Laurent Taillefer, Marc-Antoine Paquin

Doctor Strange; London
Brendan Seals, Raphael A. Pimentel, Andrew Zink, Gregory Ng

Doctor Strange; New York City
Adam Watkins, Martijn van Herk, Tim Belsher, Jon Mitchell

Rogue One: A Star Wars Story; Scarif Complex
Enrico Damm, Kevin George, Olivier Vernay-Kim, Yanick Dusseault

Outstanding Created Environment in an Animated Feature

Finding Dory; Open Ocean Exhibit
Stephen Gustafson, Jack Hattori, Jesse Hollander, Michael Rutter

Kubo and the Two Strings; Hanzo's Fortress
Phil Brotherton, Nick Mariana, Emily Greene, Joe Strasser

Kubo and the Two Strings; Waves
David Horsley, Eric Wachtman, Daniel Leatherdale, Takashi Kuboto

Moana; Motonui Island
Rob Dressel, Andy Harkness, Brien Hindman, Larry Wu

Outstanding Created Environment in an Episode, Commercial, or Real-Time Project

Black Sails; XXVIII; Maroon Island
Thomas Montminy-Brodeur, Deak Ferrand, Pierre Rousseau, Mathieu Lapierre

Dishonored 2; Clockwork Mansion
Sebastien Mitton,Guillaume Curt, Damien Laurent, Jean-Luc Monnet

Game of Thrones; Battle of the Bastards; Meereen City
Deak Ferrand, Dominic Daigle, François Croteau, Alexandru Banuta

Game of Thrones; The Winds of Winter; Citadel
Edmond Engelbrecht, Tomoka Matsumura, Edwin Holdsworth, Cheri Fojtik

The Man in the High Castle; Volkshalle
Casi Blume, David Andrade, Nick Chamberlain, Lawson Deming

Outstanding Virtual Cinematography in a Photoreal Project

Doctor Strange; New York Mirror Dimension
Landis Fields, Mathew Cowie, Frederic Medioni, Faraz Hameed

Game of Thrones; Battle of the Bastards
Patrick Tiberius Gehlen, Michelle Blok, Christopher Baird, Drew Wood-Davies

Rogue One: A Star Wars Story; Space Battle
John Levin, Euisung Lee, Steve Ellis, Barry Howell

The Jungle Book
Bill Pope, Robert Legato, Gary Roberts, John Brennan

Outstanding Model in a Photoreal or Animated Project

Deepwater Horizon; Deepwater Horizon Rig
Kelvin Lau, Jean Bolte, Kevin Sprout, Kim Vongbunyong

Rogue One: A Star Wars Story; Princess Leia
Paul Giacoppo, Gareth Jensen, Todd Vaziri, James Tooley

Rogue One: A Star Wars Story; Star Destroyer
Jay Machado, Marko Chulev, Akira Orikasa, Steven Knipping

Star Trek Beyond; Enterprise
Daniel Nicholson, Rhys Salcombe, Chris Elmer, Andreas Maaninka

Outstanding Effects Simulations in a Photoreal Feature

Alice Through the Looking Glass; Rust
Klaus Seitschek, Joseph Pepper, Jacob Clark, Cosku Turhan

Doctor Strange; Hong Kong Reverse Destruction
Florian Witzel, Georges Nakhle, Azhul Mohamed, David Kirchner

Rogue One: A Star Wars Story; Jedha Destruction
Miguel Perez Senent, Matt Puchala, Ciaran Moloney, Luca Mignardi

The Jungle Book; Nature Effects
Oliver Winwood, Fabian Nowak, David Schneider, Ludovic Ramisandraina

Outstanding Effects Simulations in an Animated Feature

Finding Dory
Stephen Gustafson, Allen Hemberger, Joshua Jenny, Matthew Kiyoshi Wong

Kubo and the Two Strings; Water
David Horsley, Peter Stuart, Timur Khodzhaev, Terrance Tornberg

Marc Henry Bryant, David Hutchins, John M. Kosnik, Dale Mayeda

Nicholas Burkard, Moe El-Ali, Claudia Chung Sanii, Thom Wickes

Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project

Game of Thrones; Battle of the Bastards
Kevin Blom, Sasmit Ranadive, Wanghua Huang, Ben Andersen

Game of Thrones; Battle of the Bastards; Meereen City
Thomas Hullin, Dominik Kirouac, James Dong, Xavier Fourmond

John Lewis; Buster the Boxer
Diarmid Harrison-Murray, Tushar Kewlani, Radu Ciubotariu, Ben Thomas

Sky; Q
Michael Hunault, Gareth Bell, Paul Donnellan, Joshua Curtis

Outstanding Compositing in a Photoreal Feature

Doctor Strange; New York City
Matthew Lane, Jose Fernandez, Ziad Shureih, Amy Shepard

Independence Day: Resurgence; Under The Mothership
Mathew Giampa, Adrian Sutherland, Daniel Lee, Ed Wilkie

The Jungle Book
Christoph Salzmann, Masaki Mitchell, Matthew Adams, Max Stummer

X-Men: Apocalypse; Quicksilver Rescue
Jess Burnheim, Alana Newell, Andy Peel, Matthew Shaw

