"Rollercoaster Rabbit" Animation Demo Reel

This is a short compilation reel of the shots I animated on "Rollercoaster Rabbit" at the Disney MGM Studios in Orlando, Florida in 1989. It was a huge pleasure working on this project, directed by the very talented Rob Minkoff.  This was a summer job for me (I was a student in London at the time), and the storyboards were delayed, so I only managed to complete a few shots.  Still, I was proud to have worked on this very entertaining short film. 

New Year Class Starts 6 Jan 2026

Animation by Joris Van Laar

Our New Year's  Animation Class begins on Monday 6th January 2026.  It's not too late to book a place; all you need to do is visit the main Animation Apprentice site and go through a few simple steps. 

If you want to learn 3D animation to a professional level, and start your new career as an animator - your journey starts here.

"Piglet's Big Movie" Animation Demo Reel

A compilation of my work on the Disney animated film "Piglet's Big Movie", animated in Tokyo, Japan in 2002.  It was such a pleasure to work on AA Milne's characters, some of the most appealing characters ever created for the medium of animation. They were a delight to bring to life.  Sad to say, the Disney Animation studio in Tokyo closed two years later, in 2004. 

How to Succeed at an Animation Job Interview

Smash that job interview

Landing your first animation job is mainly about having a strong demo reel - and making sure that your demo reel is easy to find, not password protected, and (ideally) embedded at your Linkedin profile. 

Once you get to the interview, the studio is already very interested.  But, they want to hire animators who not only produce great work, but who are collaborative, easy to work with, and ready for the realities of production.  Below are a few key tips to help you succeed at an animation job interview.

"Quest For Camelot" Animation Demo Reel

Quest for Camelot, Animation Demo Reel.  In the summer of 1996 I worked as an animator at Warner Bros. Feature Animation on Quest for Camelot, directed by Frederik Du Chau.  I was the lead animator on the villain "Ruber", voiced by Gary Oldman.  As animators, we share our performance with the actor who delivers the lines - and their job comes first.  My role was to capture Oldman's performance on screen, and I was invited to attend the recording sessions, and I was fortunate enough to be able to draw Oldman acting out his lines. Above is an assembly of shots I completed on the movie. 

Why Animators "Progress The Action"

Brer Fox: "I specs I'm gonna skin ya"

One of the most common mistakes made by junior animators is not progressing the action in their animation.  In other words, creating animation that is too static and immobile and, well, not animated.

"Progressing the Action" is a concept developed in the Animator's Survival Kit, in which Williams describes it as the "secret of lipsync".  But what does progressing the action really mean?

5 Mistakes by Junior Animators (& How to Fix 'Em)

Leopard leap with live action reference by Daniel Amor

Below are five common mistakes beginner animators often make - and how to fix them.  Learning animation is an exciting journey – but it can also feel overwhelming. 

Beginners often run into the same issues. But the good news is this: once you know what to look for, you can fix errors quickly.  Below are five of the most common mistakes new animators make – and how to fix them.

Demo Reel Needs a Quadruped Walk, Trot & Run

Horse gallop by Mark Lawson-Hall

Most student demo reels focus on human characters, but if you are looking to get hired onto animal and creature projects, you will need to show an understanding of quadruped locomotion - one of the core skills we teach at Animation Apprentice. 

A solid walk, trot, and run cycle for a four-legged character shows range, versatility, and an understanding of animal and creature mechanics.  Layer in some acting and personality, and you have a great demo reel. 

Animators - Embed Your Demo Reel at Linkedin

Animation recruiters "live at Linkedin" 

A strong demo reel is essential for launching an animation career — but it only works if people see it. Too many graduates upload their reel to YouTube or Vimeo and stop there. 

One of the smartest places to share your reel is LinkedIn.  It’s quick, it’s professional, and it’s where animation recruiters are already looking. Your reel is your most important asset. Don’t hide it. Put it where the industry can find you easily.

What I Learned on "Quest For Camelot"

Death of Ruber by Alex Williams (FX by Michael Gagne)

In the summer of 1996, I started work as an animator at Warner Bros. Feature Animation on Quest for Camelot, directed by Frederik Du Chau. 

It was an exciting time — Warner Bros. was building its feature animation division, hoping to rival Disney animation, and was recruiting artists from all over the world (including me) to join its team. 

Lamp Hop - a Great Addition to Your Demo Reel

Lamp hop by Lisa Springett

A simple lamp hop exercise can be a great addition to your animation demo reel.  One of the most iconic pieces of character animation ever created is Luxo Jr. — the hopping desk lamp that launched Pixar into the spotlight back in 1986. 

