Klasky Csupo, Inc. have hit animated television series, The Simpsons and Rugrats, on their track record. Marketing Director, Larry Le Francis, introduced the company at the Cardiff International Animation Festival. […]
John Halas Profile – Page 2
He no longer runs a large studio, although his present offices are quite spacious by any standard. He is now the complete designer, steering projects dear to his heart through […]
Don Bluth on his search for classical excellence
The Secret of BLUTH Don Bluth talks with Brian Sibley. DON BLUTH: My personal history of animation goes back a long way. I saw my first animated film when I […]
The Sullivan Bluth Studios in Ireland
So the Tail goes on By Stephen Dunne The Sullivan Bluth Studio came to Ireland initially in 1985 and put the finishing touches to the cel painting of An American […]
The Sullivan Bluth Studios in Ireland – Page 2
The editorial department itself is equipped with multiple viewing and editorial facilities, including a two-channel Steinbeck, two preview (large screen) Moviolas and standard Moviola equipment. Additional services provided by the […]
The Sullivan Bluth Studios in Ireland – Page 3
The job of keeping a look-out for errors goes to the ‘Music Room’. This name stems from the early days of the Walt Disney studio when music was played here, […]
The Sullivan Bluth Studios in Ireland – Page 4
In the animation department the story is divided up scene-by-scene and distributed among the character animators. The animators’ task is to bring movement, personality and life to the character he […]
The Sullivan Bluth Studios in Ireland – Page 5
The studio trains their own animators and this could take anything from three to five years. Another five years would generally be needed to reach a proficient standard as a […]
The Sullivan Bluth Studios in Ireland – Page 6
Although each second of film consists of twenty-four frames, in some cases if the action is very fast the animation can be shot on ‘twos’, that is two frames per […]
The Sullivan Bluth Studios in Ireland – Page 7
The latest film to be released in the U.S.A., All Dogs go to Heaven, opened in November 1989 and grossed $14.4 million in its first three weeks. It tells the […]
Visit to Camera Effects Ltd in London
Camera Effects Limited has been going for 21 years. it is an optical house dealing in special effects. David Jefferson went along to their Soho, London studio and met Director […]
Visit to Camera Effects Ltd in London – Page 2
A lot of preparation has to be done before they start to shoot animation over live-action. First of all the live action company shoot the background. This is then edited […]
Visit to Camera Effects Ltd in London – Page 3
Each frame costs a minimum of £25 to produce the artwork, mainly because of the time involved and the artist’s experience. Even so, it would be much more expensive to […]
Ken Clark chats with John Coates
George Dunning was a charismatic figure and his strong personality, humour and gentle manner were contributory factors in making him a figurehead. George Dunning was TVC! Then, quite suddenly, he […]
Ken Clark chats with John Coates – Page 2
K.C.: Do you have a favourite Dunning film? J.C.: Oh, yes! Damon the Mower – a most amazing film. We have copies of all his films here on U-matic. When […]
Ken Clark chats with John Coates – Page 3
On my desk I had a copy of the book The Snowman – I have it still -and I thought it would make a really marvellous little film. We phoned […]
Tony White’s Animator’s Workbook
David Jefferson went along to the Animus animation studio in London to meet Tony White, author of a new book on animation techniques called The Animator’s Workbook. David Jefferson: What […]
Tony White’s Animator’s Workbook – Page 2
D. J.: How long have you been operating as Animus? T.W.: About eight years. It has gone through various forms. It has always been my company but I started off […]
Tony White’s Animator’s Workbook – Page 3
At the same time, I had made two short films at Halas & Batchelor, one called Quartet which won first place in the Chicago Film Festival. The other one was […]
Tony White’s Animator’s Workbook – Page 4
D. J.: On your show reel all the commercials have a different style. Which one is your particular style? T. W.: We don’t have a style. That is part of […]
Tony White’s Animator’s Workbook – Page 5
D. J.: It’s nice when you see the end result. T. W.: It is if you feel you are progressing. Running a studio is a heavy responsibility. I was much […]
Newfeld seek new toys
David Jefferson visits a toy manufacturer who is looking for an idea for an animated film they can back. A clever concept could make a fortune in royalties. The headquarters […]
Disneyland – the greatest walk-thru cartoon ever drawn – Page 3
On the rides in Fantasyland you can clearly see how the Disney ‘Imagineers’ (as Walt called them) have utilized the lessons they learned in animating film. Take, for example, ‘Peter […]
Bye! Bye! Biographic Studios – Page 3
In the Eighties, the agency man invariably arrives at the studio with completed model sheets and storyboard in his hand to ask: “Will you make this?” “We have very little […]
Bye! Bye! Biographic Studios – Page 4
Another time they made a series of adverts for a certain fountain-pen ink manufacturer, which were so successful mothers-to-be were drinking it believing their off-spring would be born able to […]
Pop goes Hierographics trace and paint service
David Jefferson talks to Steve Flack about the exciting new projects his company are getting involved in. Hierographics is a trace and paint service that is situated in a Wardour […]
Pop goes Hierographics trace and paint service – Page 2
Bigger companies were using Hierographics for the odd two or three scenes that they needed to get finished by the end of the day. Then companies with four productions would […]
Scratch and Tiger Trax Animation
David Jefferson went on safari down The Old Kent Road to find Britain’s smallest animation studio. Tiger Trax Animation is situated in a block of flats just off the Old […]
Scratch and Tiger Trax Animation – Page 2
An avid collector of animation memorabilia, Paul has off-cuts from Bob Godfrey’s editing bin, paper animations from “Rhubarb”, cels from various well known productions and a collection of posters issued […]
Scratch and Tiger Trax Animation – Page 3
page 1 | page 2 | page 3 Printed in Animator Issue 11 (Winter 1984)
Cosgrove-Hall Productions (page 1 of 3)
ANIMATED PRODUCTIONS FROM COSGROVE-HALL RANGE FROM THE TV SERIES “DANGERMOUSE” TO THE FEATURE LENGTH “WIND IN THE WILLOWS”.
FRANK BAKER LOOKS AT HOW THEY GOT STARTED.
The early part of Brian Cosgrove and Mark Hall’s story reminds me of two other animators, Walt Disney and Ub Iwerks. As two students Brian and Mark met at Art College, and their paths were to cross again some years later when they both joined Granada Televisions’ Graphics Department.
Cosgrove-Hall Productions (page 2 of 3)
Each model animation production shows advances in technique. By using modern materials Cosgrove Hall’s young designers and model engineers have taken animation into entirely new areas such as the facial movements and lip synchronization in THE WIND IN THE WILLOWS. Some of the techniques used by the company, including chemical formulae of modelling plastics and the design features of the puppet skeletons, are trade secrets.
Cosgrove-Hall Productions (page 3 of 3)
Taking fourteen months from conception to completion, once again the Cosgrove Hall mark of quality shows through. This cartoon special tells a wonderful magical tale in the Walt Disney tradition with that extra punch that has been lacking in all the recent Disney features.
The characters are many in this cartoon but each holds his own.