LIVE STREAM - How to Animate The Beast!

[Music] you everybody ever blaze here it's Tuesday June 11th June 11th yes 11 June all of them actually no today's not the 11th today is the 11th 1111 so we've had a really good week the last week last week we did a on Thursday we did a live stream on animating Nala walk cycle and that sucker has gone like gangbusters you can't like 40,000 views of that thing so we thought okay if that's what you folks want then I'm gonna dig into my mind is knee history a little bit we'll do a little bit more so under Glen Keane who is the supervising animator of the Beast and Beauty and the Beast I was one of the animators that worked under him and and so I thought because that's one of my favorite characters I've ever animated I thought it'd be fun to talk about the beast and how he moves him we'll do a little bit of us with plus you're up there is oh there we go lost your webcam for a second there I know I thought to go off I'll be back we're back we're back Luba and so I thought it'd be fun to show you how to animate him the Beast is an interesting character because he's part human party animal and he's not comfortable in either so he's kind of hunched over and he's not comfortable quite on all fours but he's not comfortable standing up and there was kind of this this way that he walked that we wanted yeah but anyway oh the other thing too so we did a we did a YouTube video on how to draw Noah and that's been going crazy so we just shot another video on how to draw Raja Aladdin's out now so we thought we'd do that so look for that by the end of the day probably tomorrow we'll have a how to draw Raja video out for you as well I've tried to get it out by the end of the day if not I'll definitely be by early tomorrow morning right on there you go so as usual I've got dusted with me my son my partner in crime hey everybody and again frozen face I don't know it's what it's it's acting weird okay it's if you want to plug it and plug it back in we can try no no nope so we got Nick Burch in Sarasota and he's going to be answering questions as well some of the other platforms before we do that why don't we jump over to my screen Dustin well in the show remember the other one that we have I guess I have I moved I don't think oh the zoo the other one the Zumba let me let me move it into space Gooch it on over yeah move it into the motor you're right right there boom order you're right right there right there there so this is a character that I designed over the weekend I wanted to make a little commercial for ourselves for our website you know with the idea of hey you know there's your creativity hit a wall and so I thought it might be fun to animate this character hitting a wall so I designed this little bouncy squishy guy and and then I had some fun yesterday I animated him here's a little bit of animation I did with him running into a wall created a little bit of a loop and boom not a little bit of a loop I created a loop and just had some fun you know animating this little bouncy guy for those of you that wonder about you know animating a bouncing ball when you first start out well how is that ever going to come in handy and learning how to draw a bouncing ball well here you go this is the next stage this is taking the bouncing ball idea and applying it to a person making it really cartooning and having some fun with it but it's amazing how much you can get away with some of these drawings I wanted to show you I'm going to take you through here he is running in running in look how squished he gets he gets really squash treating there and then bounce right out there's their ball right there it just has some arms attached to it and then squash see how flat they get his legs and just have fun with it yeah this is where he lands he lands right there boink and see how everything happens in different timings his belly and everything catch up and then he lands feet at different times you get a little difference in there and he gets the momentum with his arms to start running see that push push boom boom boom right into the wall so if I play that speed you get this fun little thing so that was fun I did that yesterday had a good time posted it and hopefully you guys got a little chuckle out of it because it was funny I had fun anyway is you ready to make sure hitting a wall is your creativity hitting a wall then visit us at creat your art teacher calm oh you know what I need to do that I haven't done Dustin what do you need to do I need to bounce with Nick birch yeah deep thoughts with Nick why don't you jump over to the other screen there and yeah the webcam and I'm going to bring up Nick sorry about that Nick I I got sidetracked whoops where you go there we go work or watch Aaron tough choice hope my boss doesn't catch me nick says turn Dustin's camera off and back on again often onigen off and on again and remember everything is the bouncy ball let me bring this up Oh YouTube question what parts of the movie commuting the Beast that I animate well I animated the whole section in front of the fireplace where they're arguing and she's trying to bandage him and he goes are all that earth they argue back and forth I did that sequence I did this song where they're out in the snow there's something there there's something there that wasn't that before that song I animated all of that all this stuff where he's leading her to the West Wing when he's taking her there leading her through the where he says the castle is your home now you can go anywhere you like except the West Wing all that stuff are walking through the hallways I animated all that that's a bunch of stuff all over the movie so there's a lot of fun stuff that I animated the beast and so there you go also this is the big one so once again I'm going to plug it again we are doing a big masterclass August third and fourth here in Orlando and we would love to have you guys come and join us so check out our website at creature art teacher comback slash Orlando 2019 and if you're a student or a teacher you can get up to fifty percent or fifty dollars not fifty percent fifty dollars off okay still just the same go check that out it's creature art teacher dot-com backslash Orlando 2019 and and once again if you're a student or a teacher you can get 50 bucks off and it's going to be a really cool weekend I really hope you guys can join us we've been doing this a lot overseas as you guys know it a lot and but we wanted to bring something home and Orlando is an easy place to get to if you want to join us for the weekend and I'm gonna be talking about my career I'm going to be talking about character design animation they'll be doing live demos on both of those I'm going to talk about story structure and construction and how we get feature animated films off the ground I'm going to be talking about a lot of different things and so and then we're gonna have some goodies there as well so I hope you guys can make it they're gonna be eight-hour days each day and so there's it's a big you know it's you know you get a long bang for your buck and it's gonna be a lot of fun so join us in Orlando August 3rd and 4th it's right before school so it should be cool trick before school so it should be cool see is this organized by you guys what's up is this master class organized but yeah as a master class organized by us yes yes yes this is our first one that we're doing on our own so we really hope you guys can join us YouTube common you're a bit quiet Aaron kind of echoey Dustin is loud and clear though oh but we've said something like I move the mic over did you get the same note yeah I got the same note or over that got you so so hopefully the sound is a little bit better Dustin I are sharing a mic we've been trying to sound solve our sound problems yeah but every time we use multiple cam we tend to get a lot of echoes and so we figured this was the best course of action and I think I'm more clear because I project my voice more loudly so so yeah alright picked up more easy let's stop talking let's start animating okay alright so we're gonna start a new scene here we got that we got a pulled up new whole screen there you go alright so let's do a new shot stop it first stop I like that one ooh I'll take you for Opie's legs there we're gonna do this at 24 frames per second we're gonna do it a 1920 by 1080 we're gonna do the beast today all right all right so let's see here a pencil am I gonna use oh I don't want that one yes wasn't too trailer today I have I did not see it I want this to go up to 100% I like it I didn't see it you need to start cloning over so we can have master classes all over oh what's that you need to start cloning yourself errands we can have master classes all over oh that's right and then I want to bring this back the opacity down to about 60 bring this down I got I'm trying to find my right breath the correct brush so it's gonna take me a minute I like this little chisel II brush I use that a lot 12 hours later okay you know who I want wants to see anime Kota from Brother Bear Kota from Brother Bear you could do that sometime did you ever learn from Richard Williams I never did learn from Richard Williams I used to work with his son but I never learned from Richard Williams I wish I did would've been cool so real quick I'm gonna give you a little drawing lesson on the beast I'm gonna jump in here real quick so first of all he's hunched over he's he's all animal really and you know he's gonna get this he's really big and he's got this Ridge on his back it's almost like a like a hog fur you know growing off of his off his back and of course he's got the the nose that comes off like this like that and he's the top of his head is like an eight I'm just going to just kind of barely indicate the horns right now where they go and there's those teeth sticking out and the chin jutting way out like so and that jaw is a big jaw comes back cuts in like so those eyes are set way back so okay you go very loose with now he's