Meet Our Studio Intern: Yupu Ding!

Before you meet a potential intern at an interview, you first meet them through recommendations, emails and their resume. My previous assistant Fiona had recommended Yupu and I loved working with Fiona so her shine had rubbed off on him, too. His emails were professional and communicated well, in comparison to some curt requests for internships I had received in the past. His resume had listed experience with 3D/Maya and at that point of our project I was interested to explore what 3D could bring to “My Love Affair With Marriage”. So I said yes to the in-person interview, although we didn’t need more interns for the summer.

At the interview Yupu really impressed me and my partner Sturgis with his open mind, confidence, intelligence and knowledge. He started the internship the next day.

We loved working with Yupu. He is curious, open minded, creative, willing to try new things and, most importantly, he wants to work. At the 8 week internship I asked him a few questions about his experiences in our studio. Here’s the video:

Check out Yupu’s work:


Studio News from John, Part 17: Turning a Negative into a Positive

I know it’s been a long time since I rapped at you - since September 2018, but we’ve all been busy here at the studio, with “My Love Affair with Marriage” in production. I’ve been occupied by entering the first completed segment of the film, “Mother’s Song” into various festivals since its premiere in May at the Stuttgart International Animated Film Festival - while also learning how to make proper exposure sheets for our Latvian compositors, and, in some cases, fixing the sheets made by previous interns that are hard to decipher.

But I’ve also managed to follow up on a task that’s been on my “to do” list for quite some time, since I started working for Signe in 2015, in fact - and that task was to track down her old missing negatives from Technicolor. Let me back up a bit, for anyone who may not be familiar with how films were made, back before the Digital Age. We used to shoot animation on a thin plastic light-sensitive substance known as “film”, which was sort of named after the substance that used to spool through “projectors”, because I guess it left a film-y residue behind? OK, nobody really knows why it was called “film” except that it just WAS film-like. Right? (Jeez, that’s better than calling it a “movie”, just because it, you know, moves. What genius came up with that?)


Anyway, back in the yesteryear of the 1980’s and 1990’s, if you were a NYC pre-digital filmmaker you would shoot your film, then take it to a lab, such as Technicolor, for developing and processing. This original film, the substance that moved through your camera and got exposed to light, one frame at a time, became what we called a negative. And then using your negative, the lab could print a positive image on film, which could then be screened by “projecting” light through it on a “projector”. (First you had to take the negative OUT of the developing lab and bring to ANOTHER lab to have the negative cut into pieces and spliced back together by a “negative cutter”, but that’s a whole other process.)


But once the negative was edited together, and you printed your positive for screening, then you had another problem: WHERE were you going to store the negative? This then became the master copy of your film, from which all of your future copies could be created, and it needed to be properly stored. Thankfully, Technicolor would usually store the film for you in their climate-controlled vault, and if you needed, say, 5 new positive prints for upcoming screenings on the festival circuit, you could call up Charlie at Technicolor, give him the details, then go pick up your new fantastic-smelling prints a few days later.

The problem then became that over the years, the Technicolor vaults filled up with everybody’s negatives, and eventually they ran out of room. Or maybe they just wanted to get out of the film storage business, because it was 2010 and fewer people were shooting on film, thanks to high-definition video cameras, and also everybody was walking around with a video camera on their phone in their back pocket. There were still a few stalwarts shooting on film, but they were becoming few and far-between.

So, in 2011 or so, the notices started going out to Technicolor’s clients - all materials had to be cleared out of their vaults by such-and-such a date, or the materials could be destroyed. (I don’t think they really intended on destroying any film, but a point needed to be made.) This was a big project for us over at the Bill Plympton Studio, because Bill made so many short films (at least one a year) and features (every three years or so). He may have been one of Technicolor’s biggest clients. But even Bill had started the process of transitioning to digital filmmaking with the 2006 short “Guide Dog” and the 2008 feature “Idiots and Angels”, thanks to the efforts of producer Biljana Labovic.

But since Bill had so much material in the Technicolor vault, removing it all created a massive storage problem - where would it all GO? The short-term solution, storing it in Bill’s apartment, was no good because he only had one small air conditioner, so the next typically hot NYC summer could permanently damage the negatives. We knew there were climate-controlled storage facilities in places like Ft. Lee, New Jersey, but then there could be a massive monthly storage fee, and we’d have to trek over to NJ every time we needed to access a negative.

