Why Animators Had to Apply to Disney Twice

Back in the 1980s when I was starting my animation career, it was said by the old-timers in the animation business that anyone wanting to be an animator at Disney had to apply twice —because the first application would be rejected by default. This wasn’t an official policy, but rather an unspoken test of determination.

Disney, at the time, was the pinnacle of animation (arguably it still is), and competition for jobs was very fierce. The idea was that only those with true passion and perseverance would push through rejection, refine their portfolios, and reapply. It separated the dreamers from the truly committed.

Animating Zebras for "Racing Stripes"

 

Way back in 2004 I got my first job as animation supervisor, on Frederic Du Chau's live action VFX movie "Racing Stripes", about a zebra that wants to be a racehorse.  It was filmed mainly in South Africa - where zebras are plentiful; while the VFX work was done at Digiscope in Santa Monica, with other studios such as Hybride in Montreal animating the two horseflies "Buzz and Scuzz". About 30 VFX shots were completed in London at the Peerless Camera Co.  Part of the animation process was to create expression sheets for the characters in the film, to inform the CG modelling process and to make sure the animation would be as realistic and expressive as possible. 

Why Writers Need Screen Credit Too

Don't forget to credit the writer 

The screen credit most commonly neglected by our student filmmakers is that of writer. Why should this be? Probably because, as animators, our students tend to think visually, not in terms of language or story.  

But, however your film is imagined, it always starts with a story.  And whoever conceived that story should be credited as the writer.  

The writer credit is one of the key roles on a film, just as important as the director and producer. Why? Because in the end, it's all about telling a story.  

Animating Lipsync for "Underdog"

In the short video above (15 minutes) I describe my experience working on the Disney live action feature film "Underdog", animated at Cinesite (and also Framestore) in London back in 2006.  As part of the development process I did a large number of expression sheets, a few of which I have uploaded below.  The purpose of the expression sheets was to help the modelling department create blend shapes for the character rigs, showing a range of expressions and moods, which could then be captured in the animation.  Underdog was a great project, directed by veteran director Frederic Du Chau, with whom I had worked previously on "Quest for Camelot" and "Racing Stripes". 

Teamwork Panel at EscapeVerse Live 25 Feb at 6pm

On Tuesday 25th February  at 6pm I'll be hosting a "Teamwork Panel" with Escape Studios, part of the EscapeVerse Live Festival. 

The 2025 EscapeVerse Live Festival (formerly The VFX Festival) will be held live online from 24-27 February 2025.  

At the Teamwork Panel at 6pm I'll be talking with a number of Escapees about why teamwork matters, why the industry isn't a solo sport, and how they manage the challenges of group projects in industry. 

Join me at EscapeVerse Live and find out about the latest tech, the latest jobs, and how to break into the thriving - but rapidly evolving - creative industries.

Kevin Richards' "Vital Tip" For Animation Grads

Kevin Richards teaching an animation class

Kevin Richards recently worked as Lead Animator at Love Love Films on the Aardman Animation TV show "Pop Paper City" - and was part of the hiring process for recruiting talent onto the project. 

In this guest blog post, Kevin offers our animation graduates his "vital tip" for landing that crucial first job in animation. 

So what is the single most important thing our graduates can do to get hired? Below is the one crucial thing you can do, to place yourself ahead of most of the other applicants for the job. 

How To Do Screen Credits Right

Screen Credits are important to get right. Leave people out, spell their names wrong - there are all kinds of ways to annoy your fellow film-makers. 

Most important of all - be sure to credit for all the key roles on your film.  In general, credit for the key heads of department will go to one person only.  For short films, there should be only be one producer and one director. Usually (but not always) one writer. 

If you need to credit someone else, give them a title such Associate Producer or Assistant Director. Extra writers can be credited under "Additional Story".

Make sure you credit (at least) the following roles; Director, Producer, Writer, Editor, Art Director, VFX Supervisor, Animation Director (or Head of Animation), CG Supervisor.  

Animating Birds

Above is a selection of the best animation of birds in motion completed by students at Animation Apprentice. As well as character animation, our students learn the art and craft of animal and creature locomotion, including how to animate quadrupeds, as well as a number of other creatures - including birds.  Being able to master the art of a variety of animals and creatures in motion is an important part of the animator's tool kit.  "Song: Southbound". Music by: CreatorMix.com. Edit by Miguel Teixeira.