Outstanding Compositing in a Photoreal Episode

Black Sails; XX; Sailing Ships
Michael Melchiorre, Kevin Bouchez, Heather Hoyland, John Brennick

Game of Thrones; Battle of the Bastards; Meereen City
Thomas Montminy-Brodeur, Patrick Davids, Michael Crane, Joe Salazar

Game of Thrones; Battle of the Bastards; Retaking Winterfell
Dominic Hellier, Morgan Jones, Thijs Noij, Caleb Thompson

Game of Thrones; The Door; Land of Always Winter
Eduardo Díaz, Aníbal Del Busto, Angel Rico, Sonsoles López-Aranguren

Outstanding Compositing in a Photoreal Commercial

Canal; Kitchen
Dominique Boidin, Leon Berelle, Maxime Luere, Remi Kozyra

John Lewis; Buster the Boxer
Tom Harding, Alex Snookes, David Filipe, Andreas Feix

Kenzo; Kenzo World
Evan Langley, Benjamin Nowak, Rob Fitzsimmons, Phylicia Feldman

LG; World of Play
Jay Bandlish, Udesh Chetty, Carl Norton

Waitrose; Coming Home
Jonathan Westley -Wes, Gary Driver, Milo Paterson, Nina Mosand

Outstanding Visual Effects in a Student Project

Breaking Point
Johannes Franz, Nicole Rothermel, Thomas Sali, Alexander Richter

Adrian Meyer, Lena-Carolin Lohfink, Denis Krez, David Bellenbaum

Garden Party
Victor Caire, Gabriel Grapperon, Théophile Dufresne, Lucas Navarro

Mareike Keller, Dennis Mueller, Meike Mueller

Two special awards will be presented as well:

Victoria Alonso
Victoria Alonso
The VES Visionary Award will be presented to Victoria Alonso - Producer / Marvel Studios Executive VP of Physical Production.

Alonso is currently executive producing James Gunn’s Guardians of the Galaxy Vol. 2 and Taika Waititi’s Thor: Ragnarok.  In her executive role, she oversees post-production and visual effects for the studio slate. She executive produced Scott Derrickson’s Doctor Strange, Joe and Anthony Russo’s Captain America: Civil War, Peyton Reed’s Ant-Man, Joss Whedon’s Avengers: Age of Ultron, James Gunn’s Guardians of the Galaxy, Joe and Anthony Russo’s Captain America: The Winter Soldier, Alan Taylor’s Thor: The Dark World, Shane Black's Iron Man 3, as well as Marvel’s The Avengers for Joss Whedon. She co-produced Iron Manand Iron Man 2 with director Jon Favreau, Kenneth Branagh’s Thor, and Joe Johnston’s Captain America: The First Avenger.


Ken Ralston
Ken Ralston
Lifetime Achievement Award will be given to Ken Ralston - Sr. Visual Effect Supervisor / Creative Head, Sony Pictures Imageworks.

Ralston has earned five Academy Awards® including a Special Achievement Oscar® for the visual effects in the 1984 phenomenon, Star Wars: Episode VI – The Return of the Jedi.  In addition to this, he received Academy Awards for Best Visual Effects for his work as visual effects supervisor on Forrest Gump (which was also awarded the Oscar for Best Picture), Death Becomes Her, the revolutionary Who Framed Roger Rabbit and Cocoon. Ralston followed his Academy Award-nominated work as senior visual effects supervisor on Disney’s Alice in Wonderland (3D), with Columbia Picture's Men in Black III and most recently Disney’s Alice Through the Looking Glass.

DreamWorks Animation Faces 170 Additional Layoffs

From AWN: Cuts come as DWA continues to be integrated into NBCUniversal following its acquisition by Comcast, and just two months after the studio eliminated 200 positions at its Glendale campus and in its distribution and consumer products operations.

DreamWorks Animation will lay off 170 more employees at its Glendale campus in January, according to a report by the San Fernando Valley Business Journal. The cuts come as DWA continues to be integrated into NBCUniversal following its acquisition by Comcast earlier this year, and just two months after the studio eliminated 200 positions at its Glendale campus and in its distribution and consumer products operations.

Insight: Brad Bird on Animation

Brad Bird, writer and director of animated films 'The Iron Giant', 'The Incredibles' and 'Ratatouille', gives an insight into his writing process, how he directs animation and why many people fundamentally misunderstand the medium. Subtitles available.

Find out which animated film that one clip was from by turning on the 'English CC' subtitle track.

This video combines excerpts from the three audio commentary tracks on home releases of 'The Iron Giant', 'The Incredibles' and 'Ratatouille', as well as fragments from the behind-the-scenes documentaries. Watching the films prior to watching this video is recommended, but not entirely necessary.

Edited by Kees van Dijkhuizen Jr., © 2016. This non-profit project was made solely for educational purposes, not aimed at breaking copyright law. All rights to all material remain courtesy of their respective owners.

Framestore agrees £150m Chinese deal

Framestore, which worked on Superman Returns, has agreed a takeover by Cultural Investment Holdings, Sky News learns.

An Oscar-winning British visual effects company, which has worked on a string of Hollywood blockbusters, has agreed a takeover by a Chinese conglomerate that values it at nearly £150m.