The lamp hop is one of the first exercises that students tackle at Animation Apprentice, and a reminder that you don’t need a complex character rig to show personality, weight, and storytelling.  A simple lamp hop animation can still be a great addition to a demo reel - just keep it short and witty - like the example above by Lisa Springett. 

Why Animators Should Light (& Render) Their Shots

Character walk with lighting by Joris Van Laar

Why You Should Light Your Animation Shots (and not just rely on greyshade or Maya Playblasts).
A strong demo reel isn’t just about great animation — it’s also about great presentation.  

Many student reels rely on greyshade renders or raw playblasts, but taking the time to add simple lighting can make a huge difference to how your work is received. 

You don’t need to be a lighting artist to benefit from a basic setup. A little polish goes a long way, and you can follow one of our super simple lighting tutorials to get a great result in just a few minutes. 

Why Animators Need Walk Cycles on a Demo Reel

Character walks with "Monty" by Neil Whitman

Every animator should have at least one good walk cycle on their demo reel.  It might seem too basic, but a walk tells a recruiter a lot about your animation skills — timing, weight, character, and appeal — all in a few seconds of motion. 

You can have a number of walk cycles on your reel, as long as they show character and personality, and as long as you keep them short.  

Free Cartoonland Set at Turbosquid

 Download the free Cartoonland set from Turbosquid

For animators starting out with animation basics, and especially those animating with the marvellous "Monty", we recommend the free Cartoonland set from Turbosquid.  

Monty is a very cartoony character, and he works best in a very cartoony environment.  As digital artists, animators need to think about the overall style of a shot, keeping all the elements consistent.

How to Balance Studying Animation with a Day Job

Many aspiring animators study part-time while holding down a full-time job. It isn't easy, but it can be done. To master the craft of animation demands patience, creativity, and many hours of focused practice. 

Our course at Animation Apprentice is designed to fit around jobs, life and families. Take your time, study online, and you will get there in the end.

With the right strategy and mindset, it is possible to make real progress, even if your life is already very busy.

What I Learned on "The Iron Giant"

"He's a giant robot Dean; it's a little...undignified"

In 1998, I had the privilege of working as an animator on The Iron Giant at Warner Bros. Feature Animation, under the direction of Brad Bird.  Working on Brad Bird's "The Iron Giant" was one of the best experiences of my career in animation.  

We had just come off "Quest For Camelot", a movie which had suffered from low morale - and which did not perform well at the box office.  

After Quest, Everyone at Warner Bros was excited for Brad's Iron Giant - and the team was confident it would be a hit. After all, with a strong story, a great director and a great animation team - what could possibly go wrong? 

Can You Get Maya For Free?

Maya is free for animation students - but only if you are enrolled in a registered school, college or university programme.  

For all our students starting with us in our next scheduled class, Autodesk offer an education copy of Maya for free - you can download it from the official Autodesk site.

Autodesk Maya has been the dominant software package in 3D animation for over 20 years. I first used Maya 1.0 on "The Iron Giant", back in 1998.  And today it remains the most powerful package for the creation of 3D animation, still by far the most widely used in industry. 

What I Learned Teaching at Cal Arts in the 1990s

In the late 1990s, while I was working at Warner Bros. Feature Animation on Quest for Camelot in Los Angeles, I had the chance to teach animation at CalArts — the California Institute of the Arts, the legendary training ground for animators, a school founded in part by Walt Disney himself in the early 1960s. 

Teaching at CalArts was an amazing experience - and also the start of my career teaching animation.  Here is some of what I learned. 

Is The Animator’s Survival Kit Still Relevant in 2025?

Richard Williams’ Animator's Survival Kit was first published over 20 years ago, before today’s digital workflows, AI-assisted tools, and real-time rendering.  

And yet, it remains one of the most essential resources for anyone learning animation. Why? Because the fundamental principles of animation don’t change. Great animation is still all about timing, spacing - and giving a memorable performance. 

Should Animators Learn Blender, Maya, or Both?

Should Animators Learn Blender, Maya, or Both? If you’re just starting out in animation, one of the first big questions is: Which software should I learn? For most students, that means choosing between Autodesk Maya and Blender. Both are powerful, both are widely used, and both have strengths — but the right choice depends on your goals.

What I Learned Working on "Pocahontas"

"Their skin's a hellish red, they're only good when dead"

One of the best experiences of my animation career was working at the Disney Studio in Los Angeles in the summer of 1994 on "Pocahontas", animating the villainous Governor Ratcliffe supervised by lead animator Duncan Marjoribanks. 