party animal while he is animal he's the Beast but he's part human as well and so as a result you know four-legged animals they I'm going to shrink this up just a little bit they they've evolved that they're they're their rib cage that's flattened on the sides and the the the shoulder blades have moved over to the side and humans are shoulder blades have moved to the back well he's kind of in the middle so that shoulder blade is kind of off out of what kind of about a 45 degree angle and his shoulders are kind of close close in he's got this big rib cage I think this rib cage like so I'm thinking about that under structure then underneath he's got a pelvis down here there's a hit like so and I shrink it a little bit more I was a typical day walking into Disney's studio each day well the typical day is you want to get right to work that's a typical day we wanted to get right to work and we you know depends on what if it was on Monday we didn't get working right away we we would we you know talk about the weekend all that stuff it would take a little bit of time to get going but then you know we'd have our sheet scenes ready and our shots and we've you know we'd get right to it and get right into work let me let me know before we ask any more questions let me get this drawing done cuz I want to get this first one through Dustin when they explain it so we've got this big body this big head and I'm gonna have this this front leg and it's he's got animal fee right just like that and if this leg is coming forward there's his knee that his arm there's his shoulder it's gonna be back here and then this shoulder is going to come forward it's coming like that he's got this fur the curls off of his arm so he's walking almost like a gorilla would you know like that get rid of this here so you can see parish's arm let's see how long his arms are but pretty long than here I'm gonna bring his knee about here and then off of that still now he's got a cape as well in this head and drawing that in since I've drawn out this body now I've drawn his head a little bit small so I'm gonna go in and adjust that it's gonna take this section right here we're going to take that and go just about like that you should be about four heads high there we go that feels better and then there's on a medallion there's got a cape they keep kind of gonna fly back flow back like so but you can see that big form how big he is I'm gonna turn this a little bit there we go so there is there's our beast drawn very quickly all right I'll just get a little bit of and there and which I wanna do is shrink up the eraser just clean up that face a little bit so you can see it a little better so that's him got this big sheet but comes out this way big ribcage like so Lauren on YouTube ass would you ever draw a coda as a full-grown bear yeah I mean he wouldn't be much yes I could do that for you I would definitely do that for you not much different than Kenai Tim on YouTube asks how do you know when a character design is too complex to animate you know it's you you know it you just feel it and you know the Beast even though he's complex once you we understood him then it wasn't too hard to draw him and and it wasn't too bad is the beast knit anatomy based off of a lion or a bear beast anatomy is based off of a wild boar buffalo gorilla bear he's got a lot of animals in him the idea was that Glenn felt like if he's a beast he's got you know all kinds of different traits locked into him Glen Keane is a supervising animator first of all I hope Glen if you see this I hope I'm doing you right by this but Glen did such a beautiful job designing him oh we got a beast walk and those of us that were assigned to work on the beast we were so excited because first of all Glenn is just a legend to be able to work with Glenn but also the the design was so like nothing we'd ever seen before in animation it was really great so there we go so there's that twitch question where do you get the inspiration for his tail the tail I'm not sure the tail feels to me more like a the way it drags the ground it's got a little wolf quality to it I think but you can see how that shoulder blade is kind of off the side and there's his shoulder and then the arm so he could go down onto all fours if he had to and he does a couple times in the movie Parker on YouTube asks hi I'm a star I am a starter of short hand drawn animation and plan to put my work on my channel do you recommend any books that can improve ones animating skill I really recommend the illusion of life by Frank Thomas and Ollie Johnston and then the animators survival handbook by Richard Williams they're really great okay so there's that let's let's do the next key so I want to do just like we did with with Radha with Nala I want to do the opposite key so we're gonna jump back over real quick I'm going to put another drawing down like so I want to turn on my light table so now I can see the other drawing I'm gonna turn that down just a little bit and I wanted I want to shoot hit the wrong button there we go I want to I want to see the reverse I want to create the reverse angle so in order to do that I wanted to create the same silhouette I'm gonna question here well shoot man what I studied animation my lecturer encouraged us not to design monsters or aliens as there is no human reference was he right no I don't think he was right because there's a lot of reference and the the thing is if you understand comparative anatomy you can create I mean that's what creature design is all about it it comes down to understanding comparative anatomy and so there we go I mean here you've got you've got the Beast right here and we studied a lot of different animals and we created a believable beast so that in my mind is kind of a wrong the wrong thing to do so here I'm gonna bring his hip up we're gonna read about here will you animate Kota I can't animate Kota I will sure we can make that for Thursday subject yeah fun fact Kota was originally going to be an adult yeah who's that from Nick no it's from Rosina head well you're right Rosina so here I'm just trying to turn his head a little bit you can see his head as he's he's bringing his arm forward yeah Michael Clarke Duncan was the original don't bear that Koda ended up being we kept Michael Clark Duncan in us in a different role he ended up having a smaller role than what he was originally intended for right exactly there so now you can see how to see how his head turns a little bit there are any hotels you recommend for the master class in August there's a lot of hotels right around that area I'm not sure you know and there are a lot of different budgets as well so anything in downtown Orlando College Park Winter Park area is fine have you ever thought about drawing for a company again maybe like Netflix cartoons or any company no nope I really like doing what I'm doing I left the studio world for a reason it was just I wanted to do my own thing and I really loved it when I was there at the studios but I was ready to to move on and do something different and I want to bring that hip not quite so far and so for me it was something different that I needed to do so here I'm going to bring forward there to go like that see how awkward he feels he needs to feel awkward the latissimus muscle coming back now as far as animal drawing goes we have quite a few tutorials on our site if you're interested in that and and the animation we've got a lot of animation lessons full lessons and character design storyboarding we've got all that on our website creature art teacher comm so you should check that out because there's a lot on there YouTube there was a fear that the beach would be too scary for it was there a fear that the beasts of duty too scary for the kids you know we don't the kids are a lot more resilient than people give them credit for and so we really never we didn't want to soft softened things because of kids but there were things that we were aware of like you know I didn't want I didn't want to have things be too violent and some of the things that we did can you recommend any books for how to improve observational sketching people out of mall zooms etc you know it I don't recommend books I recommend doing it you know if you want to improve your observational sketching then get out there and sketch books aren't gonna help you do it you got to get out and do it and so that's that's you know I don't first of all I don't know of any books for specifically on observational sketching so there's that is the character designer always the supervising animator for that character know back in the day the designer I'm gonna bring his foot out here just a little bit cuz yeah I'm the animating I'm at a slight angle and I want to put that foot to be a little bigger back in the day when we were doing it the the designer usually was the supervising animator but since then a lot of animators don't draw anymore in the 3d world back then we all had to draw we had to be able to draw and there you go and so as a result we became you know we became that the supervisors and the designers but that's all changed since the 3d world caught up okay go ahead Dustin I was in the same thing else no more questions so there's that you can see he's really uncomfortable looking there's this pelvis that comes down his hips are here and once again I'll get that tail right about there so there's our opposite see there's our opposite angle right there whatever the busy you have a zbrush tutorial I don't have a zbrush tutorial that's something we'd love to get together so no but something we're working on there's a youtube question my animation teacher is Sean Colbeck he said he worked with Glen Keane on Tarzan and many others in the 90s and I wanna know if you know him at all I don't know Sean Colbeck know I know Glen did Tarzan in in Paris he may have worked with him in Paris so there's there's our our 2 key drawings I want to put some I want to put the other key drawings where he's down where