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.

Developing "The Zoo" for Warner Bros in the 1990s

Development drawings for "The Zoo"

Back in the late 1990s I had the privilege of doing some early development work for a Warner Bros Feature Animation feature film provisionally titled "The Zoo".  

The Zoo never made it to production, but the experience was a fascinating dive into the creative process of a major studio - and also
a lesson in the unpredictable nature of the industry.

"Power Up" Science Museum History of Video Games

The Science Museum's "Power Up" exhibition currently on display in South Kensington is a must-visit for anyone interested in the evolution of video games. 

 It's a great chance to see where the games industry has come from - and where it is going. This matters for animators - because many of our graduates go on to work in the games industry. 

Spring Class Starts on 3 March 2025

Spidey animation by Anand Sembhi

Our Spring Animation Class begins on Monday 3rd March 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 Apprentice Demo Reel 2025

Above is our 2025 student demo reel, a selection of the best work done at Animation Apprentice over the last year - many congratulations to all of our students on their excellent work.  Students whose animation is featured include Anand Sembhi, Francis Lowe, Mark Lawson-Hall, Jack Ruedisueli and Mike Acosta. 

Happy New Year 2025

Happy 2025

Animation Apprentice wishes a very Happy New Year to all our students, staff and graduates.  2025 will bring new challenges and also new opportunities - the animation and VFX industries continues to thrive, with the UK Government backing the industry with extensive tax credits. 

This year, at the top of our list of New Year's Resolutions, is to experiment with Artificial Intelligence (AI) tools, such as  OpenAI and MidJourney.  AI is changing the face of the animation industry in a way that challenges everything we do, but also offering new opportunities for those who embrace change. 

New Year Class Starts on 7 January 2025

Our New Year Animation Class begins on Monday 7th January 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.

Merry Christmas from Animation Apprentice

"God Bless Us Every One"

A Very Merry Christmas from all of us at Animation Apprentice - and God Bless Us Every One.  Many years ago, aged four,  I was the voice of Tiny Tim in my Dad's1972 animated version of A Christmas Carol, a TV Special produced by animation legend Chuck Jones. 

A Christmas Carol is just twenty minutes long - you can watch it in HD below.  The film was completed at Dad's London studio at 13 Soho Square - a Grade II* listed building which still stands today.  It's even painted the same dark green colour, and looks just the same as it always did - minus the letters "Richard Williams Animation" above the door.

Why Animators Need to Apply Widely

Landing that first job in the animation industry isn't easy.  But what many graduates forget is just how many opportunities are out there. 

Alongside the world-beating UK animation companies like Aardman Animation, Blue Zoo, Framestore and DNEG are hundreds of small companies that are much less well known. 

There are almost 500 animation companies in the UK with at least one employee (ie not just a one-man-band) and this creates a huge opportunity for an animator with the patience to look beyond the famous names.

Why Animators Should Keep a Sketchbook

Alex Williams sketchbook 1989

Here at Animation Apprentice we recommend that all our students keep a sketchbook.  

For animators, keeping a sketchbook is more than just a pastime—it’s an important tool for growth and creativity. 

Here's why every animator should make drawing and scribbling in a sketchbook part of their daily practice:

Why Animators Choose Quality Over Quantity

Quality over Quantity

One common mistake made by student animators is to take on too much, to try to complete too much animation in too little time.  The golden rule is to choose quality over quantity.  Short films should be short, because long films take too long to execute, and the quality inevitably suffers. 

The same goes for animation: better to focus on a relatively short shot that delivers a great result, than be too ambitious and have to drop the quality.  The 11 Second Cub competition has a maximum of 11 seconds for this reason.  For the same reason, demo reels should be short. A student demo reel should generally be no more than a minute long.

How to Find The UK's Animation Studios

Animation UK's Studio Directory

There are around 2,500 animation studios in the UK, of which a little under 500 have employees - making them worth targeting for an entry-level job.  But how to find them?  

One great resource is Animation UK's Studios Directory, which you can find here.  Click on the link and you can start making lists of UK Animation Studios - and then start applying. 

Why Animators Should Cut on Movement

One of the key principles of cinematography is to cut on movement. What does that mean? It means that if you start an action in one shot, carry it over into the second.  

Let's say you are cutting from a wide shot to a close up, you start the motion in the wide shot, then carry it over to the next shot. This makes the cut feel less abrupt.

Why Animators Need Walks on a Demo Reel

"Monty" Character Walks by Neil Whitman

One common mistake junior animators make when cutting a demo reel is to leave off basic exercises like walks, character walks and runs. 

But walks and runs can and should be on an animation demo reel - not for very long - but for just long enough to show that these are firmly inside the animator's skill set.