Duncan was a generous mentor, and I learned a huge amount under his guidance, as well as learning from directors Mike Gabriel and Eric Goldberg. 

How To Time Eye Darts

One common mistake made by junior animators is to leave out eye darts - those rapid changes of eye direction that show that a character is thinking. 

Or, the animator includes eye darts, but they are too slow and mushy to feel believable. So how do animators time eye darts? Eye darts should be super quick - ideally with no in-betweens at all. 

To time an eye dart correctly, you simply pop from one pose to another, with a one frame cushion to ease in to the final pose.  To see how to animate an eye dart, watch the video below. 

Animation on a Budget - Free & Cheap Tools

How do you get started with animation, on a tight budget with little or no experience, and no software? Actually, it's never been easier to learn the art and craft of animation.  

At Animation Apprentice we recommend starting with some lego bricks (best of all are the big "Duplo" bricks for little kids).  You will also need a smart phone, some super-cheap software ($3), and an inexpensive tripod (£17).   On the left is some animation done by my daughter, aged six.  It's not perfect, but she had a fun start to learning the medium. 

Why Animators Need a Change of Expression

"Ruber" animation by Alex Williams

One of the most common mistakes made by junior animators is the “frozen face.” A character might be moving beautifully through space—walking, talking, gesturing—but if their expression never shifts, the scene feels flat and lifeless. 

Why? Because real people don’t hold one expression for long.  In real life, our faces are in constant, subtle motion. Even when listening quietly, tiny changes in the eyebrows, mouth, or eyes reveal attention, doubt, curiosity, or impatience. These micro-shifts keep us alive and believable. In animation, a lack of change reads as stiffness or, worse, lifelessness.

Is AI Replacing Animators? Not Yet

Will AI Replace Animators?

There is a lot of doom and gloom about AI right now in the creative industries, a general assumption that we are living on borrowed time and that AI is coming for our jobs. 

But is it really? Early this year I took a break from teaching at Escape Studios (though I still teach online at Animation Apprentice) to work as Animation Director on a new feature film. And right now, I’m reminded every day that while AI tools are making waves, animation is still — at its heart — a craft driven by human creativity.  

Core Skills of VFX Handbook 2025

The updated Core Skills of VFX Handbook 2025 was recently launched at an event at Cinesite in London. 

Collated by Saint John Walker and funded by UK Screen Alliance and BFI Metro London Skills Cluster, the VFX Handbook serves as both a blueprint for course curricula in higher education and a practical guide for students learning VFX.  You can download it here. 

Happy Birthday Blue Zoo!

Blue Zoo 25th Anniversary Party

Last week the BAFTA-winning animation studio Blue Zoo celebrated their 25th birthday with a huge party that brought together past and present team members, collaborators, and friends of the studio.

The event celebrated a quarter-century of award-winning creativity, from groundbreaking children’s TV shows to acclaimed commercials.  

Blue Zoo has mentored many Escape Studios' animation students at both undergraduate and graduate level, and many Animation Apprentice graduates have begun their animation careers at Blue Zoo.

Animators: Embed Your Demo Reel Atop Your CV

Why is it important to embed your demo reel at the top of your CV or resume? Because when a studio is sifting through the applications for a new animation role, it will likely start with a stack of CVs. 

And, since the single most important factor in impressing a new studio with your talent is your demo reel, a link to this needs to be front and centre at the top of your CV.  If it isn't, the danger is that they move on to the next candidate. 

Make your work easy to find, and easy to link.  No special passwords, no dead links. Do this one thing and you'll be ahead of 50% of the competition. 

The Five Best Books To Learn Animation

The Animator's Survival Kit

What are the key books that animation students  should buy to learn the craft of animation?

Books may be a bit old school these days, but a good book is still a great place to start learning about and exploring the world of character animation.

The best books will teach you, immerse you - and inspire you to do your very best work. So, what are the top five books?

Want to Teach Animation? Get a Master's Degree

Want to teach? Get an MA

Do Animators Need a Master's Degree?  The answer is, it depends on what you want to do. Academia cares about academic qualifications. Industry cares about demo reels. 

If you want a job in the animation industry, you don't need a masters' level qualification. But if you are hoping to teach, especially in higher education, a masters' degree is more or less a necessity. 

The reason is that universities need evidence that you know what you are doing.  And in higher education, that evidence is a formal post-graduate qualification in your chosen field. 