he's uh you know his foot is down I want to add that key there now so that means I need an in-between here at which question what's it difficult to envision beasts with a happy joyful demeanor after he became close with Belle given that he had been so crewed up till then you know it's funny it was it's easier to draw him angry than it was to draw him happy drawing the Beast smiling was really awkward for me and I had to draw him that way several times and it's funny you mentioned that because yeah it was it was it was kind of weird so here I want to bring the shoulders down [Music] these all bodies going to come down a little bit in playing your animation especially at thumbnailing stage have ever used video references from internet or from your own recording to find inspiration because sometimes it's finding the right natural pose is really hard now finding poses we really didn't do anything we didn't do that kind of thing we found the poses on her own from inspiration but we did sometimes if we I'm gonna just trace off his head here real quick so I can make sure that the size stays the same one thing we did do was if we ended up with something that mechanically was difficult or there's just a lot of mechanics involved then we would shoot our own live-action reference we'd shoot ourselves we'd shoot friends whatever and and that's how we we did that there was a lot of live action reference that was shot during Pocahontas and and we dealt with that but you know really in general we didn't rely on live-action reference to find posing as much as we used it for mechanics mechanical references so now what I want to do is I'm going to grab this and I'm just going to bring it down just a little bit down here I'm about to open up a drink all right about there what's that and we'll open up and okay open that drink oh nice beauty beauty all right so you've got him here so you can see he's boom-boom stepping down I know when you're ready for a question bring his chest down here his arm is swinging down like so see I'm gonna keep it rough I want that awkwardness to come down you know that swing YouTube's question was it like what was it like working at a desk in an animation studio was it quiet could people talk or listen to music I couldn't draw in total silence it was never quiet sometimes it was but there's a lot that we got into rubber band fights we you know we had to listen to music you know on our headphones but no we we all in all it was it was a very lively place to work and in our studio we had a lot of people coming through I mean we I met Princess Diana and you know Michael Jackson and all kinds of people came through our studio maybe for another question hold on this first one good let's foot down so he's taking I'm gonna have him squash a little bit so it was very cool to work at the studio to sit at the desk as you say and work there I it was it was an honor so here I want a little bit of squash happening in that foot Bell on YouTube asks how can you get the spacing of the feet and a walk cycle right mine always slider has a small jitter in between it's been a struggle I've been working with it's really making sure that each stride is the same so that's why you see me tracing the keys so that they stay the same it's already you can start to see his movement and then the other foot it's off the ground coming through like so we don't see much of it yeah sorry go ahead what can you tell us about developing an animation style for a certain project and how do you maintain consistency along all the animators say it one more time what can you tell us about developing an animation style for a certain project and how do you maintain consistency among all the animators well you've really it requires an art director that can really nail a style down help you find a look and then you have to be able to verbalize what that style is that's what's important you have to be able to you know being able to verbalize anything as far as you know whether it's you know animation design whatever it might be there's a certain skill set in that it's something that I've worked on for years and years which is out me you know be able to do these live streams while I'm drawing it's not easy to sit here and drop off you know and and talk at the same time and so that's something we've developed over years and that's important so you need someone that can do that and then you know finding that style is just something you have to you know obviously you want something that's going to be unique and sorry hold on I'm trying to get this drawing here and and so oh I'm shorting out we're shorting out hold on the circuits are frying yeah circuits are frying he's trying to get this hand right and also I think we're our stomachs are full from the lunch we've just had but it really comes down to verbal communication and and then as far as the style goes finding a style that just takes time there's nothing I can't really say in a few sentences you know what it takes to find the style because it takes a lot okay so now we've now we've got the the down key right here we've got three keys now you can see that walk this is him walking with a purpose big swinging arms okay now I've got to do the other key which is going to be a the same silhouette remember turn that off turn that off it's going to be the same silhouette as this one just reversed okay so once again although I'm gonna probably turn where his head just a little bit more down this way at Disney what was your favorite character you supervise my favorite character I've supervised I don't know I think I think Nala was a lot of fun I just didn't I really enjoyed her character and then yeah was a lot of fun as well what other characters did you supervise who's Raja there's all the ghosts I didn't do a lot and with characters like the BC er I wasn't the supervisor as what I was part of the animation crew animation crew gotcha yeah so there was six animators along with Glenn who is the supervisor there was six centimeters I did the I think I actually use Glenn plus five I think it was and I was the only one in Florida because we had the Florida studio now he wanted me the to be the the Florida beast guy as he called me Florida beast guy yeah the Florida beasts guy because mark Ken was animating Belle and they needed someone to animate Beast alongside him and so they cast me to do that which is really cool it was a real honor to be able to to to do that because I was just a grunt you know and Glenn saw something in me that he really gave me a really good chance and it worked out I mean I luckily it worked out great for me can you explain what a moving hold is a moving hold is rather than just using one drawing and it just freezes you know animation hand-drawn the animation has a certain life to the line it crawls a little bit you know because it's just there's inconsistencies and that sort of thing and so when you create a hold you might use like seven or five five drawings for five to seven drawings that are traced over one another and the and they vibrate a little bit they move and so it's called the moving hold is there anything with today's animation that you think is possibly missing oh well that's a it's a broad statement because there's so much different animation out there I think there's there's I missed the you know the full animation that we used to have I really miss that but yeah those are the things I miss you know the full heartfelt emotional stuff um Eric on YouTube as hey Erin the bank Cross has said they use they use to dumpster dive for roughs by Mark Ken and others did you collect any rust from other animators and what's the crazy way he required it well I didn't when they say dumpster dive they just went into his office and went into his recycle bin they weren't literally dumpster diving and I didn't collect a lot of drawings from other animators that was just something I never I never did a lot of but I admired a lot of drawings from other animators I really loved mark tech mark ends you know his roughs were really cool because he they he really showed you how much you could get away with with so little if somebody else commented base towards the rubber bands fights oh yeah today now today nowadays nerf guns yeah right remember all the nerf battles I have at digital domain I do like one guy and I had a whole armory under our desks full of nerf guns yeah so if I put these on eight it's gonna be very very jerky but you're gonna see the timing very simple and it doesn't have the subtlety yet of any kind of overlap but you can get a sense of the timing of what the walk is gonna be it's a little clunky but you can get definitely get a sense of what it's going to be like I'm just very quickly done okay but I remember that he said there was going to be the bear villain named Rove brother rode rogue was there going to be like a bear version of scar or something or what was world like Rome is um that's so long ago I'm pregnant that's a very early version of the story road was a character that he was he was just he was a bully at the salmon room basically and so we had to you know it was trying to figure out what his role was going to be ultimately I realized that what the villain I like to do Covey's that don't really have traditional villains that that the it's the protagonist that has to learn the lesson he's the he's both a villain and a-- and the hero he has to get over his whatever it is in order for to for the world to be right so that's that's ultimately what we decided to do I don't know why but made me start thinking of the character tank in Surf's Up oh yeah isn't that kind of a character is broken Brother Bear yeah that's it going rogue Lucas says the salmon I just call it so there's a youtube question do directors need to be able to draw I think they do I think you know this is a visual medium that we have and I think a director in order to better communicate their ideas should be able to draw in order to communicate that and I know for me being