Sky News understands that Framestore, whose film credits include Gravity and Superman Returns, is close to completing a deal with Cultural Investment Holdings Co, a Shanghai-listed group that was previously focused on the automotive sector.

The deal will see CIH acquiring 75% of Framestore's shares, with the British company's management team - led by founder Sir William Sargent - remaining in place and retaining a minority stake after the deal completes.

Insiders said the takeover remained subject to the approval by several Chinese regulators.

DreamWorks Animation Sale Finalized, Katzenberg Sees $391M Payday

According to AWN... Former DWA CEO Jeffrey Katzenberg bids staffers goodbye, walking away with more than 10 times the compensation than the next-highest-ranking studio employee, studio president Ann Daly.

Comcast’s $3.8 billion purchase of DreamWorks Animation closed on Monday, according to a report by the Los Angeles Times, with former DWA CEO Jeffrey Katzenberg bidding staffers goodbye in a memo sent to employees on Monday morning.

Katzenberg also received a more than $391 million cash-out package, with the animation studio founder (along with principals Steven Spielberg and David Geffen) reportedly walking away with ten times more money than the next-highest-ranking studio employee, DWA president Ann Daly. According to a regulatory filing, the “ginormous” payday was compensation for a total of 9,186,260 shares Katzenberg held via direct ownership, a trust, and a series of entities he owns with his wife, Marilyn -- which netted a total of $376.6 million -- as well as one million shares priced at $24.28 a share and at $35.30 a share and worth an additional $14.9 million.

More here...

Framestore Recruit Periscope

NBCUniversal To Eliminate 200 Jobs At DreamWorks Animation Glendale Campus

While Universal hasn’t officially announced which DWA titles it will be distributing, sources say they don’t anticipate 20th Century Fox releasing any DWA titles after 2017. That would mean that the Fox-dated DWA product Larrikins (February 16, 2018), How to Train Your Dragon 3 (June 29, 2018) and The Croods 2(undated) would move to Uni. Upcoming DWA titles on Fox’s calendar include Trolls (November 4), The Boss Baby (March 31) and Captain Underpants (June 2). more here

The ILM Perspective: Careers, Recruiting, and Industry Advice

Thursday, August 4th, at 7:30 pm for an evening with Industrial Light & Magic at the Gnomon Stage. Generalist, Sonja “Sony” Christoph and Hard Surface Modeler, Joseph “Jay” Machado will reveal their career path stories while sharing the skills and activities that led to their landing and building successful roles at ILM in San Francisco. Recruiters, Lori Beck and Jennifer Coronado, will share the history and background of ILM, from San Francisco to Singapore, and will offer sage advice about where to start, how to be prepared, application tips, plus more priceless information for your journeys in the industry. If you’re embarking on a career in digital production for entertainment and want to learn how to be a productive member of a first-class team, this event will aim to offer inspiration and answers to help you on your way. Professionals will also gain insightful tips about hiring, collaborating, and developing skills for successful careers.

The event is free and open to the public. Entry is by RSVP only, and seating is first-come-first-served. ILM has reserved the right not to Livestream this event, so don’t miss this opportunity to attend in person at the Gnomon campus in Hollywood. The event will not be recorded.


7:30 pm – 8:00 pm: Sonja Christoph: Overcoming Challenges and Discovering Your Unique Talents
8:00 pm – 8:30 pm: Jay Machado: The Art of Collaboration and Understanding Production Pipelines
8:30 pm – 9:00 pm: Lori Beck: The History of ILM Plus Career and Application Advice
9:00 pm – 9:30 pm: Jennifer Coronado: Knowing the Expectations of the Professional World

Pixar Developing Four New Original Movies

Finding Dory just came out and Cars 3, the Incredibles II and Toy Story 4 are in the horizon. After the superhero sequel comes out in 2019 the next four Pixar movies will be originals, according to Pixar President Jim Morris. And that means since Disney’s acquisition of Pixar in 2006 there will have been 14 original movies and 7 sequels by the time these four come out, thus fulfilling the promise Catmull made years ago.


read more here...

Honest Movie Credits Reveal How Little Most Of Hollywood Makes
above the line.” It comes from budget sheets. Directors, actors, and writers are above the line—they all represent negotiated talent. Everyone else is below it—and often make union minimum day rates.…read more here

Mike Monteiro: F*ck You, Pay Me

I apologize for the lack of posts the past month. I have been working on a previz gig for “China” (said like Trump) and it has been a lot of work. I will do some catch up over July. In the meantime, everyone should watch this video and if you need a good entertainment attorney, email me and I will send you mine.

The most popular CreativeMornings talk of all time, Mike Monteiro gives us some valuable advice on how to get paid for the work that you do.

Mike Monteiro at CreativeMornings San Francisco, March 2011. Free events like this one are hosted every month in dozens of cities. Discover hundreds of talks from the world’s creative community at

Artella Cloud-Based Animation Platform

My friend Bobby has started another enterprise in addition to his Animation Mentor School.
Now there is nothing to hold back your creativity when it comes to making your own short films!
Press Release Below.