Animating a Blink: Don't Forget the Eyebrows

Animation by Mark Masters

One common mistake made by junior animators is to animate a blink - but not to animate the eyebrows. 

 Don't forget also that when we blink our eyebrows are involved as well - even if just a little bit. 

So, when your character blinks, you should add a little motion on the eyebrows too; to create flexibility in the face and make the overall motion feel less stiff. This small tip will make your character's face feel more flexible and more alive.

Intro to BNU Module COM7025 - Professional Prep

The video above is an introduction to Module COM7025 - "Professional Prep". This is the next module being studied by our animation students at Buckinghamshire New University , studying on the Online MA in 3D Animation.  COM7025 starts on 6th October 2025, and aims to prepare our graduates for success in the animation, games and visual effects industries.  You can read more about COM7025 by reading this blog post at our BNU blog. 

Animators Need an Equal (and Opposite) Reaction

Monty sneeze - with top hat reaction

One of the quickest ways to give your animation weight and believability—even in the wildest, wackiest cartoon world—is to respect a core principle of physics: Every action has an equal and opposite reaction.

This doesn’t mean your characters need to obey Newton's laws with documentary accuracy. What it does mean is we should obey the laws of Cartoon Physics.  

Why Animators Should Hold on the Final Vowel

"O" shape by Cliff Nordberg

When animating Lipsync, animators should never forget to hold a few frames longer on the final vowel shape, and not snap back into the default mouth position too quickly.

This is because when we say a word, like "ooh", our lips stay in the "oo" shape for a while, even after we have stopped making any "oo" sounds.  Junior animators will often snap back to a default mouth position, just a couple of frames after the sound stops, instead of holding the pose for longer, and staying in the mouth shape. 

Try it yourself. Say the word "shoo" and see how long your lips hold the "oo" shape. It's probably about 6-8 frames longer than the sound itself lasts. 

Winter Class Starts on 3 November 2025

"Mrs Claus" by Robin Herrmann

Our Winter Animation Class begins on Monday 3rd November 2025.  It's not too late to book a place; all you need to do is visit the main Animation Apprentice site and go through a few simple steps.

If you want to learn 3D animation to a professional level, and start your new career as an animator - your journey starts here.

How Graduates Get a Letter of Recommendation

For animation graduates, a Letter of Recommendation is often requested when applying for jobs, internships, or postgraduate opportunities.  Here at Animation Apprentice we write them on a regular basis.

Employers and studios want to know what you’re like to work with, and a letter from a trusted tutor or mentor can help convey that.  Are you a team player? Do you show up on time? These are the "soft skills" that employers look for.

Here are some tips to make the process of getting a reference or letter or recommendation as smooth as possible:

Screen Skills Animation Trainer Finder 2025

Apply at Screen Skills' official site

On September 1st Screen Skills launched a new paid placement scheme for graduates, The "Animation Trainee Finder". Applications for the scheme are now open, and close on Friday 26th September 2025.

"Animation Trainee Finder" places trainees on animation productions and aims to ensure a steady supply of talent for the UK animation industry.

"Young Arrows" Animation Awards Now Open

The "Young Arrows" animation awards are open

Calling all Animation Apprentice graduates working in the advertising industry - The "Young Arrows" animation awards are now open, and entry is completely free.  Up to three entries may be submitted. The "Young Arrows" awards are judged by media professionals in the UK.  To find out how to enter, download the PDF of the entry rules and regulations.   The deadline is September 3rd. 

Young Animator of The Year Competition 2025

Young Animator of the Year Competition 2025

There is still time to enter the Young Animator of the Year Competition 2025.  

The Competition, created by Access VFX and supported by Screen Skills, BAFTA and the BAA Awards, is judged by professional animators. Winning films will be announced and premiered at the Manchester Animation festival.  Entry must be completed by September 1st, and is open to animators in the UK aged 11-22.  You can find more about it here: https://younganimator.uk/competition #animation #YAYUK

Why Animators Should Hold Their Poses Longer

Character pose by Mark Masters

One of the common mistakes made by junior animators is the “default face.” A character smiles, frowns, gasps — and then, almost instantly, snaps back to a bland neutral expression.  It’s as if the performance forgets itself. 

This also happens in lipsync; where the character will make a vowel or consonant; then snap back into a default mouth shape much too quickly. Much better to hold the vowel or consonant longer, and really get the most out of the pose. 