able to draw really helped me a lot did you work hand in hand with Roy Disney at times yes Rory would come in and visit quite a bit and he would come up and visit us and in the story room and brother bear he was really into the nature films back in the 60s he did a lot of nature documentaries for Disney and any for whatever reason he was really into brother bear and he would come up and just hang out with us sometimes for half a day in between meetings or whatever and it was really nice having him up there because we would just sit and treat stories matter of fact the first time I ever saw Cirque de Soleil was with Roy Disney he took us he ended up taking Bob and I and Chuck out he went and saw it was a lot of fun all right so what I'm doing now is I just once again I wanted to keep that hand consistent so I traced it off and now I'm going to move it I'm going to move it move it see I want it I want to overlap it a little bit so it's gonna come up just the touch the honey moment he's gonna have some overlap to his head what do you be scared if you saw the Beast in real life like do you find him scary I didn't I never found him scary I know some other people did I could totally see you walking up to the Beast like hey don't start anything I brought you into this world I can take you out of it so here coming down to that ribcage David on YouTube asks which Disney character did you struggle with the most and why the Beast I really struggled with the Beast there's just a lot of complexity and and he was you know he was a hard character to to finally perfect and figure out so here what I'm going to do is I'm going to scroll back and forth you can see he comes up before he before he comes down there's gonna be a little bit of an overlap and you'll see when he goes back up his head is gonna drag as well YouTube question did you ever experience an offseason and Disney the animation studio I work for right now is currently offseason so I'm doing other freelance projects now back in the 90s it wasn't that way I mean we as fast as we can make the films the public was eating them up and and we were in Florida so the thing about that was actually I'm gonna change something real quick the thing about that was because we're in Florida there wasn't a whole lot of other gigs to go on to so they just paid us for downtime we didn't do a lot of downtime we did it a few times but you know there's Disney's best interest that keep us working you know you know what do you think of the ter Terry Gilliam's cutout animations from Monty Python well I thought I always thought it was entertaining okay so you see that shoulder kind starting to come back there we go and here I want to change this arm on a street knit so it's almost hyper-extended did you look a lot to the old movies like Snow White and Bambi and how they did it always we always did we're always inspired by that work see how that I get a little bit of right there when I want to get a little overlap right in there and I know that for the is mine is my own personal question now I know that for it was like snow ye and Cinderella they brought actors in and the animators would animate based off the way that they would move yeah did you yourself ever do that for like Pocahontas or any of those kinds of films a republic little on me live action yeah like live action animations for like live action for reference yeah yeah we did it we shot a lot of it ourselves but Pocahontas they shot the whole movie oh really yeah that whole movie was shot in live-action oh wow I'm gonna give you a broad stride like he's really got someplace to go we're gonna give him a big broad stride YouTube questions so how do you decide to make Don deny he the villain I love the aspect of the film how the source of conflict in the film came from Kenai his brother what about what brought that about well the the villain wasn't really Dena he'd and I knew was a victim of circumstance he was he was uh he was uh he drove he drove this the film but Kenai was still the villain and took Kenai to understand his his mistakes before the the problems of the world were solved and so yeah Dena he wasn't really if that's what really brought it about we wanted Kenai to be the one that's basically made his own bed you know we said okay you want a hunt and kill a bear well you're gonna live as a bear and you're gonna see what it's like to be a bear and you're gonna feel what it's like to be hunted which is what we did with Dena he we made it a case of mistaken identity and there you go so there we go so there's the new stride right there so I'm going to do the opposite again by putting a key right there boom and going one two three yeah the third one over turn that one off there YouTube's question you please talk about the spacing while doing this well the spacing it's really just about I want to make sure that um I'm not thinking about spacing I'm thinking about just visiting physically what his stride is where he thoughts of Will Smith as a genie I haven't seen it so I can't really say I am I heard that my daughter saw Aladdin and she said it was good she wasn't crazy about it she said it was good I think she also said that the best part was Will Smith has Genie that peep mailed it yeah I can't imagine him not nailing it that's my thing yeah you like the style of the old paint Panther cartoons I love them so you can see that arm is reversing and car starting to come back see that and from earlier speaking of brother bear I remember a deleted scene on the second DVD disc of Kenai verbally confessing his story to Kona about being transformed into a bear and killing another bear instead of it all being implied through a Phil song the deleted scene was so powerful emotional was it deemed too harsh or did Phil song happen to be vastly preferred it's exactly right we thought it was too harsh we thought it was too much he was just too like in your face and we felt I agree I thought it was emotional as well but we thought it would be more palatable done through song so that's what we decided to do good call on that yeah but it was just so it was such a hard thing to do just sit and tell this little eight-year-old kid that hey and know you're me I'm your best friend but I killed your mom okay yeah how's it going I killed your mom how's it going man good see it so now what I'm doing is trying to get we get a nice stretch here there find the hip some personal follow-up because we kind of ran out of questions oh I got one right here sorry Dustin I gotta go over here yeah did you ever pull the all-nighters or 24-hour drawing such as back in the day on a project I never did any all-nighters I did a couple of nights until about 3:00 in the morning but that's as late as I would ever go I was a family man and I was I refused to let my job take over my life in that way I just didn't feel it was it was worth it Jimmy honest with you I didn't put the tail on the other drawing we do this it doesn't Rainbow five is coming do your best John Rambo impression do my best believe it I've not really had not Virginia bleh I can't I gotta lost track of my impressions of Sylvester Stallone I need to restate a study his voice so now you can start to see that work you're starting to get a little bit of overlap with those new keys that we just put in to see how their arms are feeling a little more like AP and his head is getting a little overlap in there so and the heads gonna be a little wonky just because I'm not paying attention too much to the to the side to side but it'll be fine a youtube question when you clean up an animation how do you first of all it's not an animation when you clean up animation that's my own personal touch but you clean up in animation when you clean up animation how do you avoid getting caught up in the details oozing the energy in the motion I'm cleaning up a walk cycle right now but I'm having a tough time just continually flip flip those drawings back and forth and really see that motion and that's that's really the key what venomous animal fascinates you the most venomous animal that fascinates me the most venomous venomous I don't know wow that's a good one I almost got bit by a rattlesnake once and put a new drawing there so this is where he's coming up I think the most venomous thing that fascinates me it's not really animal but an insect actually is a consider an insect scorpion it's it's not an arrest I think it's an arachnid but it's not quite a spider I'm not sure what the what it's classified as to be honest with you but it always fascinated me how when it comes to the poison the bigger the scorpion the better yeah because you think that training scorpion would not will not be that harmful but apparently it's far more lethal than a large scorpion yeah it was a little one time to carry more venom right it's just little guys it's just a little Oh God are you going for long hair again nope I'm done with the long hair at least for a while I really enjoy having short hair now I had long hair for 25 years 20 years and somebody just come into that scorpions are arachnids they are records thank you what's the software currently using I'm using TV paint software my favorite animations digital animation software do you have a favorite Disney villain probably a Maleficent so real quick let me go back to here and I'm oh what'd I just do turn that way also how much variation did the Beast go through from the conceptual stage of the final design they really there wasn't a huge amount of change it was really more about streamlining them and so just getting a little bit even though he's a beast you know Glenn wanted a little bit more appeal in him so here I might him to come down just slightly and then it goes up so if you watch the well I got to turn that even more so we comment I think out of the my me talking about the snake somebody said was a somebody said Florida Copperhead the thing is climbing out their favorite venomous animal now the one that almost bit me was in California and was it wasn't a