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Posts Tagged ‘Walt Disney Animation’

Laughing up our Couscous

Monday, May 26th, 2008

Hercules Development Crew Outing


Ron Clements
falling out of his chair.

Words by John Ramirez:
At the end of Storyboarding we had a party at a Moroccan restaurant. We had such a great time, with such silly people there like Kaan Kaylon, Bob Shaw and Don McEnery and of course Ron and John…we were laughing up our couscous. (more…)

Crew Picture – Ink and Paint, Scene Planning, Checking

Thursday, April 24th, 2008

The Black Cauldron

Ink and Paint, Scene Planning, Animation and Final Check, Camera and Administration


Click here to see the other departments crew photo.

The Black Cauldron used the traditional ink and paint process where the drawings were xeroxed onto cell and hand painted one by one. I remember that they experimented with a “new” xerox technique (I can’t remember the name) that prooved a failure as the line faded off the cell over time so they returned to the traditional xerox process. But production fell behind and everyone painted cells in the end.

(more…)

Ink and Paint Fox and the Hound

Thursday, April 10th, 2008

Fox and the Hound

There are some amazing names are on this list of credits and WOW doesn’t this list seem short compared to the feature film credit rolls of today.

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In those days not everyone got screen credit and Ink and Paint was one of the departments whose work ended up on the screen but their names did not.

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Left to Right Front Row: Karen Comella, Janette Hulet, Robin Police, Melanie Pava, Tatsuko Watanabe, Gretchen Albrecht, Charlotte Armstrong, Sherri Vandoli

Left to Right Middle Row: Susan Moreau, Edie Hoffman (w/ sunglasses), Marisha Noroski, Jean Erwin – Supervisor (w/camera flare on top of head), Penny Coulter, Marcia Sinclair (polka dot blouse), Ann Neale (tall with sort of shag haircut), Barbara Palmer (leaning on rail, outside vertical support post)

Left to Right Back Row: Micki Zurcher (head turned toward screen right), Lois Ryker (w/ hand in the air), Ginni Mack (forehead and top of hair), Gina Wooten (dark bangs, right eye and a bit of nose), Robyn Roberts, Jill Sturdivant, (KP) Karen Paat

Affectionately known as “The Ink and Paint Ladies” pictured above huddled with big smiles in the Ray Bradbury Something Wicked This Way Comes gazebo on the Disney backlot. Ink and Paint was the largest department in the production process at that time. We didn’t call it a production pipeline until much later. (smile)



Top: (?)
Middle Left to Right: (?), (?), (?), Penny Coulter
Bottom Left to Right: (?), (?), (?), (?), (?)

The painters might be in units defined by a characters in the film. The colored paper drawing (color model mark up) would show the color separation areas (color seps) and identify what paint would needs to go where. Inside wing, outside wing, inside mouth, white of eye, etc…. There is a cell for every drawing in the film and it this crew who perfected the traditional skills of painting onto cells for feature animated films and painted every single one of them.


Top Left to Right: (?), (?), (?), (?), (?)
Bottom: Gretchen Albrecht

Done before digital technology (CAPS) all with paper, cells, gloves, brushes, water, paint, drying shelves and all those great people sitting together in one department combined with the fact that Disney ground their own pigment and made their own paint created a quality and a look second to none.


Top: Saskia Pele
Bottom Left to Right: Robin Police, (?), (?), Tatsko

At that time most of the cells from a Disney animated feature film were thrown away in a dumpster out behind the camera department and animation artists would dig through at night in search of cells they could take home. At the time no one knew they were creating museum pieces that by today’s prices are worth thousands of dollars.


Left to Right: Ed Hansen, Chris Hecox, Don Paul, Janet Bruce, Robyn Roberts

Although before my time, Ink and Paint traditionally had some of the best parties while on the Disney lot and off. Maybe it was because they were always separated from the rest of the animation department that gave them a rogue freedom that we all enjoyed. But we all felt the release from the exhaustive overtime hours at the Ink and Paint parties.


Left to Right: (?), Ron Rocha, Bill Brasner, Joe Morris, (?) Camen Sanderson, Karen Patt

Talented people, working together toward a single cause, achieving results beyond their means and contributing to a future while contributing to a legacy during a time when they were “Drawn2gether”.

Photos care of Penny Coulter.

Aladdin Story Crew

Tuesday, April 8th, 2008

It all starts with story.
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Back Row Left to Right: Darryl Rooney, Kirk Hansen, Terry Rocio, Roger Allers, Ted Eliott, James Fuji, Chris Sanders, Kevin Harkey, Dave Smith.
Front Row Left to Right:
Rebecca Reese, Sue Nichols, Burni Mattison, Ed Gombert, Brian Pimental, Kevin Lima, Francis Glebas and Jean Gillmore.

Ted Eliott and Terry Rocio were the writing team who later wrote Shrek, Mark of Zorro, Godzilla and Pirates of the Carribbean. Kevin Limo went on to Direct 102 Dalmations and The Enchanted.

By Aladdin we had really out grown our warehouse space at 1420 Flower St. and had spread out over the 5 square block industrial park taking over many different buildings. We affectionately named our locations “The Hart Bldg”, “The Royce Bldg”, “AirWay”, “1420″ and “1520″. Computer Animation, CAPS Ink and Paint, Compositing, Scanning and Scene Planning stayed behind in 1420 while the rest of the animation departments and various productions moved into these other buildings in the industrial park and the streets connecting the buildings became our hallways.

Scenes of hand drawn animation that were ready to be scanned got wrapped up in chipboard bound with rubberbands and transferred back and forth via courier’s on bicycles who repeatedly got tickets from Glendale Police Department for some such violation as they hurried back and forth.

A Trip to London and Paris

Tuesday, April 8th, 2008

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After the success of 1988′s Who Framed Roger Rabbit? The Disney folks offered animation director Richard Williams more feature projects, but Dick preferred to focus on his personal project, the Thief and the Cobbler. So Disney turned to Dick’s former lieutenant and top animator Dick Purdum, who came recommended by many in the London animation scene. By then Dick and his wife Jill Thomas had their own studio in London.

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Dick took the job to direct Beauty & the Beast if he could do some of the initial preproduction in London, and a research trip was added to get texture for the French setting. (more…)

Crew of Prince and the Pauper

Tuesday, April 8th, 2008

 

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This picture of the crew of Prince and the Pauper was taken at a park in Glendale, California at the end of production.

If you’re in here let us know your memories about this great time by clicking on the “comments” link below.

 

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