Why Animators Choose Asymmetrical Poses

Mickey Mouse from "The Illusion of Life"

One of the most common mistakes made by junior animators is for their character poses to be too stiff and symmetrical.  One of the fastest ways to make a character feel stiff and lifeless is to pose them symmetrically.  

Perfectly mirrored limbs, identical angles, and evenly balanced weight all scream “mannequin,” not “living being.” Real life — and good animation — is full of asymmetry.

Live Action Ref Should Match the Camera Angle

Anim Ref and Anim by Elin Berrio Pena

Most experienced animators know about the importance of shooting live action reference to create great animation. 

However, to get the best out of your reference, you should always be sure to match the correct camera angle in your shot. If you don't, the reference you shoot won't be nearly as useful.

Intro to BNU Module COM7023 Character Animation

Our animation students taking the Online MA in 3D Animation at Buckinghamshire New University (BNU) recently tackled their Character Animation Module - COM7023.  COM7023 introduces students to the art and craft of character animation, including acting, dialogue, lipsync and pantomime animation. It culminates in an entry into the monthly 11 Second Club Competition. To find out more about the module and the Online MA in 3D Animation, see this blog post. 

Taxes For Freelance Animators

 

 
This short video offers a short introductory guide to taxes for freelance animators.  It was recorded for our students at Buckinghamshire New University, studying for their MA in 3D Animation, but it applies equally to all our students at Animation Apprentice. BNU can't offer our students formal legal or tax advice, but we can explain the basic rules of freelancing.  Freelancing need not be complicated. You don't need a license to offer your services to clients and, as long as you pay your taxes to HMRC at the end of the tax year, doing small freelance animation jobs can be a great way to get started in the animation industry. 

Top Ten Animation Pitch Mistakes

Pitching - Hit the Bullseye

What is a pitch? A pitch is defined by Wikipedia as "a short summary used to quickly and simply define a profession, product, service, organization, or event and its value proposition". Animators often pitch their projects, hoping to get their own unique project off the ground.  

A great pitch is funny, interesting, grabs your attention, and makes the listener think "wow, that could really work".  A great pitch leaves the listener wanting more.  But pitching is harder than it sounds. Below are some of the most common mistakes in pitching.

One Vital Tip for Animation Graduates

Above is our "One Vital Tip for Animation Graduates". Do this one thing and you will put yourself at the head of the list when it comes to finding that crucial first job in the animation industry.  This short video was recorded for our students at Buckinghamshire New University, studying for their MA in 3D Animation, but it applies equally to all our students at Animation Apprentice. 

Why Animators Still Need a Blog or Website

Why do animation graduates need their own blog or website? Because it is still the case today that having your own blog or website is still the best way to own your own professional slice of the internet. Your blog or website is your showcase for your talent; you can style it and curate it any way you want, and show the world what you are capable of.  The video above explains why our animation graduates still need their own online space to show their work. 

Intro to COM7021 - Animation Mechanics - at BNU

Introducing COM7021, the first animation module tackled by our MA students at Buckinghamshire New University. The introductory animation module COM7021 starts with animation basics, and deals with character locomotion, specifically walks, characters walks, runs and jumps. To see more about our online MA in 3D animation, delivered in partnership with Buckinghamshire New University, follow this link.

Why Animators Still Need Linkedin

 

Animators need Linkedin because now more than ever Linkedin has become the default platform for animation graduates looking for work.  Linkedin is a "one stop shop" for animation recruiters, who can find fresh talent, see their job history, watch their demo reel and - crucially - forward the link to their clients. The video above was recorded for our students at Buckinghamshire New University, studying for their MA in 3D Animation, but it applies equally to all out students at Animation Apprentice. 

Being "Goofy" at Walt Disney World in 1989

In the summer of 1989 I was working at the Walt Disney Studio in Orlando, Florida on the animated short RollerCoaster Rabbit, directed by Rob Minkoff.  

It was a dream summer job (I was a student at University in the UK at the time), working at the Orlando animation studio - which was then part of the Disney World Park, and an attraction in itself.  Visitors would stroll through the "animation ride" and gaze through the glass walls, watching the animators busily at work. 

On my last day at the Studio, when I was due to head back home, studio head Max Howard offered me the chance to play Goofy - to be one of the Disney characters in the park itself.   

And so, in the sweltering summer of 1989, I had the surreal pleasure of stepping into the oversized shoes of Goofy at Walt Disney World.

Online MA in Animation with BNU Starts Sept 2025

Animation by BNU graduate Neil Whitman

Our MA in 3D Animation for Professionals is now taking applications.