diamond no I can't remember what kind of was so here I have him walking and the head comes down and then he's up here what I'm going to do I'm going to take his head right here and I'm going to turn it just a little bit because I want a little bit of overlap a little flop in his head so what I'm going to take this key let me just turn his head just a little bit like this now watch just doing that little bit it helps with the path on his head there might be a little too much which is easy to fix I want to get in there I'm going to before I do that I want to get the body drawn in let's get the rest of this body drawn and then we're going to go back and tone down that head so here I'm going for the shoulder coming way forward and this is what we would do we would always push our animation they'd always push the animation you want to push it till it feels like it's too far the worst thing you can do with your animation is under animated because then it's just dead would Glenn do a livestream with you too you know what if we can get Glenn in on the livestream I will do it I'll work on it Glenn's super-busy he's got a lot on his plate right now but if I could never get them in on the livestream trust me I'll do it when you're drawing out a character how do you make it look like the same character no matter what angle you pose it well we're always you have to understand that character inside and out right and you got to know the way that they're built and so that was always our thing is that you know you really want to understand the anatomy of the character and we get this back here and how they're put together and all of that did you hear about Netflix is upcoming a series adaptation of green eggs and ham it's being produced with high-quality hand-drawn animation no I haven't heard of it me to you what's the saddest character death in a Disney movie did one in Burmese man cry huh Bambi's mom for me it was Avengers endgame I won't say exactly though in the anime anime just said Disney movie oh okay so I need such a deep I'm using the loophole because technically Marvel is part of Disney that's not technically it is all right Karen on YouTube asks what kind of animation desk would you recommend you know I don't know I don't know brands I've got my old animation desk that I've I've had for you know 25 30 years 25 years and it's final Disney desk I don't know what brands there are out there so I'm the wrong guy to ask I said come in babies Mohammed or Mufasa well the fossa was pretty bad too I guess Mufasa does yeah because you really get to know Mufasa you know it's funny I didn't even think about Mufasa and also the fact that Simba fake wake up we gotta go home yeah I think this one is up too high that's one of my problems not too bad we're getting that walk in there though you can feel that room feel his weight as the key so there's that very clear yep hold on I'm just just checking some of this actually I like his head down here yeah hi I'm an artist and a new mom I know how much time now with them with a baby but I want to learn and work in animation one day do you have any tips on the way to learn animation when you don't have long stretches of time no animation takes long stretches of time I mean you can read but you really got to get in there and you've got to draw if you don't have the time you're not going to learn it it just takes it takes time to learn it's not something you can rush I'm sorry I wish I had a better answer for you but YouTube question when you animate it for Disney would you draw details that you knew wouldn't end up being linked and clean up such as muscle definition and extra bits of fur why would sometimes yeah because it would help me kind of envision what's going on under the skin so yes I would do that YouTube question who is in charge of keeping track of all that paper back in the day we had production managers and assistants and all kinds of you know production assistants and everything that really helped with all that in regards to animation programs what programs would you recommend I use TV paint I really recommend TV pane did baby's mom have a name no just mom yeah pretty sure so here that's that's my drawing right there I'm gonna jump over here out of drawing and go one two three four drawings back if he's walking with the purpose should his head be less bouncy no I want I want him to be lumbering I just want him to be I will probably pull him back a little bit but I do want him to be kind of uncomfortable and lumbering that's the whole idea behind it yeah walking with a purpose he'll still have a little bit of overlap but I definitely want to exaggerate it a little bit here have you seen the Netflix a twitch question is the difference between production or what is the difference between production designer and the art director the production designer is really the one responsible for the look of the film which an art director will do as well in some instances but it's really about I was gonna joke and say that one designs production while the other designs the art but the production designer really does design the look of the film so I'm going to do this and then the art director is responsible for basically can making sure that it stays consistent throughout the production of the film this is going to scribble this in real quick there a youtube question you guys do a live stream on animating Raja I'll Ken you yeah we can do that I ran out of questions over here that's all right and I see a chance to draw in here actually to follow up my earlier question with the rotoscoping up people did you guys have like a special room for that production no no just you guys would do like down the aisles or yeah I'm gonna pull these drawings together what are you doing pulling everything together in the timeline so I can it's easier just to flip back and forth between them so now I can turn this on from that on and get my in-betweens I mean this is basically and then between that I'm trying to work out there we go it was Russia the first big cat you ever animated yes Raja was the first big cat I ever animated and not my best animation that I've done to date but it was it was the first time I really had my own character and so it was a big learning experience for me I would love to go back and redo some of it but you know you live and learn and do I need to study and/or work in animation in order to become a production designer or a an art director I think you need that well if you want to do it for animated films but there I mean there's production designer and art director for live-action films as well so it depends on what the discipline is that you're looking for and once they've asked me if it's animation that you're looking for then yeah it would really help for you to to do that to work in that field well Arab del del Toro has many Disney movies as inspiration for his work what do you think about his movies I love his movies absolutely love them and I keep forgetting that he worked on that the Hellboy movies with Ron Perlman yeah oh yeah it was wrong from oh yes oh yeah would it ever be possible for Aaron to animate a transformation sequence of Kota becoming an adult pair not live that would be really it take doing those transformation sequence that certainly takes a long time you two questions can you guys do a live stream on animating Roger I already did that questions shoot sorry how long did it take to make the film Beauty and the Beast it took about five years I was animating on it for about a year the animation took about a year is there a program in the Adobe Creative Suite that is good for starting out in animation if you can't quite get the TV paint yet I don't think I don't know I don't know there's nothing better than TV paint my in my opinion do you'll be able to start off with some like Adobe enemy maybe I just I don't know what Adobe I don't know if it does what it needs to do there we go everything down there clear that section BBC is making a series of the golden compass are you going to watch it sure I didn't know they were doing that that sounds cool and I think the person that asks the the transformation question earlier was not here for that answer so just for that person will you as some some point for livestream do an animation of Kota transforming to an adult there probably not because it's it's a lot of animation it's a lot of work it's not something I could do in a live stream so here we put these on fours so I've got everything down to fours now oh I got whoops I got this one drawing this doesn't belong right here all right now so there's a little bit you know I got a little bit maybe too much overlap in his head but you can see he feels you know clunky when he walks that's what I that's the main thing that I want is that he's he's really kind of awkward when he walks and I wanted a little bit of twist to that body a little twist to the head just a touch so you can feel that awkwardness that he has so I'm gonna leave the overlap in the head because I feel like it's it feels it gives them a little bit more weight a YouTube question is 2d animation is still a thriving art form today I'm young and learning worries if it's a dying art form that it will be relevant as time goes on it's only gonna be relevant if you make it relevant so you know I get that question a lot and it's the next generation that has to make it relevant right so it's you know it's going to be up to you guys if you want it relevant then make it relevant that's how it's going to be done there we go so this is just down on fours you got it you know I wanted to get a little bit of weight to those arms as well so you can see the arms are kind of dangly and overlap II along with the head in the ballroom seems in buting the Beast how did you guys animate the characters and maintain the proportions to the 3d background the the background was printed out on paper and a wireframe of it was printed out on paper and so the animators just animated to the way your frame rate on the