Chrissy Delk tumbles

Bill Peet

Bill Peet vs Milt Kahl

Milt Kahl

Final Design

Story Artist, Bill Peet, boarded all of ‘101 Dalmatians’ by himself and had a set way that Pongo was drawn. Milt, an excellent draughtsman, had long ago proven that he only needed to look at Peet’s drawing and polish up the characters for animation. Normally the process worked, but this time both artists were at odds over how to draw Pongo. Peet thought Pongo looked too much like a Great Dane but Milt stood by his design, claiming the muzzel size helped contrast Perdita’s. In the end though, Milt consceded and adjusted Pongo’s design.

03:53 7th Mar 2012

Notes: 3433

Reblogged from sairobee

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sairobee:

natazilla:

bob’s burgers starts again on sunday yesssssssssss

OMG you have no idea how many warm fuzzies it gives me to see such a lovely Bob’s fanart :DDDDD

01:07

Notes: 38

Reblogged from potatofarmgirl

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potatofarmgirl:

I’ll be on a podcast tomorrow, 9:30am Pacific, 12:30pm Eastern.

http://www.livestream.com/comicsaregreat

…with Dan Mishkin and Jerzy Drozd!

19:17 6th Mar 2012

Notes: 4

Tags: studies movies 13 Assassins

13 Assassins dir Takashi Miike

One of interesting thing about doing these studies (besides the beautiful compositions and how much I like the rhythm of the cutting) is how terrible I am about drawing boxes in 2.40:1 aspect ratio. Look! Look how often I drew them in HDTV ratio 16:9! Maybe you can’t tell how often, but that’s because I’d keep correcting them as I was drawing. But I know some failed ratio boxes exist.

I’m tempted to do a further breakdown to really dig into the film making.

03:55

Notes: 25

Reblogged from jabart

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jabart:

Quigonejinn’s Luther fanvid (warning for graphic blood) got me all caught up in Luther again tonight!

Pardon me while I babble about the interrogation sequence! At the beginning of the sequence Alice is screen left and Luther’s screen right, and all conventional film/tv composition rules apply. No breaking of the 180, characters pretty much stay on their respective sides of the screen. The turning point is when Luther deliberately yawns—all of a sudden they’ve swapped sides. When he comes back into the room, it reverts back to the same set-up as the beginning (Alice left Luther right), but Luther’s crowding her space now. Luther says the word “suspect” and when it cuts to Alice the camera slowly begins to drift left—placing her on screen right. (i.e. the above) This continues to the end, when the camera ends up in the wall, on the other side of the table—Alice is so creepily victorious that she broke the 180 rule!

…don’t mind me, just being a dork.

Luther likes playing with space a lot. :D

Yeeeees. This dorkiness is one of the things that I absolutely loved about Luther.