The online MA in animation at Buckinghamshire New University was launched in 2015 and was the very first of its kind - the first online MA in animation which could be undertaken by students anywhere in the world.  

We continue to partner with BNU to deliver the Online MA 3D Animation for Professionals, ensuring that all our MA Students graduate with industry-level skills.  Teaching starts in September 2025.

Fall Class Starts on Monday 1 Sept 2025

Our Fall Animation Class begins on Monday 1st September 2025.

It's not too late to book a place; all you need to do is visit the main Animation Apprentice site and go through a few simple steps.

If you want to learn 3D animation to a professional level, and start your new career as an animator - your journey starts here.

Why Animators Need Their Own Projects

Learning the art and craft of animation is a time-consuming business, one which requires commitment and discipline. At the end of it all lies (hopefully) a job in the industry, ideally at a good studio doing great work on worthwhile projects.

But even success can bring problems - late nights, too many weekends, stress and burnout. How does an animator thrive in the industry over the long haul. The answer is to nurture your own projects and ideas, make sure your own creative flame is burning.

Why Movie Posters Need Taglines

Short films need posters (also known as "One Sheets"), and posters need taglines. A great tagline encapsulates what the film is about, and makes the viewer want to see more.  

A great tag line (like the one on the left) is witty, short, and punchy, and makes the audience feel a sense of anticipation about the film.  

Stuck for a great tagline for your movie poster? Ask ChatGPT. Type in what your story is about, ask for ten taglines; then pick the one you like most. You don't need tell anyone you did (and I promise I won't tell either). 

Something is (Almost Always) Better Than Nothing

Perfection may not be attainable

From time to time animation students studying on our MA in Animation, delivered in partnership with Buckinghamshire New University, will get stuck on a project, and will request extra time, or hand their work in late - and then apply for Mitigating Circumstances.

Sometimes this flows from perfectionism, performance anxiety, or even a sense of imposter syndrome. But it's always better to hand in something than nothing; an imperfect submission is almost always better than no submission at all.

Summer Class Starts on 7 July 2025

Animation by Lee Caller

Our Spring/Summer Animation Class begins on Monday 7 July 2025.

It's not too late to book a place; all you need to do is visit the main Animation Apprentice site and go through a few simple steps.

If you want to learn 3D animation to a professional level, and start your new career as an animator - your journey starts here.

Animation Lessons From "The Road To El Dorado"

The Road To El Dorado was a Dreamworks picture that I worked on back in the late 1990s. I was assigned to animate Tulio, one of the two lead characters, supervised by lead animator James Baxter who I had worked with a decade earlier on Who Framed Roger Rabbit in London.  It was a great experience, and I learned a lot, especially about the use of live action reference to create believable animation. 

Finding Work in an Animation Downturn

It is no secret that the animation and visual effects industry is in a downturn.  After many years of boom, business has recently turned to bust. 

What has caused this? The reasons are many - over expansion during the streaming boom years, the fallout from Covid, the rise of AI, strikes by writers and actors, and the steady decline of the theatrical movie business. 

So, how do recent graduates find work in an industry which isn't expanding, or might even be shrinking? The answer is have a great demo reel - and apply widely. 

Acting Advice from Peter Sellers

Peter Sellers

While doing some research recently on a project I stumbled across a quote from the late great Peter Sellers, on how he approached creating a character. 

Sellers said "I start with the voice. I find out how the character sounds...after the voice comes the looks of the man...after that I discover how the character walks...and then something strange happens...the man you play begins to exist."

It's the same with animation. 

Yibi Hu Explains Why Animators Need to Pitch

Yibi Hu, founder of Future Power Station

At yesterday's University of Hertfordshire annual student show, animator Yibi Hu, founder of the animation studio Future Power Station, explained the importance of crafting a great pitch. 

As Yibi Hu put it succinctly: "Pitch is a Bitch" - in essence a great deal of unpaid work for a potential client who might - or might not - like your creation. 

The conundrum is that you have to pitch to get the job, but all the work might be in vain. Pitching is free work, but you have to do it anyway.

Why Animators Should Be Problem Solvers

Eyeline problem from "Who Framed Roger Rabbit"

Studios love animators who are also problem solvers. An animator who helps to solve problems (and, hopefully, doesn't create them) is a golden asset to any organisation.

On the left is an example of problem-solving by animator Simon Wells, on the 1988 feature film Who Framed Roger Rabbit.  

Back in 1987 I was Simon's In-betweener (a job that involved smoothing out the animation flow), and I was always impressed by Simon's ability to solve visual problems, such as the one on the left.