paper that was James Baxter we've got a tail disappearing right there I'm gonna draw that tail in did he give me both the beauty of both Beauty and the Beast in that yeah I shot he did neither both bail-in and beast how many frames did you have to draw at Disney and how strict are they with this number how many frames we didn't really go buy frames we went by feet there's 16 frames and a foot we tried to do I tried to do about 10 feet a week so 160 frames 160 frames yeah a day or a week a week so there you go so that's that's a very rough pose doubt drawing of the beast of walking I'm going to run through and do in-betweens really quick I'm going to scribble them out did you just do rough animations when you worked on when you worked for Disney or cleaned up as well I started out doing cleanup and then I graduated to animating doing rough animation so I'm going to do this is called all of this what I'm doing right now is considered a scribble test so I'm going to keep it nice and scribble you're gonna see how loose we can get and this is really especially with beast we would go really loose with him because he's really complex to draw and we didn't want to spend a lot of time drawing all the details in until we knew the animation was going to work and so very often we kept our animation loose like this and then we go in and we tie it down you know after we saw that it was working real quick I've got any question over here Daphne asked did you also do a live streaming on animating Pocahontas please yes Pocahontas I haven't drawn in 27 years I'd have to get back up to speed on Pocahontas she was the most difficult to draw out of every character I've ever drawn really yeah she was the most difficult because there's you know you want her to be appealing and you know you know all that was just hard a lot of times and while I'm doing this too I want to remind you guys that we've got our in August third and fourth we've got our master class coming up and it's I'm going to be talking about animation character design demonstrating it all live and it's going to be a great time and really hope you guys can come out and join us you're gonna meet Dustin there's a there's a there's a plus by feel meet Nick and we'll have the whole game there but um we'd really love to see you guys and that's going to be August 3rd and 4th here in Orlando downtown Orlando at the Repertory Theater really excited about it's a beautiful theater that we've been able to kind of procure for two days and and if you're a student or a teacher you can get up to 50 bucks off on the cost of that ticket so I'm gonna lift this up just a little bit so so come on out and come come check this out because I'd really love to meet you and and so go to creature art teacher dot-com backslash Orlando 2019 and you get all the information on it it's gonna be an awesome awesome time so you can see right now I'm just very quickly going through this is one of the reasons I love this brush and a TV paint because it really allows me to stay really loose and I'm not even worrying about the Cape at this point there so you can see oh-ho he's got that big hulking feel I want that head to feel heavy really heavy I mean it's a big egg oh yeah [Music] he is a little goofy he's a little bit if when uh when you get him by himself and he's sitting there with the other characters you see a ball nerble side to him he's a little bit goofy did you work with Ruben Aquino yes I worked with Rubino Aquino for years I know Ruben very well he both worked on lankey yeah Ruben was on Lion King longer than anybody Ruben went on the Lion King and spent a year before anyone else came on putting together all of the action analysis and movement locomotion reference for the entire film Wow he worked out all of the locomotion are the end of and and he was a supervising animator of adult Simba he had a major role in that movie and and so by the time we all came on Ruben was a complete expert on animal locomotion I've got the spacing on the legs a little bit off but I'm just gonna roll with it I don't care or rebel under a rabble yeah okay your uh your rubble you're gonna see them slow down as they go back they're gonna get closer the spacing gets a little close together the Photoshop has the option for timeline as well right yeah um there's just not as good I just don't think yeah it's not it's I don't even know how to do it I tried it's it's ridiculously complex as far as I'm concerned YouTube's question what is typically considered an entry-level job in animation well nowadays I'm not sure back in the day he was you know you're in cleanup and it was an in-between position for Furman are from an artistic entry-level position just I don't know I mean it depends on what department you want to go into really you're seeing Andre Diaz video Dasia my mistake that's right deja is nine old men collection of original artwork I heard it's massive yeah Andres has a ton of original art from Disney it is he's got a yeah he was he was smart to collect that back in the day before it was worth anything I knew Ruben animated adult Simba but I didn't know about the whole locomotion senior expertise on the project yeah thank you for sharing these these interesting bits of information oh sure yeah what was great was he and I've still got it I've got it somewhere in my mice my storage he put together binders of locomotion reference for all the animals in the movie live-action reference minders that's a lot of minders oh it is well there's I think it's two or three big binders that that I've still got that's a lot of information of those binders you trying to be funny I'm trying to be funny dear but families not do too good apparently he's not doing too good the other day your powers are at the bar the other day so here I'm just picking his foot up do you do any crafting like sculpting and stuff you know I don't i love sculpting but it's not something I've really done since man I did all that drawing on that foot and it's behind the behind the tail I have it here too the tail should be in front of it oops you messed up on your be strong the other day Hey ie I did I did on here - all of them that's it's so weird I put the tail behind his foot on every drawing I don't know what I was thinking but you do do um when it comes to crafting you do do like to build stuff like you built this stand yes he hasn't really done any you just don't really do any sculpting sort of right so you can see as we start to fill it out you can start to see his walk start to fill out a little bit more and it's all about having that big muscular weight behind him and he's off those back legs I've got to carry that and plus he's on those he's got to walk on his toes on those back feet so it's awkward I want him to feel awkward the walk feels awkward that was always you know Glenn's number one thing about beast is that he's this awkward character he's not comfortable in his skin he's not human he's not animal he's somewhere stuck in between and so that was that was always the goal trying to get him animated upside-down utopia on YouTube as as someone who has never animated before would I benefit from the master class you absolutely would it's because you know the master class is going to be more lecture based and I'm going to be going over examples and things like that and so I think this is really good for any skill level especially beginners because it's going to give you a really good taste of what it is that we do I think is it possible to see everything's possible Dustin you should know that by now I draw agreement you to believe that anything is possible I personally know but this person okay god this person doesn't know but is it possible to see you on big animation movies again yes it is possible not probable but it's possible I really love what I do when I'm doing now I've turned down about nine different directing offers because I really love this and it's going to take a really big project to pull me away from doing this you know and you know us creating our own projects with like snowbear that that's enough to keep me happy I don't want you to work on a big project and so like I said if there is anything that's going to pull me away it's got to be something that's really awesome because I love I love what we do now I love the freedom that we have than I have and and I love interacting with you guys and to go off and make a film really is gonna put a damper on on that freedom that I have you know I like being able to work out of my home and you know walk to the corner and have a sandwich and then come home there's you know there's there's something really nice about all of that and I'd be hard-pressed to give that up the pen boiled go ahead what kind of offer would it take to get you into a big movie again it's got to be the project it's not it's not about the money anymore I don't care about that to me it's got to be about the project and and I want to know that a project is actually funded as well you know there's so many projects that you know I've turned down because they're not they're not funded yet and you know when you get into that kind of issue then it's you know the odds of a film being done or they drop dramatically are there any animal skulls you don't have that you wish you could own whether they're replicas or not yeah I wish I had a hippo and I wish I had an elephant replicas obviously yes and I wish I had the place to put them it was asking if we had to be Disney characters at magical kingdom which characters would you choose what's up if we were characters at Magic Kingdom which character would we choose oh I don't know who would you choose hmm you can see that walk starting to happen here well big goofy walk maybe the Mad Hatter must don't be silly it's pretty good don't let's be silly can you describe a day in the life of a Disney animator back in the day well we've come in depending on if it was a crunch time or not we'd be in at 7 a.m. or 9 a.m. and it was usually we get a cup of coffee