Tuesday, May 12, 2015

Memory Lane 14 - At my desk during ' Mulan '.

Photo of me at my desk in Burbank California around 1997-98 during the Disney feature 'Mulan'. Most of the character animation was being done in Florida but they cast around 12 animators in LA to join the crew. It was also the first time i worked with my supervisor Mark Henn. I would later work with him again on the feature 'Home on the Range'. I loved working on this production.


       

Tuesday, April 28, 2015

Don Bluth - Storyboards - 2 - The Land Before Time - Tyrannosaurus Attack Part 1

Here are the first panels of Sequence 004 for Don Bluth's 'The Land Before Time' - The Tyrannosaurus Attack. 


Here are some of Don Bluth's work - beautifully drawn and staged, not just being a guide for Layout but for character poses as well. 

Don Bluth and artists Larry Leker and Dan Kuenster worked together as the storyboard artist crew during the features 'Land Before Time' and 'an American Tail'. All 3 of them did beautiful work.

This is the First Revision as during production, Steven Spielberg had requested that the sequence be played down a bit. As it was, the moment was coming off too intense and the thought that it might be a bit much for the younger viewers who will be watching.  

When we were shown the first screening of this rough sequence during one Tuesday ' Weeklies' showing, it was great. The editors had added a sound of a beating heart as the sequence became more and more intense. I think most people could understand why the decision to calm it down made sense. 

In the STORY-VISUAL LANGUAGE class I teach in Vancouver at the media college - VANarts Phone: 604-682-ARTS (2787)  -  { feel free to pass along this contact number to any interested student looking to learn character animation and story }

I break down the panels in sequence explaining how the artist is telling the story with his choices of composition using screen direction, angles of the horizon, camera pans and zooms. Also taking note of how many panels are needed to fully explain any character action or performance.

I love breaking work down and seeing the decisions the artist made to visually tell the story in a clear and entertaining way. 

I will post the second part of this sequence in a bit.


As a side note, you can see on various panels where an animators name was written on the panel. This was the note explaining who Don was casting the individual scene to as it went into animation production. 






























Friday, April 3, 2015

Memory Lane 13 - Some of the people I have worked with - Part 1


Here are some of my photos of different artists i have worked with over the years. Every now and then I would bring my camera to work and take some shots of them at their desk.  
- copyright MARK PUDLEINER 2015

Photo I took of supervising animator James Baxter during the production of 'The Hunchback of Notre Dame'. I miss stopping in every now and then to visit James and his wife Kendra as i left for Vancouver to teach. Super nice people.




During the production of Meet the Robinsons I walked into each animators room and took a photo of them at their desk. Here is Dale Baer. He's now one of the few 'old timers' that trained under and worked with some of Disney's nine old men. So calm and easy going all the time. 




This one was during the production of Meet the Robinsons. Here is supervising Canadian animator Duncan Marjoribanks. Love his dry sense of humor. Great animator.




Alex's room was next to mine during the production of 'Meet the Robinsons'. Supervising animator Alexander Kupershmidt. Amazing talent. 




Here is Tony Fucile. He was my supervisor on the character ' Esmeralda ' during the production of 'The Hunchback of Notre Dame'. He ended up leaving Disney to go help Brad Bird with the feature 'The Iron Giant' and 'The Incredibles '




One of my closer friends - from staying later into the night in college to work longer on our projects to working with him on one of his characters at Disney feature { I animated on his crew on Meg } - I feel like i grew up with him in the industry over the years.
Here is a photo i took of supervising animator Ken Duncan while he was animating the female lead character 'Meg' on the production of 'Hercules'.

Sunday, December 21, 2014

Memory Lane 12 - 'An American Tail' - Nov 1986 Cast and Crew Screening


First of all, Merry Christmas, Happy Holidays to everyone - 2014 !
I was finally able to have some time to transfer some of my old videos from my early days as i was just getting into the animation industry. 

Here is one that I'm sure will bring back some memories for others. 

This is the Cast and Crew screening of Don Bluth's animated feature ' An American Tail ' back in November 1986. We had already started the next production, ' The Land Before Time ' and were starting to pack up our belongings to get ready to fly over to our new studio location in Dublin Ireland.

But before we all left southern California we were able to gather as a studio one last time for this Crew screening. It was an exciting night as after a few years of hard work we all were finally able to see how our efforts all came together. 