EMERYVILLE, CA -- Artella, the global collaboration platform that enables artists to make animated films, video games, and virtual reality content, has officially launched. Founded by animation veterans Bobby Beck (formerly Pixar), Carlos Baena (formerly Pixar and Paramount) and Shawn Kelly (Industrial Light & Magic), Artella’s end-to-end online production platform empowers artists to assemble teams from anywhere in the world to tackle projects of any size and scope -- all through a web browser.

The cloud-based Artella platform allows creative teams to establish their own virtual studios and present their projects, however large or small, to a global network of collaborators that includes writers, directors, storyboarders, voice talent, animators, composers, software engineers, and other creative professionals working at every level of the industry. The platform boasts integrated communication, file management and review tools that allow for straightforward production, while also providing template-based workflows tailored to films, video games and virtual reality content. In addition, the platform seamlessly integrates with the most widely used production software, such as Autodesk Maya, Adobe Premiere and Photoshop, and The Foundry’s NUKE, to name a few -- and enables either online or offline work so collaborators can operate however they are most comfortable.

“The world is full of talented creative people who have the tools in their home to make great content, but lack the professional network. We simply wanted to find a way to bring them together from anywhere in the world and to give way to a new form of collaborative production studio,” said Bobby Beck, co-founder of Artella. “By taking care of the technical production pipeline and communication challenges, Artella allows artists to focus on being their full creative selves so they can make incredible content.”

“Artella will unlock a multitude of untapped talent,” said Maxwell Planck, technical co-founder at Oculus Story Studio. “I’m excited for what Artella brings to the future of remote collaboration in the creative space.”

Artella was created by Beck, Baena, and Kelly, a trio of animators with decades of experience including work on the Toy Story andStar Wars franchises, Wall-E, Monsters Inc., The Incredibles, Transformers, and more. The trio founded Animation Mentor in 2005, an online school that blends animation production coursework with a mentorship program to give students the real-world skills they need to compete in an increasingly competitive animation industry. Artella was born out of the need to provide a virtual space for graduating students to collaborate with others, while also offering a destination for established professionals and studios to launch and complete projects they wouldn’t otherwise be able to manage without the larger studio infrastructure and workflow.

Creating collaborative animated content remotely can be very challenging, and in some cases you end up using four to five different tools that aren’t quite designed for the kind of work we do. We wanted to create a platform that allowed artists and filmmakers to focus on the creative,” said Carlos Baena, a co-founder of Artella, who spent a few years along with Bobby Beck testing and refining the Artella platform. “We’re providing a place for animators, filmmakers, and producers to bring their visions to life, without requiring a huge upfront financial and technical investment.”

“Artella embodies the promise of cloud-based workflow,” said Shawn Kelly, a co-founder of Artella. “We’ve eliminated the barriers to entry by offering a comprehensive suite of tools that anyone can use to launch their own virtual studio.”

Artella will always be free for anyone to sign up and connect with other artists and projects. 90-days post launch, a nominal monthly fee will be charged to creators per member of their team: $10-30, depending on the role. Artella does not take a cut of collaborator compensation or in the equity or IP of the projects created on the platform.

Behind the Scenes - VFX of 'Deadpool'

The text below was written by John Fusco at No Film School


It took the collaboration of several studios to pull off this year’s best visual effects.

Too often with recent entries into the superhero canon, it feels like we’re being ruthlessly beaten over the head by CGI effects. This year, Tim Miller’s Deadpool proved the rare exception. Watching the film, the VFX blend seamlessly into the action and go virtually unnoticed. And this wasn’t any accident.

Prior to his big screen debut in February, Miller’s day job had been running the VFX company Blur Studios with his friend and visual supervisor David Stinnett. The award-winning company is responsible for effects in projects ranging from the intergalactic sequences in Avatar, to critically acclaimed game trailers, to the abstract black-on-black opening titles inThe Girl with the Dragon Tattoo. They even worked on a Disney Marvel movie before switching over to Fox, heading up the three-minute prologue sequence that sets the stage for Thor: The Dark World.

To put it simply, Miller knew how important the quality of the VFX would be to Deadpool’s success.

Miller valued the VFX of production so much that he knew he couldn’t pull it off alone. He brought together an all-star group of visual effects vendors, including Digital Domain (X-Men: Days of Future Past, Speed Racer), Luma Pictures (Guardians of the Galaxy, Ant-Man), Rodeo FX (Game of Thrones, Pacific Rim), Ollin VFX (Her, The Curious Case of Benjamin Button), Image Engine (Jurassic World, Fantastic Beasts and Where to Find Them), Atomic Fiction (The Walk, Stark Trek: Beyond) and Weta Digital (Batman vs. Superman, The BFG). Each of these vendors was then assigned various responsibilities while Blur Studios acted as the managerial hub. Weta, for example, was responsible for Deadpool’s face, while Atomic Fiction took on the highway chase scene in the beginning.

The studio attributes its success with the Deadpool sequence to a cloud rendering platform they developed in-house called Conductor. In an interview with Art of VFX, they explain:

“All of Atomic Fiction’s heavy rendering is done with ConductorIO, a cloud rendering platform we developed for internal use, and have since spun off as a stand-alone company. On Deadpool, 7 million core hours were rendered in the cloud. 80% of the rendering on Deadpool occurred in just 8 weeks of the 36-week schedule, with one single week accounting for about 20%. This really demonstrates how important it is to be able to scale resources up and down. Another way to look at it is that we would have needed a local render farm of around 32,000 cores to get through that one week. That’s a lot of horsepower for any size company, let alone a mid-sized studio like Atomic Fiction.”