chitchat talk about the weekend talk about the day then we start talking about the shots and what what we're animating that sort of thing and we get to it and then we you know it was all about getting the work done really and and then you know the thing about animation is obviously it's labor-intensive it takes a lot of work to get it done so it's really you know the ones that got the most worked on they weren't socializing a whole lot we'd socialize a little bit and then you know for our breaks you know we'd shoot darts played a lot of darts we go on play football you know we when we were younger we really kept active especially you know when you're sitting on a desk all day long it was important for us to get outside and get more active we were out we were outdoors one time taking a break and Steve Martin walked by he goes well it's nice to see everybody working hard and he he really had no idea how hard we had been working he just thought we were just goofing out goofing around out there does character design usually precede the casting of voice actors and has any voice actors performance caused you to redesign a character personally I don't know of any time we've redesigned a character based on the voice actor but it's actually usually the design is done first and then we try to find someone to match that voice unless there's a you know they go off there's something that somebody like Robin Williams who you know that's a specialty or will you know Will Smith or something like that which DreamWorks does a lot of we really designed our characters first then you try to find that voice that's going to fit so it would be cool to have a drawing session with Aaron at Animal Kingdom that's a great idea I would love to do that well you do the drawing I'll be the photography yeah there you go do you keep your light box on when you animate with real paper or do you like to flip the drawings instead to check your spacing always flipping I never have my light table on Never not in 20 years for 30 years I thought you do I use my light table this is my favorite Disney character this is incredible good I'm glad so this is you know this is what we this is how I animated them and actually rarely did we ever get a chance to animate his full body like this it was always medium shots yeah bear yeah you very rarely ever see him see his full body I noticed that yeah and other that or when he's when he is walking or running he is like on all fours yeah here I'm definitely trying to make him feel awkward you know that was like I said that was the key make him feel awkward and uncomfortable and following up of the animal kingdom comments yeah I think Aaron and doesn't would be royalty at Disney parks don't wouldn't be as royalty as you think as much memory is short over there very is it easier to animate subtly or large active emotions sorry just reading another question keep that keep your question up Nick you know there is no easier they're just different and so you know I've animated shots before that were super subtle and we literally just a line width of difference in the movement but I would mana mate them multiple times before I got them right just because that subtlety is such such that it's really hard to get it right the first time around and we're so used to animating somewhat broad that it's you know when it comes time for something really subtle it's gonna take a few times that bat to get it right so there's that and then obviously broad changes they've got their own set of issues so it really put this out here like this it really has its own like I said they're just different I want him to place his foot so you see that foots coming down extending you think we can see Aaron animate and lip-sync in on paper sometime yeah I can do that that sounds that's a actually a great idea I like that actually I ended up reversing his hand on this one another request is can you draw a character from the movie avatar of James Cameron I could try I've never done that before all right so I got to get this head in first the only input in a Christmas beauty the Beast mini-movie No there is uh the only input I had in the film after the release of the main film was there is a rerelease when they react when they added a song I think on the 10th anniversary there was a DVD I actually I may have been a theater rereleased I can't remember but the ad of the new song I'm just actually cut they put it back in and and it's this the new animation was beast trying to learn how to read he had never learned how to read and Belle was trying to teach him how to read and I animated that in the movie hold on I just got to get I could feel you starting the talk yeah he felt the presence at this at that tail right they keep animating everything on the wrong side of the tail talking and not paying attention oh yeah the other thing too I wanted to talk about you know that the people are asking me about what I ever go back to another film and do another film the other thing to my life now compared to my life was like as a director is like night and day when I was a director I had about 14 meetings a day in order to get the film done and which is not what I do now and once again it takes a lot it's gonna take me a lot to want to want to direct again from that point of view alone so there's that once again I also want to mention for those that have just come on it for those that I've been listening the whole time I'm sorry if I sound like a broken record but we are doing a masterclass in Orlando August 3rd and 4th and we'd love to have you guys there it's going to be great and and then really it's open to all skill levels and it's going to be me talking about my experiences I'm going to talk about character design talk about animation I'm going to do live animation demos for you like this we're going to be doing I'm going to talk about story and how we construct stories and get them off the ground for animated films we're going to talk about all kinds of stuff and and the best part of it I'm going to do alive we're going to get to meet each other and it's at a beautiful location right in downtown Orlando at the at the Orlando Repertory Theater train next door to the Orlando Art Museum and the Orlando Science Center so it's in a really beautiful part of town and I really think you guys would love it so once you check out creature art teacher dot-com backslash Orlando 2019 and if you're a student or a teacher you can get up to fifty dollars off so check that out and I'm gonna get back to beast here real quick I've got three more drawings and then we're gonna be done does it take more frames to move a smaller character and less frames for our smaller characters see that one more time because you just doesn't take more frames to move a larger character and less frames for smaller character well it depends on the movement really it depends on there's no blanket statement as far as all that goes it really depends on what you're trying to do it doesn't it's it's I don't think of it as frames I think of it as time you know how much time does it take to move this character doing a specific thing you know what's the it for me it's it's it's going to take as much as it takes in order to get across the emotion you know in this case is just mechanics but whatever it takes to get the emotion across that you're trying to get across right so that's that's my biggest thing is just making sure that I've been given the amount of time that I need in order to get across the the the emotion that I want to get across on the screen do you think people need to learn more about history ups yes that's a really broad question and yes I do you know if you if you don't learn from your past you're bound to to repeat them to the same mistakes and so yeah can you animate yes I can enemy okay can you animate an accurate dinosaur on the livestream that is a cool idea I like that idea dinosaur yeah coming up with because we can talk about what we might do for analysis you know where would we get the the where we get the reference you know how would you you know do your homework first for me I would look at chickens birds you know how do they watch okay that could be a lot of fun and then sit down an animate a dinosaur did you ever meet the voice artists Mel Blanc I think Dustin's the next next mail block why fight no I unfortunately I never did get to meet him my son named stuff so he's the voice of Bugs Bunny and other great characters guy can enact something you say in Aaron can you draw a beast expression and do you animate twos or ones I am a both I am a two's when I can use them and ones when I need them and I'll do the expression probably on a later on another live stream because this one taking up all my time just to get the animation done Bryan Johnson just joined good I Drive gentlemen good afternoon my friend Bryan Johnson friend of mine since high school we've known each other a long long time really there that's Dustin's chair stop it all right we're almost there see there it's really filling in nicely from home he's got that weight you can feel the muscles that's the key I really want you to feel those muscles under his skin I want you to feel the anatomy you know all of that comes from really working at trying to get that to feel feel we've tried to build them from the inside out you know so hey made the Cape for that one frame yeah I know there it is one key most stuff on YouTube masks I'm having trouble I'm making ghosting animation that appears to be shot to be in slow motion mm-hmm please I would greatly appreciate if you did a live video on this subject well slow motion first of all you want to add more drawings and then you want to cross dissolve wholly if you want the ghosting you want to hold the drawings for a certain amount of time but change the exposure on each frame so that the exposure comes up and then it goes back down and you have an overlap of that so that that's how you get the ghosting effect at the end of a link for beginners to see