Don Bluth, Gary Goldman and John Pomeroy had just returned to LA that day for this screening as they were away on the publicity tour being interviewed throughout the country in time for the films release. 

It was an exciting time for the young studio. The artists I was able to work with were so open with sharing their knowledge. So many positives at this time and I was very proud and fortunate to be able to have these people in my life. This truly was a 'small' studio and it felt like a family { yes, sometimes a dysfunctional family.... but hey, what family isn't ;) }   Wouldn't change anything and all I can say is thank you Don, Gary and John for your leadership, the opportunity and the support you gave the crew during this production. 
I also have to thank my boss at the time during this production Vera Lanpher { now Vera Pacheco } as she pushed me to always do my best.

Below I have posted the names of the people that I know in the video as they walk by in order. Note, I wasn't able to record everyone as multiple things were happening at the same time...so if you're missing... sorry about that.
{ If you have any names of people that I have left out, please let me know and I'll update the list }

The film opens with my friend Joey Mildenberger whom I shared a room with at the studio. He drove me early to the screening so that i could get set up before the crowd gathered. It's sort of funny as he thought at first his name was NOT on the credits, but he quickly found it and everything turned out fine :-)
Also, the first boy that enters the lobby is Phillip Glasser, the voice of the character Fievel.

Hope you enjoy watching the video.

- Mark






People in the video in order of appearance :


David 'Joey' Mildenberger   -   special effects inbetweener 
Mark Pudleiner   -   character key assistant  { holding camera in mirror }
   -   Fievel Mousekewitz { voice }
Deborah Rykoff-Bennett   -   paint lab supervisor
Mannix Bennett   -   rough animation inbetweener
David J. Steinberg   -   assistant director
Dave Tidgwell   -   special effects inbetweener
Anne Marie Bardwell  -  animator
Ralf Palmer   -   animator
Paul Riley   -   visiting animator from Toronto
Konrad Winterlich   -   rough animation inbetweener
Helene Blitz   -   production accountant: USA
Jeff Etter   -   animator
Anne Hazard   -   ink artist
Jon L. Hooper   -   character key assistant
Barry Atkinson   -   miniature model maker / background artist
Ralph Zondag   -   animator
Dick Zondag   -   animator
Tom Hush   -   special effects animatorJesse Cosio   -   animator

William Lorencz   -   miniature model maker / background artist
John K. Carr   -   editorial assistant
Linda Miller   -   directing animator
Susan Vanderhorst   -   animation color stylist
Daryl Carstensen   -   xerox checker
Michel Gagne   -   assitant animator
Ciaran Morris   -   xerox checker
Brenda McGuirk   -   paint lab assistant
Paul Newberry   -
Kevin Wurzer   -   animator

John Cawley   -   production coordinator

Shawn Keller   -
Vera Pacheco   -   character key supervisor (as Vera Lanpher)
Dorse A. Lanpher   -   special effects directing animator / title designer
Diann Landau   -   special effects animator
Cynthia Ankney   -   assistant: Gary Goldman

David R. Ankney   -   animation camera

David McCamley   -   special effects inbetweener

Patrick Gleeson   -   rough animation inbetweener

Russell Boland   -   xerox processor

Sandra Ryan-Moran   -   cel painter

Sinead Murray   -   cel painter

Hope Devlin Kristiansen   -   apprentice mark-up

Gary Perkovac   -   animator

Jean Morel   -   character clean-up artist

Eric Daniels   -   character clean-up inbetweener
Margie Daniels   -   

Sue Shakespeare   -   assistant director

Terry Shakespeare   -   character key assistant

Colm Duggan   -   rough animation inbetweener

Helen Lawlor   -   rough animation inbetweener

Mary Walsh   -   rough animation inbetweener

Nollaig Crombie   -   rough animation inbetweener

Thad Weinlein   -   production manager
Rachel W. Leighton   -   assistant accountant  ( as Rachel Weinlein )

Barbara Ritchie   -   animation checker

Don Bluth   -   director / producer / production designer / storyboard artist

Rocky Solotoff   -   animation camera

Scott McCartor   -   production camera supervisor

Pamela + Christopher Scudder { my future in-laws ... i had no idea :-) }

Diane Albracht   -   ink and paint assistant supervisor: USA

Gary Hall   -   cel painter

Robin Police   -   final checker

Alan Fleming   -   xerox processor

Carla Washburn   -   animation checker

Fred Craig   -  supervising production manager / director of special photographic effects