Several months later, a solution presented itself when Bill was contacted by the Academy of Motion Picture Arts and Sciences, which was interested in obtaining a 35mm copy of his Oscar-nominated shorts “Your Face” and “Guard Dog”. We inquired about establishing an entire negative archive there, which would include the proper climate-controlled storage, and setting this up as a donation also had potential tax benefits. At the same time, we would be able to borrow any negatives in the future from the AMPAS archive, and there was also the chance that the Academy might be able to clean and restore any negatives that might have spent too much time in Bill’s non-climate-controlled apartment. This seemed like a win-win.


At the same time, the studio was attempting to complete its transition to digital filmmaking, and stop the expensive practice of shipping 35mm prints around the world for festival screenings. This would encourage the transition to digital, and we could ultimately create digital versions of any Plympton films that hadn’t yet been digitally transferred, once the Academy had restored the negatives. For years I’d been shipping out boxes of films to festivals around the world, and it was my nightmare. It turns out film is very heavy and expensive to ship - PLUS there’s always the chance that boxes can be lost in transit, or damaged, or some film could get broken in a festival’s projector and a projectionist could just ship it back to us and not mention the damage. In the coming digital age, everything would be easier, and lighter. After a year or so, we finally got all of the negatives shipped to the Academy and we got to enjoy a little extra elbow room at the studio. Now we just needed to get good quality digital copies of each film made, and we could be part of the revolution. (Umm, yeah, this process is sort of still ongoing…)

Like Bill, Signe was also a client of Technicolor for years, and she was also contacted by Technicolor in 2011, and was similarly told that she had to clear her negatives out of their vaults before the deadline, or bad things would happen. Only when she called back to inquire about picking up her films, she was told that there was no material of hers being stored there. What? Where did her films go? Were they lost, destroyed or just misplaced? When I started working for her in 2015, she asked me to try and track them down, when I had some time between other projects. (“My Love Affair With Marriage” was still being written then.)

I made some inquiries, but kept hitting one dead end after another. Finally after two years of trying, I had to abandon the search, and Signe had to reconcile the fact that she might never see some of her negatives again. She was also interested in making good digital copies of her films, but she needed those original negatives in order to make the best digital copies. Scanning anything else would produce an inferior digital copy, it’s always best to go back to your master recordings, the negatives in this case, to get the best quality.

Fast-forward to 2019, when a distributor became interested in Bill Plympton’s 2004 feature, “Hair High” - a film which Signe and I both worked on, I was an associate producer and Signe was an art director. We found out, to our astonishment, that it had not been included in the shipments to the AMPAS archive. I’ll admit here that I messed up, I never thought to cross-reference the inventory from Technicolor with Bill’s filmography, to see if there were any films missing. Mea culpa. But if “Hair High” wasn’t at the Academy, and it wasn’t in the studio, and it wasn’t at Technicolor, then where WAS it?

I made one last desperation call to Technicolor’s NYC office to ask about it, since I knew for a fact that it had once been stored there. I was given the number of Technicolor’s Los Angeles branch, and someone told me that there was a vault somewhere in California where all the unclaimed films had been sent. AHA! We still didn’t know WHY it wasn’t included in the material picked up from Technicolor’s NYC office, but at least we knew where the negative might have been sent! After we successfully tracked down the original negative and sound reels from “Hair High”, I mentioned to the staff at the vault that I also worked for another animator, and she was also missing some negative reels that had been stored at Technicolor NY. Would they be willing to do a search on those film titles, to see if anything popped up?

Now, there’s so much material in this vault that a search for anything takes several weeks. But right now there are people in Technicolor’s employ who are tasked with figuring out who all these lost reels belong to, and over the next few years, they hope to get as many films as possible back to their original owners, or at this point, perhaps those filmmakers’ estates. There are probably treasures galore within that vault, but it’s an incredibly time-consuming process to check each single reel, out of THOUSANDS, and look for clues to establish ownership, and then do some kind of web search to find that person’s contact info.

Now, if it were me, I’d consider that there must be paperwork somewhere on all of Technicolor’s transactions over the years - I have no idea to what extent their systems were computerized, maybe all the client information is on outdated MS-Dos computers or stored on floppy disks or something.