On their company website, Atomic Fiction offers a beta version of the software which they define as “cloud rendering.”

“It encompasses the entire rendering workflow from end to end, managing uploads and downloads, queuing, security, and cloud resources with unmatched performance and efficiency,” the description reads. Some of the features include:

  • The most widely-used 2D & 3D applications supported
  • Scales massively; stays fast as workloads grow
  • Integrates into custom pipelines
  • Enterprise-grade cloud security from end to end
  • Real-time cost tracking and management
  • Automated data de-duplication for faster file transfers
  • State-of-the-art cloud technologies built in at the core level
  • Pay one all-inclusive price for what you use, by the minute
  • Improve productivity by 20%; reduce rendering costs by 50%

If you’re an aspiring VFX designer, you may want to register and check it out. For an even more intense breakdown of the highway chase scene, be sure and check out The Art of VFX’sinterview with Ryan Tudhope, Co-Founder & VFX Supervisor of Atomic Fiction.      

Disney Shutting Infinity Game Unit, Cutting 300 Jobs

Disney said Tuesday it is shutting down its Disney Infinity line of video games, saying the changing market is too risky.

The company booked a $147 million charge, mostly for unsold inventory. It also laid off about 300 employees, most of them based in Salt Lake City at Avalanche Software, a game studio Disney bought in 2005.

CEO Bob Iger told analysts the risks "caught up with us." Although the unit did well — bringing its interactive division into profitability in recent years — Disney determined it was better to manage the risks by licensing characters rather than developing video games from scratch, he said.

read more at ABC News...

Other video game companies are extending a helping hand to the hundreds of people that Disney is laying off.

Insomiac Games, for example, posted this message on Twitter:

The Nimble Collective

This concept is the future for all animators, makers, and creators.

Check out the podcast by Tracy Chabala at Smashd to understand how Nimble Collective proposes one platform mastered on the cloud will help you make your next film.

~Via Smashd BY | MARCH 2, 2016

The startup Nimble Collective wants to hook you up with studio-grade animation applications in the cloud.

Pixar’s Michal Makarewicz: Animation Demo + Lecture Masterclass at Gnomon, Feb 20-21

Pixar’s Michal Makarewicz: Animation Demo + Lecture Masterclass at Gnomon

From Gnomon:

NOTE: Event runs 9am - 7pm on Saturday, February 20 AND 9am - 7pm on Sunday, February 21. 

The Animation Collaborative, and Gnomon School of Visual Effects, Games + Animation are proud to present the Animation Demo & Lecture Masterclass with instructor Michal Makarewicz, Directing Animator at Pixar Animation Studios!

Geared toward students and experienced animators alike, this masterclass discusses animation from a variety of artistic perspectives, breaking down and explaining the simplest to most complex theories, ideas, and choices. This course focuses on a layered approach and features in-depth lectures with corresponding LIVE demonstrations in Autodesk Maya and industry-proven techniques for handling both common and unusual animation challenges.

Using examples of work by the instructor and other professional animators, each information-packed lecture is designed to deconstruct a specific topic and show the effects that various choices and techniques can have on your work. The corresponding live demos then illustrate how to incorporate these choices into your work so that your ideas read clearly from blocking to polish. Students are also shown tips and tricks for keeping a clean workflow in Autodesk Maya’s graph editor throughout the animation process.

We believe that true understanding of the animation process goes beyond simply discussing the subject matter. Our Animation Demo & Lecture Masterclass offers the unique opportunity to see how one of the industry’s most talented artists approaches animation - LIVE in front of you. Get the tools you need to create your own feature-quality animation, and don’t miss out on an exciting opportunity to meet and network with others in the industry!


In-Depth Lectures Include: 

  • Acting and Performance
  • Eyes
  • Brows
  • Working With Dialogue
  • Variety of Animation Workflows
  • The Graph Editor
  • Planning and Blocking
  • Polish
  • Q&A

LIVE Demonstrations in Maya:

  • Bouncing Ball
  • Complex Physical Shot
  • Acting Shot

Includes 30-page booklet of Instructor's Notes!

Michal Makarewicz joined Pixar Animation Studios in early 2003. He has animated on The Incredibles, Cars, Ratatouille, Wall-E, Toy Story 3, Cars 2, Brave, and Inside Out. Michal has been a Supervising Animator on the Up DVD short film Dug’s Special Mission, Directing Animator on Cars 2, and was Supervising Animator on Pixar’s first half-hour TV special, “Toy Story of Terror.” Michal was awarded an Annie for “Outstanding Character Animation in a Feature Production” by the International Animated Film Society for his work on Ratatouille. Michal is currently working on Pixar's upcoming feature film Finding Dory.

In addition to his work at Pixar, Michal has been teaching animation since 2005. He has contributed lectures as well as taught classes at the online school Animation Mentor, and has instructed classes at California College of the Arts and the Academy of Art University in San Francisco. Michal has also been a contributing mentor to the Pixar internship program for the last seven years, helping foster growth and development within the company. Michal owns and operates The Animation Collaborative, located in Emeryville, CA. The Animation Collaborative offers a series of workshops in animation, character design, story, and a variety of other subjects, all led by some of the most talented artists and instructors in the industry.