Todd Waterman   -   character clean-up inbetweener

Gina Evans   -   cel painter

David Molina   -   animator

Ashley McGovern   -  rough animation inbetweener

Dan Molina   -   film editor

Gary Goldman   -   producer

John Pomeroy   -   producer / directing animator

Olga Tarin-Craig   -   color mark-up / ink and paint supervisor 

Saskia Raevouri   -   final checker

Kerri Swanson   -   ink artist

Mark Swanson   -   layout artist

Tamara Anderson   -   rough animation inbetweener

Kathleen Quaife-Hodge   -   special effects animator

Don Paul   -   special effects animator

Mark Swan   -   miniature model maker / layout artist

Larry Leker   -   layout supervisor / storyboard assistant / title designer

Morris Sullivan   -    co-founder of Sullivan Bluth Studios

Silvia Hoefnagels   -   character key assistant

T. Daniel Hofstedt   -   animator / rough inbetween supervisor

Stephen B. Moore   -   special effects assistant

Jorgen Klubien   -   additional animator

David Goetz   -   background artist

Skip Jones   -   animator

Fred Reilly   -   apprentice mark-up

MISSING FROM VIDEO but where there that night :

Emily Jiuliano   -   character key assistant
Joe Jiuliano   -   animation camera




Tuesday, November 25, 2014

KINGDOM of the SUN - Rough ' Nina ' sketches and Animation Test


Here are a few of my rough sketches during the beginning months of Walt Disney's feature ' Kingdom of the Sun '. I was cast to the lead character ' Nina '  supervised by Doug Frankel

This was to be my 4th Main female lead character that i was to animate at Disney's. The others being Esmeralda, Meg, Mulan and now, Nina. I really liked the work Doug had done on her design up to this point. Having the face be wider in design but still keeping the appeal. And I loved the large shapes to work with regarding the hair and outfit, even the earrings. I love having shapes to play with regarding overlapping action and I was already visualizing how the hair could move in and out of actions, looking for appealing shapes and using the drag and follow through action as a nice accent to a movement.

We had some time at the beginning to discover the character, learning to drawn her to understand how her design could move around. 










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BELOW is a rough animation test i did of  ' Nina '. I was one of around a dozen animators or so that were on this film for around half a year. Production stopped on this film as the company reworked the story and recast the direction. The new film became ' The Emperors New Groove '. This film was more classic Disney in it's animated style - more traditional than the more comic style of ENG. This test of Nina is just a rough i was having fun with before scenes were cast out. It's rough, off model, not completed. It's also based on a good family friend Lisa Salamone Smith { Disney TV } who I tried to capture some of her personality as I have her walk towards the camera. At times Lisa would have her hair flop down over the side of her face while talking and then take her hand and brush it aside. I tried to put that in the test just to add a bit to the appeal of the performance. As mentioned, the test isn't finished, still in the rough stage, but you can see where I was going with it. :-)



Mark Pudleiner - Kingdom of the Sun - Rough ' Nina ' animation test from Mark Pudleiner on Vimeo.


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Here are 3 key poses from the first scene where I animated Nina. I was sorry when this story was stopped and along with it all the work done on the character. We moved on after a break to the new film 'The Emperors New Groove' which was a completely different story being animated in a completely different style. And that ended up being another positive experience.






Tuesday, October 7, 2014

2 Videos - 28 years apart.

2 Videos showing me a few years apart. The top video is a recent 2014 Video clip from VANarts where i teach Character Animation and Story. It shows one of our recent graduating students Emily Cooper discussing her experience coming to the college in Vancouver Canada to learn Animation. The 2nd Video below shows me much earlier in my career as I am filmed during my early days at Don Bluth Animation - 28 years earlier { Yikes ! }

2014 Video

Emily Cooper - VanArts Graduate from VanArts on Vimeo.

click HERE to go to VANarts Website





1986 Video - 
This video is from my good friend and amazing animator and designer Sandro Cleuzo.  
who worked at Bluth but I met during our years at Disney Feature Animation. 

Check out Sandro's beautiful work at his website here > click
  
The video below shows the DON BLUTH studio as we were working on the features :
 ' An American Tail ' as well as ' The Land Before Time '. 
I am definitely a younger version as at the video time of 4:24 it shows me at my desk
working on a Fievel scene from 'Tail' as I am doing Key Clean-Up. This is taking the animator's
rough animation drawings and putting down a final line, making any corrections to putting things on model 
{ while keeping all the animators energy and life in the drawings }.
Time flies - it doesn't feel like almost 30 years that this is where things were at.
Constant learning and amazingly good times working with all the various talented artists during those days.