To make a long story short, after a few weeks, the vault staff got back to me and told me that they HAD located material from several of Signe Baumane’s films. They had them under the name “Simone Baumane”, so that may be the reason why the initial search in 2011 didn’t turn up any materials stored in her name. Some version of auto-correct may be to blame, or perhaps it was just bad handwriting. But they had tracked down the negatives for Signe’s short films “Love Story”, “Natasha”, “The Dentist”, “Five F*cking Fables” and “The Threatened One”.

We had to go through a short process of proving Signe’s rightful ownership of these films, but that was easy enough. (Thankfully, Simone Baumane didn’t also try to prove ownership…) And Signe had to sign some paperwork to authorize the removal of these films from their vaults, and arrange shipping to her Brooklyn studio. So there were a few hoops to jump through, but the good news is that the films have been found and are leaving California this week to be shipped home.

It’s still a little galling that mistakes were made back in 2011, but at least we’ve solved the mystery and after four years, I’ll finally get to cross this off my “to do” list. As I write this, the films are in a box and are being shipped across the country by UPS, with luck Signe will have them by the end of this week. Now the saga isn’t over, because we’re back to the initial storage problem: WHERE are we going to store them? She doesn’t have any air conditioning in her Brooklyn studio, and her refrigerator can only hold so many reels and still have room for food. Luckily, SIgne’s Latvian co-producer of “My Love Affair with Marriage” has connections with Latvian film archives, and is now also in the business of restoring old 35mm films. So there’s a place for Signe’s negatives in Latvia, we just have to figure out how to get them there - but compared to not knowing where these negatives are, it’s a nice problem to have.

If you were also a client of Technicolor NY before 2011, and you’re also missing some of your original film negatives that were stored there, you can contact me using the form on this web-site or through Signe’s Brooklyn studio, and I’ll let you know how to get in touch with the vault staff in California. Let’s help get as many of these lost films as possible back to their rightful owners!


Meet Our Studio Intern: Shalayah Smith!

There is an ancient Latvian saying that you measure a friendship by how much salt you have used by eating together. Salt added to a meal just by a pinch meant it took a long time to build a friendship. Nowadays we use salt by spoonfuls so friendships are faster to seal. Since my interns, assistants, studio producers and managers and me eat lunches together we probably are pretty close to somewhat knowing each other. That’s why I enjoy interviewing my interns - to sum up the relationships from their point of view..

But when Shalayah’s last day of internship came I was away on my trip to Stuttgart, so Yasemin had to step in. She interviewed Shalayah, edited the footage and did a very good job at it.

Shalayah came to our studio by a suggestion of a friend who had a friend who worked at the Red Hook Initiative, an organization that connects local young people to opportunities that may help them to fulfill the most ambitious of their dreams. Shalayah gave an impressive interview and later proved herself as a hard working, persistent intern. Being intelligent and articulate made her a fun lunch mate.

Now that she is off doing other things in other places we wish we shared more salt with her.

THANK YOU, Shalayah!

Meet Our Studio Intern: Nayana Sturzeneker!

After a few past bad experiences I decided to have a policy of not accepting high school students for internships at my studio. So when Nayana emailed me a request to consider her for an internship I had to throw some cold water on that aspiration and asked her to write a short essay why should I accept her since she was still a high school student. Well, it turned out that in order to do this internship Nayana graduated from her high school early and that she is quite an accomplished web comic artist with a solid following. Her work was a proof that she is serious about her craft and is able to deliver.

So, I made an exception to my policy and accepted Nayana for an 8 week internship. Now that the internship is over, I am willing to reconsider this whole “I will not accept high school students” policy. Nayana was exceptionally focussed and dedicated to all the tasks given to her. She applied her creative spirit to everything she did. But the one thing that made her an amazing intern was her attitude - she was always in a bright mood, ready to jump at another challenge, willing to take another task, nothing was too boring or too challenging for her.
Lets meet Nayana in the video shot by Sturgis and edited by Yasemin!

Please do check out Nayana’s original suspense webcomic “Out Of Focus” HERE.

And HERE is a video link for a fan storyboard Nayana made in 3 days, in tribute for the game Super Smash Brothers Ultimate.

Nayana just got accepted in several great colleges. Make sure you follow her before she get famous!

THANK YOU for your work, Nayana!

Happy Lunar New Year!

The Year of the Pig promises to bring luck, fortune and pleasure if you stay in charge of your own urges. We all need a little bit of money and good luck to achieve what we set out to do.