"This class exceeded my expectations in every way. The content involved material that I could not have found in any book... It contained real and applicable solutions to problems that we as animators face regularly."

- Carolina Quesada

"Mike’s approach to animating is just...refreshing. It not only allows you to be more exploratory with ideas but to solve issues quickly."
- Faisal Naqvi

"The lectures and demos were extremely insightful, and Mike boiled down complex topics into clear, actionable lessons... His layered approach to animation sets the foundation for a more efficient workflow and faster editing. Take this masterclass if you want to push your skills to the next level!" - Jonathan Sundy


Gnomon School of Visual Effects, Games + Animation
Called "the MIT of visual effects" by Fast Company magazine, Gnomon offers an unrivaled experience for students and boasts a 2015 placement rate of 94%. For over 15 years, Gnomon has educated many of the world’s best digital artists, and offers a variety of educational options to help students reach their goals in the entertainment industry, with full-time two- and three-year programs, specialized courses for high school students, and over 100 individual courses for professional enrichment. Gnomon’s campus is located in Hollywood, California. Every classroom has been designed to cultivate creativity and learning by mimicking the environments of real production studios. The 30,000 square foot facility has seven state-of-the-art computer labs, a green-screen stage, two cycloramas, dedicated sculpture labs, a drawing studio, lecture spaces, student lounges, a student store, and the Gnomon Gallery.


Tuition fee includes non-refundable registration fee of $75.00 USD. Cancellations for refund of remainder of tuition fee ($400.00 USD) will be accepted up to 3 weeks before the event. From 20-10 days before the event, a cancellation fee of $100 USD will apply. From 9 days before the event and after, refunds cannot be provided. Event tickets are non-transferable.

Tuition fee is $475.00 USD total. There are no taxes, ticketing fees or service charges. However, for international attendees, there MIGHT be a "foreign transaction fee" of 1-3% applied by your credit card issuer. This fee, if any, is beyond The Animation Collaborative's control and is the purchaser's responsibility, including for any cancel, refund, or discount transactions. Financial aid is not available for this event.

The event organizer, The Animation Collaborative, reserves the right to cancel or postpone this event with reasonable discretion and for any reason (inclement weather, low enrollment, instructor illness, or any other unforeseen disruptive circumstances). In the case of cancellation by The Animation Collaborative, the full event fee, including the registration fee of $75.00 USD, will be refunded. If the event is postponed, registrants will have the option to either receive a full refund, or transfer their registration to the rescheduled event. In all cases, The Animation Collaborative shall have no further liability beyond the event fee ($475.00 USD). We regret that any transportation and hotel costs, cancellation penalties, or any other non-recoverable costs incurred by registrants are not refundable. In the event of any unforeseen last-minute scheduling problems, we reserve the right to substitute an equivalent, qualified instructor who might not be listed in the class description.

Attendees must be over the age of 18.

A pen and paper are recommended for taking notes. Attendees will also receive a 24-page booklet of instructor's notes. Laptop/tablet computers are permitted, but please no recording with these or other devices. NO AUDIO OR VIDEO RECORDING OF THE CLASS MATERIAL OF ANY KIND IS PERMITTED. DISTRIBUTION OF THE INSTRUCTOR'S NOTES IS ALSO PROHIBITED. Out of respect for fellow attendees and the instructors, we ask that attendees please refrain from live tweeting, texting, phone calls, etc. during the class.

Please contact The Animation Collaborative at:

Gnomon School of Visual Effects - 1015 North Cahuenga Boulevard Los Angeles, CA 90038 -View Map

Registration is open for two full days of instruction by Pixar Directing Animator, Michal Makarewicz, at Gnomon on February 20 – 21, 2016. His Animation Demo and Lecture Masterclass is geared towards students and experienced animators alike, and will cover a variety of artistic perspectives. The two-day course features in-depth lectures with live demonstrations in Maya, focusing on industry-proven techniques for handling common and unusual animation challenges.

Members of our mailing list get to use coupon code ANIMCB75 for $75 off.

Why it is Really Hard to Become a Matte Painter

Garret Fry, Trainer at MPC academy, wrote an interesting article on becoming a matte painter.  Check it out here.

MPC Academy

CalArts Holds First Symposium on Gender Bias in Animation

CalArts is holding its First Symposium on Gender Bias in Animation... It's about finding ways to showcase more women directors.

From Cartoon Brew's Academy Announces 10 Animated Shorts Advance to Oscar Shortlist

"The animation categories are guaranteed to be heavily male-centric this year. Just two of the ten shortlisted shorts have women directors, and none of the contending animated features were directed by a woman. Compare this to this year’s César shortlist, in which 8 of the 12 films were directed by women. Women make animated films; the Academy chooses not to recognize them."

