Independent Animation showcases some of the greatest, most innovated giants in the field and helps guide readers through the artistic process and production techniques. Story development, casting, color, distribution, and the intimidating aspects of production are elucidated using various examples from all over the world.
With the advent of advanced hand-held technology and the widespread nature of the Internet, the world of animated filmmaking is more exciting and accessible than ever. Due to this cultural and technological development, the success of independent animated film makers is on the rise. Independent Animation: Developing, Producing and Distributing Your Animated Films, Second Edition showcases some of the greatest, most innovative giants in the field and helps guide readers through the artistic process and production techniques. Story development, casting, color theory, distribution and the intimidating aspects of production are elucidated using various examples of acclaimed, viral and award-winning animated films from all over the world. Readers will also explore the changing nature of audiences, festivals and distributors relationships with animation and be granted first-hand guidance in navigating the diverse fields of animated filmmaking.
Key Features:
Covers the entire process of creating an independent animated film from story development and casting to editing and distributionPresents a comprehensive array of classic and contemporary case studies covering all manner of production methods from traditional pipelines to avant-garde, auteur and experimental approachesFeatures input and exclusive insight into the working processes of some of the industrys most noteworthy indie animation talents, including Signe Baumane, Adam Elliot, Don Hertzfeldt, Kirsten Lepore, Robert Morgan, David OReilly, PES, Bill Plympton, Rosto, Chris Shepherd and dozens more
Additional resources and interviews are available through a special section of Skwigly Online Animation Magazine.
| Acknowledgments |
|
ix | |
| Author Biography |
|
xi | |
|
|
|
1 | (10) |
|
What Exactly Is "Independent Animation"? |
|
|
5 | (6) |
|
|
|
11 | (18) |
|
The Character-Driven Approach |
|
|
12 | (2) |
|
|
|
14 | (3) |
|
Telling the Harder Truths |
|
|
17 | (10) |
|
|
|
27 | (2) |
|
|
|
29 | (24) |
|
|
|
30 | (4) |
|
|
|
34 | (5) |
|
|
|
39 | (2) |
|
|
|
41 | (6) |
|
|
|
47 | (4) |
|
|
|
51 | (2) |
|
|
|
53 | (12) |
|
|
|
55 | (4) |
|
|
|
59 | (6) |
|
5 The Beat of a Different Drum |
|
|
65 | (14) |
|
|
|
70 | (2) |
|
|
|
72 | (4) |
|
|
|
76 | (3) |
|
|
|
79 | (24) |
|
|
|
80 | (2) |
|
|
|
82 | (4) |
|
|
|
86 | (8) |
|
|
|
94 | (7) |
|
|
|
101 | (2) |
|
7 The Animated Documentarian |
|
|
103 | (18) |
|
|
|
105 | (4) |
|
|
|
109 | (2) |
|
|
|
111 | (3) |
|
|
|
114 | (2) |
|
|
|
116 | (3) |
|
|
|
119 | (2) |
|
|
|
121 | (18) |
|
|
|
125 | (4) |
|
Story Development's Greatest Ally: Feedback |
|
|
129 | (4) |
|
Staying Visible, Keeping Afloat |
|
|
133 | (4) |
|
|
|
137 | (2) |
|
|
|
139 | (30) |
|
|
|
140 | (3) |
|
|
|
143 | (10) |
|
|
|
153 | (2) |
|
|
|
155 | (4) |
|
|
|
159 | (2) |
|
|
|
161 | (8) |
|
|
|
169 | (24) |
|
|
|
171 | (9) |
|
|
|
180 | (5) |
|
|
|
185 | (4) |
|
|
|
189 | (2) |
|
|
|
191 | (2) |
|
|
|
193 | (14) |
|
The Comfort of Discomfort |
|
|
200 | (2) |
|
|
|
202 | (5) |
|
12 Casting and Performance |
|
|
207 | (12) |
|
|
|
207 | (5) |
|
|
|
212 | (6) |
|
|
|
218 | (1) |
|
13 Thinking Outside the Lightbox |
|
|
219 | (20) |
|
The "That'll Do" Attitude |
|
|
220 | (1) |
|
The "Nailed It!" Attitude |
|
|
221 | (8) |
|
Programmers' Perspectives |
|
|
229 | (6) |
|
|
|
235 | (3) |
|
|
|
238 | (1) |
|
|
|
239 | (18) |
|
|
|
242 | (6) |
|
|
|
248 | (8) |
|
|
|
256 | (1) |
|
15 Combining Your Efforts |
|
|
257 | (20) |
|
|
|
263 | (4) |
|
|
|
267 | (10) |
|
|
|
277 | (16) |
|
|
|
278 | (4) |
|
To Defy the Laws of Tradition |
|
|
282 | (9) |
|
|
|
291 | (2) |
|
|
|
293 | (22) |
|
|
|
295 | (9) |
|
|
|
304 | (5) |
|
|
|
309 | (4) |
|
|
|
313 | (2) |
|
|
|
315 | (18) |
|
|
|
324 | (4) |
|
|
|
328 | (5) |
|
19 Your Two Most Important Characters |
|
|
333 | (26) |
|
|
|
333 | (2) |
|
|
|
335 | (8) |
|
|
|
343 | (3) |
|
|
|
346 | (6) |
|
Approaches to Sound Construction |
|
|
352 | (2) |
|
|
|
354 | (1) |
|
|
|
354 | (1) |
|
|
|
355 | (1) |
|
The "Oh God, My Ears" Factor |
|
|
356 | (1) |
|
|
|
357 | (2) |
|
20 Putting Yourself Out There |
|
|
359 | (14) |
|
Why Submit Your Film to Festivals? |
|
|
360 | (7) |
|
|
|
367 | (2) |
|
|
|
369 | (2) |
|
|
|
371 | (2) |
|
21 Distribution: A Brave New World |
|
|
373 | (24) |
|
Tips for an Effective Online Release: A Q&A with Director's Notes and Short of the Week Managing Editor Rob Munday |
|
|
375 | (3) |
|
|
|
378 | (4) |
|
|
|
382 | (4) |
|
|
|
386 | (5) |
|
|
|
391 | (2) |
|
Recommended Further Reading |
|
|
393 | (4) |
| Index |
|
397 | |
Since finishing his MA in 2008, Ben Mitchell has worked as an animation freelancer with Channel 4, BBC, A Productions, Plymptoons, Rumpus Animation, Slurpy Studios, Happy Hour Productions, Somethin' Else, Jelly Penguin, Channel Flip, and others. As an independent filmmaker he has directed several shorts that have been officially selected for over 100 major film and animation festivals between them and been broadcast internationally. He is also a writer, researcher, and Managing Director of Skwigly Online Animation Magazine, where he has conducted interviews with some of the animation industry's leading practitioners and produced editorial features, events coverage, film/product reviews, project management, video content and the Skwigly Animation Podcast.
More info about Taylor & Francis e-books