Especially a woman who is in the middle of a production of an animated feature project, animating 29 speaking and over 200 non-speaking characters, a project surely testing her abilities and limits, could use a little lift from the Year of the Pig. Overworked and stressed out she would love some relief from of that strain.

So, lets celebrate all of our hopes for 2019!

I made 4 cards for you in celebration of the Year of the Pig:

Milk Feeding Pig_Cropped.jpg
Apple Pig_Cropped.jpg
Dancing Pig_Cropped.jpg

You can download the cards and share them with your friends.

If you would like to support my animated feature film “My Love Affair With Marriage” and feed an artist in the Year of the Pig, you can do it HERE. Every little bit helps to move the project towards the finish line.. I am grateful for your LOVE and SUPPORT!

Thank you!

Meet Our Studio Interns: Katy Chow

Katy contacted me through the contact form on this website and asked if she could intern at my studio. I thought since Katy was an illustration student and wanted to learn animation, this was a win-win situation for all of us - she would learn and we get some work done. I love win-win situations! Katy was indeed a very diligent intern, a very quick study, with lots of amazing abilities and talents. We will miss her here.

What school you are from?

I graduated from The City College of New York in June 2018, and majoring in Studio Art.

How did you get this internship?

I found this internship from a group page of my animation professor. I looked up Signe’s website and found her works are very inspiring. She has a great style and a unique way to express meaningful stories. Her films really caught my eye that I’d love to be one of her interns and learn more about the pipeline of animation production.

What were your tasks during this internship?

During my internship, my tasks were coloring Signe’s drawings on Photoshop, compositing them in After Effects, creating exposure sheets, and scanning the drawings. Every task was important as it is the process to create one of the shots in the animated feature film “My Love Affair with Marriage”.

What is one good thing about this internship?

There’s much more to learn than what I expected. Interning at Signe’s studio was fun and enjoyable. I love every task I worked on, such as coloring Signe’s drawings and composing them in After Effects. Some of them were challenging but Signe was very patient teaching me everything that I didn’t know. There’s a lot of improvement on my software skills and animation knowledge after the internship.

What is your least favorite thing about this internship ?

I don’t think there is any. One thing I would say is the location. Besides the fact that I live kind of far away from the studio, it’s actually not too bad, but requires a little bit of walking from the subway.

What defines you as an artist?

Focus, passionate and strong work ethic. As an artist, I always try to make my work better and better. Keep learning and practicing are the key components to become a successful artist.

You can check out Katy’s work here:


Sturgis, Katy and Signe

Merry Winter Solstice!

Doctors say that Winter deprives you of sunlight and your bones go brittle because of that. But they don’t tell you that the inner light never dies. Forget about bones - you stay alive because you have hope.

I made 4 Merry Winter Solstice cards to cheer you up during the longest of the nights. You can download them and share with your friends.

Merry Winter Solstice!


Sun Thief.jpg
Sun Magician.jpg
Tree Leaning to Sun.jpg
Tree revolt.jpg

Studio News from John, Part 16: Festival Strategies for 2021

I’ve been working with film festivals, in one form or another, for the better part of the last 25 years. They’re an integral part of the film distribution process, the final step on the journey of production, once you finish your beloved short film or feature it’s like a baby bird, and screening it at a film festival is the equivalent of pushing that bird out of the nest to see if it can figure out how to fly. Yep, that analogy works, because if you kick it out of the nest too soon, the film is like an egg and it will plummet to the ground and shatter on the earth below.


It’s September, so right now all eyes are on the Toronto International Film Festival, which over the last decade has become the breeding ground for all sorts of Oscar-nominated and Oscar-eligible movies. Last year’s TIFF line-up included “I, Tonya”, “Call Me By Your Name”, “Three Billboards Outside Ebbing, Missouri”, “The Disaster Artist”, “Darkest Hour”, “Film Stars Don’t Die in Liverpool”, “The Mountain Between Us”, “Stronger”, “Battle of the Sexes”, “The Breadwinner”, “Downsizing”, “The Florida Project”, “Hostiles”, “Lady Bird”, “Mother!”, “Molly’s Game”, “Roman J. Israel, Esq.”, “Faces Places, and “The Shape of Water”, among many others. These were just the ones that got a lot of traction during awards season. So if you want to get an advance peek at the Academy Awards nominations for 2018, or an idea about what’s going to be in your Netflix queue at this time next year, TIFF seems like it’s the place to be. So far, people are buzzing about Bradley Cooper’s “A Star Is Born” and Ryan Gosling in “First Man”, but I have a feeling those represent just the tip of the old iceberg.