Monday, September 1, 2014

Thursday, August 14, 2014

Hello World ....


Our senior students here at VANarts Media College in downtown Vancouver have 1 more week to go until they walk out our door for the final time. It's been a busy week as they finish their final senior short films and gather their best efforts to create their portfolio to show the studios. Many have also made the short walk over to Siggraph 2014 to visit the job fair, their best scenes in hand. 
With positive thoughts, some anxious and nervous energy, they hope for the best. 
And so do I for them.
I had to stop for a moment in class today to sketch out this little drawing of how it all must feel, the excitement of finishing college and stepping out into the future.

Here's hoping the future is nothing but successful :-) 



Saturday, August 9, 2014

Memory Lane 11 - My desk @ Disney during Hercules Production - 1996



At my desk during the production of Disney's animated Feature 'Hercules'.  This was most likely taken early 1996. My friend and supervisor on the film, Ken Duncan { he was supervising my animation of the female lead 'Meg' } , was going around at times taking photos of people working on the project. He came into my room, stood on a chair and pointed the camera as i looked his way. Looking over my shoulder I recognize that was my first scene on the film, meg walking through the forest as she is about to meet the characters 'Pain' and 'Panic'. 
It was the first time I was to deal with those round Meg hips as she snapped from pose to pose. Also the overlapping hair and dress that was part of her design. I've always loved that challenge of animating the female character with all the overlapping design elements. They are great assets to use for adding accents to a performance. 

And yes, I have no idea why my glasses are so damn big  :-)

Sunday, July 27, 2014

Getting into Disney Feature Animation in 1993

Late 1993 I was wondering if I should take the Disney Animation Test that I had heard about. One of my friends at the studio warned me to not take it as Disney never hires anyone if you do a test. Instead, to get in, I should just hand in my portfolio. I thought about it and decided to do the test any ways. I thought, I will take time off work, a holiday, and work on the test during my break, doing my best. And hopefully it'll work out.

It was a Friday afternoon as i drove over to the Disney building in Glendale where the production of Pocahontas was in full swing. I walked into the reception area and asked for the animation test. The girl behind the desk handed me the one sheet i scanned below and told me to hand it back in 2 weeks later.

So i quickly went home that night and started. I had to animate one scene of Alice picking up a pot of tea, pouring the tea into the cup she was holding and as she lifts the cup to her lips ' something ' happens and she reacts. 

I thought I'd be clever and make a test that would make someone laugh. I roughed out a first blocking test of Alice picking up the pot, pouring and just about to sip the tea when suddenly the facehugger from the Alien movie shoots out, grabbing her face, throwing her backwards and all we are left is seeing Alice's legs thrash about.

I asked my college friend , Ken Duncan , {who was directing a small role of the young man Thomas on Pocahontas} if i could drive over to his house in simi valley and see what he thought. Thankfully Ken said yes and after seeing what i was up to he asked me to shift direction with the test. "Know the audience Mark" he said, " You need to understand who is looking at this, it's Disney feature. You have to think of their sensibility and what they are doing. Think more charming. Something more Disney-like. "
Strong advice. Thank you Ken ! 
I truly believe if i had continued with the violent test, I would had been passed over.
So, instead I returned to my apartment and started over. It was Wednesday night when I drove to Simi and saw Ken. It was now Thursday morning. Blank paper on disc. Drawing one.

I returned back to the studio 2 weeks after I first received the test, handing them my work.
I hoped for the best. 
After talking to Ken, I decided to have the Cheshire Cat pop out of the cup and grabbed the twirling cup in mid air then smiling at the young Alice. I studied the Alice work from the film and tried to make her reaction as close as Alice-like as i could. React but a bit constrained, keeping her ladylike as the young lady she is.

I was told by a friend, Dave Goetz { who lived near us in Santa Monica } that the test went really well and that the producer Roy Conli on Disney's new film, Hunchback, wanted to have me phone him.

{ note to students : if you know the studio that you will be focusing on, if possible, make at least one animation test fit into their world {design + performance}.

I started my first day on Jan 17th 1994 joining the Hunchback Crew as an animator. 
That was the morning all of  LA woke up around 4 in the morning ... but that's another story :-)