Find Out How FX Experts Created Mars in The Martian

"Luckily the folks at MPC know how to science the shit out of VFX." ~ LOL

Live-Action/CGI ‘Imaginary Friend’ Comedy Lands a Pilot Order at ABC

‘Imaginary Friend’ Animated Comedy Lands a Pilot Order at ABC

ABC is giving the greenlight to another hybrid sitcom for Imaginary Friend, a live-action/CG-hybrid comedy from Disney animator and rising star Patrick Osbourne (Feast), The Goldbergscreator Adam F. Goldberg, and executive producer David Guarascio.

Visual Effects Society Demo Material Guidelines

Visual Effects Society Demo Material Guidelines

Visual Effects Society Demo Material Guidelines Prepared by the VES Business, Labor & Law Committee

Guidelines For Artists

1. Deal Memo Clause: Much like a facility, you should attempt to negotiate the use of shots you’ve contributed to for self-promotional purpose at the time you negotiate your deal memo. It may not be possible to put this in writing, but making it clear you are thinking of this prior to the start of the project is good practice.

2. Wait for General Market Release:  Never use footage from a media project in any format before the general market release of the project.  This includes the home video market (DVD, Blu-Ray or in an On-Demand format) for theatrical film projects or the mass-market television or internet release of other media projects by the copyright holder.

3. Plates, Intermediate Materials & Builds: Never use original plates or other non-final material in any form without the express consent of the visual effects production company, or distributor  Any “builds” or shot breakdowns that utilize intermediate materials to demonstrate how a shot was executed should be approved by the facility or copyright holder and should be properly credited as work contributed to create the shot.

4. Images from Released Version Only: When including imagery in your demo reel, only use shots that appear in the released version of the media project. Do not publicly release shots that were cut from the final movie or use alternate take that you prefer.

5. Actor Approval:  Artists should be aware that lead actors in film and television projects will normally have clauses in their contracts that give them final approval over how their images are used.  Any unauthorized use of an actor’s image by an individual artist could result in legal action or industry blacklisting of both the visual effects company and the individual artist.  Never show camera original plates (“before” portion of a before/after comparison) of a lead actor without the express written consent of the copyright holder or visual effects company.

6. Theatrical Trailer Shots: If you worked on material that has been released in a theatrical or mass-market promotional trailer, it is generally considered acceptable to use those shots in your demo.

7. Social Media: A demo reel is a professional tool to help you market your skills for future employment.  It should not be intended for public consumption. Avoid unwanted and unnecessary exposure on public forums and social media sites.

8. Third-Party Websites: Do not provide your demo reel to any other websites. If you receive a request to show parts of your demo reel, refer the requester to the studio’s or VFX facility’s marketing departments or publicists for their own approval.

9. Breakdowns: Always provide a reel breakdown in text or pdf format on your website. It's important to explain to a viewer what you did on every shot.

10. Proper Credit:  Give credit where credit is due. In your reel breakdown, identify the work you did, and the work you didn't do. Thank the VFX facilities and/or studios, and acknowledge the copyright owner for the material (i.e. “copyright Paramount Pictures”), preferably as a small watermark on the shot.

11. Private Viewing Format & Security: When possible, show your demo reel on a portable device and do not leave it behind. If posting the materials on your own website or a video sharing website (such as Vimeo), always use password protection. Passwords should then only be provided on a one-to-one basis to potential employers.  This will enhance security and limit the ways you might be exposed to legal consequences.

For both facilities and artists, it is always best to be cautious, as well as honest, about your use of copyrighted material. Though there are no clear cut rules on these matters, the more that you can show you are being responsible with the material, the less likely you will offend someone. By following the rules above, and basic common sense, you should be able to safely present your work to potential employers and clients.

You can read more here.

10 Top Animation Job Newsletters and Feeds

I get a lot of job offers in my email box.  After working in Los Angeles so long, I don't interview and most people know me, call me up and we strike a deal.  But, I have come to like looking through these ten job newsletters from time to time, especially when I know I have seniors graduating USC or undergrads and MFA students getting ready for internship season.  So... here are my top ten animation job newsletters you should all be subscribed to and why.










Indeed has an email alert you can setup as well and you have to sign in to do so.  Indeed works well if you are really specific about what you are looking for on your alert because it caters to lots of different types of jobs.  The good thing about indeed is many of the studios post internships that are not posted on their websites.



Ani Jobs

This site has an RSS feed you can pipe into your favorite reader.  There is no newsletter because this is a forum like creative planet and so, you are expected to go to the forum.  If I didn;t want extra noise, I would probably just use creative planet since it seems to have the same job postings and more.






AWN Agents

Animation World network calls its alert system, agents. You must login to create an agent alert to come to your email box.  I find this list to be suitable if you are specific to your region because it is a worldwide list. It's not as updated as the other lists, but it can't hurt to get an email every once in a while from AWN , especially if you are looking to work outside of the country.






CG Society Jobs

CG Society Jobs covers mostly game type jobs so only sign up if that is your focus.  They do have a need way to set up an RSS feed if you prefer that to email and you can pipe that into your reader like feedly.






Animation Jobs has a job alerts you can set up once you register. All CG job you might already be getting from the other newsletters, but they seem to be keeping up.  They also have a twitter account.






Greenlight Jobs

This service utilizes the indeed job server and creates a cleaner way to access jobs specific to the movie industry.  The site has a link directly through LinkedIn to apply to a job which I think is handy.  if you want a job in the industry you might find some here that you cannot find elsewhere. You can join their newsletter here, look on the left hand side for signup.







Art Jobs Connection

They have a feed, but no newsletter.  There are A LOT of jobs posted here and cover games, films and commercial work including traditional and CG positions.  Impressive site with an additional way search by a map.







Creative Planet Network

This site has a high ranking not because of its great newsletter, but because it is by far the best and most used job board out there.  It's a free board to the studios that post and the job seekers that seek and has been around for over twenty years posting animation opportunities. Creative Planet does have an RSS feed you can pipe into your favorite reader.  There is no newsletter, other than one you create through a feed though, because this is a forum and you are expected to go to the forum.  You can, however, subscribe to posts in the forum, but they come and go fast with no comments so I am not so sure why anyone would do that.








Linkedin Jobs

Linkedin has been pretty corporate in the past with their job boards, but the "artist type jobs" are getting more traction.  You can set up specific alerts from LinkedIn jobs, to your email box when jobs are posted. The link above takes you to animation jobs and then you can narrow it down by region.  Here is a link as to how to set up LinkedIn job alerts.






Creative Heads

This is one of the most comprehensive and clearly stated job newsletters for animation out there.  Here is last week's Creative Heads newsletter as an example.  If you are looking for a job in animation and only have the patience for one email each week, this is the one.  Sign up here!



Session - Live Crits with Angie Jones

Live Critiques with Angie Jones - Thinking Animation Sessions

Angie Jones - Thinking AnimationI have now opened a shop on the website with three courses available for purchase. Most  questions can be answered on the shop faq, but if not? just drop me a line at 

I look forward to seeing you in the Thinking Animation Sessions!

Animation Critique - Angie JonesSNACK BITE – (1 HOUR)

In my “Snack Bite” Thinking Animation Critique Session we’ll go over concerns regarding your reel, a short film or a simple animation test to improve your skills and demo reel. I use my workflow and applied experience in animation production to guide you through creative and technical blocks. This crit is 1 hour long. You may add as many slots as you like for this crit.

Career Strategies Course - Angie JonesPOWER LUNCH – (1 HOUR)

My “Power Lunch” Career Strategies Session has three parts.  You may choose all three or just one part that addresses exactly the issues you are having with getting a job, finding longevity and creating a career in animation.  This course has nothing to do with keyframes, but addressing everything they do not teach you in school about getting that job and keeping that paycheck coming.

Applying to Animation School Course - Angie JonesBREAKIE – (30 minutes)

The“Breakie Thinking Animation Session is designed for the high school student/rising MFA student ready to apply to art school or University to study animation. With my counsel, you will create the best application possible to get into your dream school including your essay, letters of recommendation, portfolio, demo reel, and the dreaded application letter.

Toy Story

How Much Does 3D Animation Cost?

The biggest studios producing animated films right now are without a doubt Disney (“Frozen”), including their subsidiary Pixar (“Toy Story”), DreamWorks (“Shrek”) and the relative newcomer but sucessful Illumination Entertainment (“Minions”). These are international multi billion dollar companies with huge distribution networks and their budgets reflect this. To get some rough figures we can take a look at the top grossing animated films, their production costs and run times (source).

3D Animated Feature Film Budgets

Budgets and running times of the top grossing animated feature films (as of July 2015)

Title Worldwide Gross Budget (est') Run Time Cost Per Second
Average: $24,156
Frozen $1,279,852,693 $150,000,000 102 minutes $24,510
Toy Story 3 $1,063,171,911 $200,000,000 103 minutes $32,362
Despicable Me 2 $970,761,885 $76,000,000 98 minutes $12,925
Finding Nemo $936,743,261 $94,000,000 100 minutes $15,667
Shrek 2 $919,838,758 $150,000,000 93 minutes $26,882
Ice Age 3 $886,686,817 $90,000,000 94 minutes $15,957
Ice Age 4 $877,244,782 $95,000,000 88 minutes $17,992
Shrek 3 $798,958,162 $160,000,000 93 minutes $28,673
Shrek 4 $752,600,867 $165,000,000 93 minutes $29,569
Madagascar 3 $746,921,274 $145,000,000 93 minutes $25,986
Monsters University $743,559,607 $200,000,000 104 minutes $32,051
Up $731,342,744 $175,000,000 96 minutes $30,382
Kung Fu Panda 2 $665,692,281 $150,000,000 90 minutes $27,778
Ice Age 2 $660,940,780 $80,000,000 91 minutes $14,652
Big Hero 6 $652,127,828 $165,000,000 102 minutes $26,961


Chicano Cartoonist Lalo Alcaraz Hired to Make Sure Pixar Doesn’t Fuck Up Dia de Muertos Film ‘Coco’

"Coco will be released in November 2017. In that time, let’s just hope the Pixar team doesn’t do anything dumb, lest Lalo have to take out the chancla."

~ read more here


Lalo Alacarez



Book of Life

Animated 'Book Of Life' with Jorge Gutiérrez

"Here was this Mexican kid saying, 'Hey, it's a movie about death for children!' And so I kind of scared everybody, and everybody turned me down." ~Jorge Gutiérrez

Have a listen.  His story about pitching the show is quite entertaining.