While we’re in production on “My Love Affair With Marriage”, screening the film at a festival seems like it’s a long way off. But it’s not too early to start thinking about strategy. And I often hear filmmakers who are just starting out, all asking the same questions: “What film festivals should I enter?” “Which are the best ones?” “Which festival screenings will be the most important?” “Which festival screenings will increase the film’s chances for distribution?”

Unfortunately, there are no easy answers. Some filmmakers seem to adopt a “dartboard” sort of strategy, or they enter every film festival they can think of and hope for the best. But every festival has different rules, and sometimes you have to think about geography or the calendar in order to develop the best strategy for your film. Also, there are some specialized festivals for animation, or documentaries, or LGBTQ films, or countless other subjects. Is it better to narrow the focus and target one of these festivals, or take a broader approach and hope for the best?

Obviously, there’s a top tier of festivals, and that basically includes the Toronto International Film Festival, the Sundance Film Festival, the Berlin International Film Festival, the Cannes Film Festival, and the Venice International Film Festival. If you can get your film accepted into any of these, you’d be foolish not to follow through by screening it there. If you’ve got an animated film, then the Annecy International Animation Festival, Anima Mundi, Zagreb and the Hiroshima Animation Festival are probably in the top tier also. But they all have extensive rules to follow, forms to fill out, and a lot of metaphorical hoops to jump through.

Any of these top-tier festivals are so prestigious that they probably have rules regarding premiere status, meaning that they could choose to ONLY screen films that have never screened at another festival. So that means that a filmmaker has to pay attention to not only what month the festival takes place, but also what month their DEADLINE is. The Toronto festival takes place in September, but submissions open in February, and the deadline is in May. So if you’ve got your heart set on premiering at this festival, you’ve got to finish your film by late winter or in spring to have a serious shot at it. If your production drags into summer, then you’d have to either find another festival to premiere at, or wait 8 or 9 months until the next February. At that point it might be worth entering the Berlinale, with its October deadline, so you could be screening your film in February instead of just entering Toronto - that way if it doesn’t get into Berlin, you can still enter Toronto later.

One of the quirks of the rules is that the Sundance Film Festival only requires a U.S. premiere, not a world premiere, so your film could screen at one of those other big festivals outside the U.S. and still get screened in Park City. The last Sundance deadline is in September for their festival in January, so that’s another thing to factor into your calendar-based calculations. Signe and I worked together on the production of Bill Plympton’s film “I Married a Strange Person” and that film played in Toronto in September 1997, then it was in the Dramatic Competition in Sundance in January 1998. I remember driving up there with some of the crew (Bill, John Donnelly, Jen Senko) and staying at a cheap hotel, then meeting Trey Parker at a screening of his film “Orgazmo”. That was probably my first time at a big film festival, but Signe didn’t come along, because she was afraid that if she left the U.S. they wouldn’t let her back in. (You know they were very thorough at the Canadian border back then, with all the anti-Canadian sentiment in the late 1990’s - my, how things have changed…)


Then we went to Sundance twice - with “I Married a Strange Person” in 1998 and “Mutant Aliens” in 2001, then Slamdance for the U.S. premiere of “Hair High” in 2004. I remember that Bill Plympton had a habit of entering his films into both Sundance AND Slamdance, even though they take place in the same town at the same time. And of course, you can’t have a film in both of those festivals, but I think he figured if his film couldn’t get into one, then there was still a chance with the other. This is where things can get tricky, because one day the studio got a phone call from the Slamdance Festival, accepting his film - but they wanted to know RIGHT AWAY if we could confirm the film’s participation, and of course, Bill was out of town. In my mind I could just hear him saying, “But we haven’t heard back from Sundance yet…” even though Sundance had become tougher and tougher to get into, even over the course of just those five or six years. Slamdance was offering us the opening night slot, very prestigious, something that could generate a large amount of publicity, but this was a limited-time offer and time was running out. This decision couldn’t wait until Bill got back from his trip, so what could I do?