previous animations you have streamed yeah YouTube go to my youtube channel I've got every video I've ever created on YouTube I've got a couple hundred on there what was the last project you worked on at Disney did you work for another animation studio afterwards yes I worked my last project that was made was Brother Bear I worked on four other films after that I've directed Gnomeo and Juliet for about seven months before I left that project and Kelly has very took over I was directing that with with my directing partner Bob Walker and being produced by Chuck Williams I was also directing a film called king of the elves which never got made also we wrote a script called the longshots which we spent a year on which had some really good momentum and it was a fun story well I was all of the crazy animals in space yeah and I never got made so there was quite a few projects that we worked on that never saw the light of day after we finished Brother Bear and then after I left Disney I went over to digital domain where we were hot making the legend of Tembo which was a story of a elephant taken from the Serengeti and raised to be a battle elephant and that one was well on its way to being made but the unfortunately for us the company went bankrupt while we're making the movie and so that was that a lot of good people lost their jobs that day and we both we both lost him after that yeah yeah because I was working there at the time so you were ahead of animation I was I was working as a 3d depth artist a different wing we we at a different department dustin is erina strict dad oh no I was no I just I wanted you to be a gentleman I've always raised you to be a gentleman yes like oh do you know how to have fun but you knew how to you knew how to keep me going the right direction yes every discipline I was I was a pretty good disciplinarian I only swatted Dustin in the butt a couple times when he was young Dustin was very easy he really was does the easy learner you were an easy easy child to raise you were always very conscious of others you've always been very empathetic very proud of you what was the one thing about me that scares you most it was my height tolerance of pain my tolerance to pain yeah Dustin was really funny he put his hand in fire ant mounds and then when he was like a toddler and he would just let them bite him and he would make a sound and so it was hard for us as parents because we didn't know he was being attacked and poor little guy would end up these welts all over his body and he never made me sound I even had one time in middle school when when an English Bulldog violet she accidentally hit me in the leg it was a and she bit me one with one word big canine yeah I know it went deep but I do even make a sound at this point and I just looked at help I see that I see the gaping hole like I think I need a band-aid my favorite one was when he you would get your teeth and when your teeth would get loose oh yeah his teeth would get loose and they'd come up to me as soon as it was barely loose and he'd come up to me he'd have me hold it and then go and you did pull against me and I'd pull it out of his out of his head oh my god kids psycho he okay it was funny I have fine and fun so Brando and YouTube has Howard Belle beast and chip animated for the Oscars when they announced the winner did the animators really already know who the winner was no we animated all that that was animated just in case so you there was different scenarios that were animated no nobody knows that's the key to it but it was worth Disney's time to do it because it was such a big spectacle I just met Jim Cummings this past weekend have you had a chance to work with the guy no I wish I could great voice the man as well I know the secret behind dozens easy upbringing they talk about you so we're down to the last drawing now our last in-between that we're doing on to zere and once again trying to work into this rough drawing here I didn't know you were the first ant-man doesn't know the next livestream bring the suit oh I'll try look for somewhere my storage so here the key once again is just really staying loose and being able to talk man I can't talk I'm sorry when I start when they start concentrating on the drawing I have a hard time getting it out but um you know it's really keeping it loose and feeling that movement that's what I try to do I don't I'm not looking at you know this line being between this line or I'm trying to feel the movement of each individual part but also everything altogether that's what I want to feel are you still in contact with some of the animators he worked with back at Disney absolutely almost all of them but I thought it was close with you know those guys there they were my family basically so originally the legendary one anomaly Jim Jackson Jackson I understand on the movie and but you got to look up Jim Jackson he works up at blue sky it's one of the best animators out there I think and look up his website Jim Jackson animator blue sky the guy's a genius that sync was too perfect hmm what's up the with you and I saying the same name at the same time you knew exactly what I was going to say oh yeah well I mean there's nobody better than Jim Jackson so you know alright yeah have you guys seen how to train your dragon 3 yeah loved it loved it what a great emotional ending oh yeah and oh yeah and oh yeah sure and you kept on saying while watching movie that of how much you love the the villain yeah yeah the villains awesome what was it that you liked so much about the villain he's just I don't know there's you don't know how he's gonna be I was gonna be defeated I don't know I care he looked great too the design I thought was awesome we should have a movie night with Aaron and Dustin lies how cool would that be so I'm going to get rid of the cape over here on this drawing so there's our rough biess walking boom-boom-boom you can see he feels kind of awkward that's the whole idea I really want you to feel that musculature know the weight of his head youtube comment oh my god I'm a huge fan I'm currently enrolled in the complete animation course and I got to say it is awesome oh well thank you very much I'm very glad you like it and then that's the other thing too if you guys if you're if you're interesting to more of this kind of stuff this animation what I you know the things I think about when I'm doing it and a lot of the basics working up to getting up to this level go over to creature art teacher comm because I've got full animation courses there I've got character design courses I've got all kinds of stuff there that I think you guys might enjoy courses on storyboarding courses on color theory courses on story structure along with all kinds of drawing animal course drawing animal drawing courses animation all of that so a digital painting creature design lots of stuff so anyway this is the beast libby's animating the beast if you're not least the other thing to once again I'm going to put a plug in for our master class august 3rd and 4th go check it out over on my website creature art teacher comm backslash Orlando 2019 there's it's going to be a great time we're going to have a lot of stuff it's two full days to eight hour days of animation related stuff its animation its design its story it's going to be all kinds of stuff so we're really excited about it and we hope you guys can join us it's at the Repertory Theater in downtown Orlando right next to the Orlando Art Museum next to the Orlando Science Center so it's going to be a lot of fun it's gonna be a great time and so anyway so there you go there's the Beast it was fun kind of pulling him out of my hat I have any animated them in about 20 years maybe 15 years however long ago it was that I animated him for that for the re-release of the film that was the last time I intimated him so getting him to do this walk which I know is a little bit floppy but I want you to guys to see the overlap and the weight and all that kind of stuff so there is walking along singing a song like I always say but I hope you got Moe a little hoarse I'm a pony pony any horse horse but we did that two hours we got a walk cycle done in two hours so that wasn't too bad so there is this is beast walking along and I hope you guys enjoyed it like I said I loved pulling out the old Disney characters talking about the old days and sharing our experiences with you guys it really was it was a magic time that we had and I love talking about it we are very blessed to have been able to experience those days in the way that we did we were young and we were ready to conquer the world from an animation standpoint and we did and so we're very happy that the work that we did back then still is sustained and people know about it and are still watching it so that I'm very grateful for so thank you so much for listening to me babble about the old days and we'll keep doing it and once again keep in mind we're going to get another video out today on how to draw Rajah that should be done by the end of the day and wow I'm really getting hoarse yeah that's okay yeah either will either be done by the end of the day or will be done first thing in the morning yeah okay I'm gonna be shooting for an end of the day sounds good so there we go go on out there take what you've learned put some beauty back into the world that's what we do as artists that's our job and the world needs it it's our duty yeah here home and put some beauty back in the world be nice to somebody and just be all-around good and with that after you put your shopping cart away I'm gonna say Dustin take it away yeah oh it's still still shot I tried that but it did not work but anyways hey have a good night guys or have a good morning wherever you're at and as always from my end Cowboy Bebop

Channel: The Art of Aaron Blaise

Views: 28,643

Keywords: animation, disney, Beast, Beauty and the beast, demo, lessons, 2d animation

Id: 9QNeRKMj5K8

Length: 121min 19sec (7279 seconds)

Published: Tue Jun 11 2019