I decided to do something very unorthodox, I called up the Sundance Festival and spoke to a programmer. I knew that he couldn’t tell me whether Bill’s feature had been accepted, because doing that would be against the rules. But at this point in time I think someone had recently published an article which claimed that based on how many films get submitted to Sundance, and how few programmers they have to review the submissions, mathematically it was impossible for their programmers to even WATCH all of the tapes and DVDs they received. Thankfully, I didn’t mention this on the phone, I just explained that we had an offer on the table from Slamdance, and I knew Sundance wouldn’t tell me if the film was accepted for another week, but MAYBE he could give me an idea what our chances were. When the programmer heard that the Slamdance Festival was offering us the opening night event, he bluntly said, “You should take that offer.” OK, message received. Thanks for the hint. Bill came back in a few days and I was able to justify accepting Slamdance’s offer on his behalf.

In the animation world, as I mentioned, we have the Annecy Festival and the Ottawa Animation Festival. Annecy takes place in France in June, and doesn’t require features to be a world premiere, just a French premiere. (So even after screening “I Married a Strange Person” in Toronto and Sundance, we could still screen it at Annecy.) But their entry deadline is usually in March, so that’s something to consider when you’re close to finishing your animated masterpiece. It’s all about timing. The Ottawa Festival takes place in late September, with an entry deadline in May, so you can factor those dates into the mix as well.

But then you could set up another one of those Sundance/Slamdance situations, especially if you also want to enter the Toronto Festival, since you might not be able to screen your film in both Canadian festivals. And you don’t want to risk screening at NEITHER of them, which could happen if you take too long to accept the offer from one festival because you’re waiting to hear from the other. In that way, screening at festivals is a bit like dating, you can’t keep one potential mate on hold while you wait to hear from another one, that just isn’t fair. It’s better to move forward with one partner (or Canadian festival) even if you think the other one is smarter, prettier, funnier (or has more festival guests) because if you keep holding out too long for the perfect match, you could find yourself alone (or with no screening at all).

Signe told me that “Rocks in My Pockets” was completed in 2013, but the film didn’t get in to the Toronto Festival. Her next best option was the Karlovy Vary International Film Festival in the Czech Republic. You may not have heard of this festival, but it is very well regarded in Europe - so she waited for nine months for this festival’s call for entries to come around again, and “Rocks” premiered at Karlovy Vary in June, 2014. But the film won the International Film Critics Award (FIPRESCI) when it screened there, so that long wait turned out to be a very smart decision in the end. Then the film screened at the ANIMATOR festival in Poland just a week later, and festivals in Switzerland and Greece just two months later, and this started a solid festival run of TWO YEARS that took it all around the world.

So sometimes even when a film is finished, it makes sense to wait for the right festival for the premiere screenings. That’s right, plural, because even though your film can have only one “World Premiere”, it can also have a European premiere, a North American premiere, a U.S. premiere (not to mention an Australian premiere, South American premiere, and so on…) Pretty much any time you can work the word “premiere” into your press release, it’s a good idea to do so. But by the time you find yourself promoting the “Central New Jersey premiere” it might be time to take a long hard look at what you’re celebrating. Still, that’s a nice problem to have.

Right now it looks like “My Love Affair With Marriage” could be completed some time in the year 2020. But the key question then becomes: during which month? Which film festival will it make the most sense to enter first? Believe me, it’s not too early to start thinking about this. Right now Signe has completed the animation for two segments of the film that could be released as individual shorts, which would then also function as sort of “teasers” for the entire feature. Would it make some sense to screen either of these in festivals, to try to get some advance attention or publicity for the feature? It’s one possible strategy. These shorts represent two of the songs in the film, and they’re called “Mother’s Song” and “Virginity Song”.


It’s still very early in the production process of “My Love Affair With Marriage”, but we are trying to keep good relationships with film festivals when they ask to screen some of Signe’s earlier films, because in just a couple of years, we’ll be filling out entry forms for this new feature and we hope that there will be some awareness and recognition, which could lead to acceptances. It’s impossible to predict what might happen, when or where the new film will screen, but I do like our chances.

Meet Our Studio Interns: John Vargas

Another great intern this summer was from City College of New York - John Vargas. I really liked his attitude - no task was too hard or too boring for him. Scanning drawings in 450 dpi can make one feel like bleeding from injuries of boredom, but John always saw scanning as an opportunity to learn more about animation. That's the right approach to work!

I asked John a few questions about this internship. You can watch the 3 minute interview here:


Please check out John's work on Behance:

And follow John on Instagram: