Tagged: animation

Great Women Animators!

I’ve recently stumbled across an excellent website called Great Women Animators.

The website is a database of female animators from the 1800’s through to the present. It also covers both animators working in the art world and cinema industry, which is great as there sometimes can be a bit of a divide as to what animation resources cover.

It’s by no means an exhaustive list of women working in the animation field, but as it says in the sidebar, it’s always going to be a work in progress. The database contains several of my favourite animators such as Suzan Pitt and Caroline Leaf, but there are many more that I’ve never heard of. I’m keen to dig in over the next few weeks and find some great animation I haven’t come across before.


I probably don’t need to say it but initiatives like Great Women Animators are a great way to address the gender inequality in moving image and the greater culture which it represents. According to a multiple of sources there are far less Women working in cinema than men. I have not been able to find any statistics on equality in the animation industry itself, but I imagine animation is a ‘bit’ better than the cinema industry as a whole, but probably not by much. The website also has a great resources section if you want to continue delve further.

Hopefully databases such as Great Women Animators help young women(and everyone) to find artists that inspire them and encourage them to dive in and start making. Initiatives like this create a great way to discover new artists that can inspire and influence your work, so check out the website or accompanying tumblr!

The website is run and maintained by Canadian artist/illustrator Heather Kai Smith who’s work you can check out here.

Great Stuff!

-Hamish S

I’m Still Alive!

I’m still alive and still working on my film!!!

I’ve almost finished my feature screenplay but I have a little way to go. I just need to tighten up the dialogue, the ending and sharpen the premise and I’m done. Well… kind of done anyway. Writing a screenplay is one of those things where even when you’re ‘done’ it’s liable to still need adjustment and work later on. So as soon as I hit 95% on the screenplay I’ll move on to other parts of pre-production. The story is way better than it was, however I’m still having some trouble with getting the dialogue how I want it. Dramatic yet not cliche or hackneyed. Sounds simple yet it seems to be harder than I imagined.


I’ve also begun to do research and environment concept art which is really fun. I’ll do a post soon on various other parts of the pre-production I’m working on, such as character design, environment design and directing voice actors.

Also, as soon as I can afford a decent mic I’ll start working on some videos highlighting and reviewing rare animations that I think are interesting. I have to study and examine other animations and films anyway so I thought if I document it and make videos about them,  it might help people discover some new stuff they’re into. I’ll also get a basic camera soon so I can make production video logs of my film-making process, video tours of my studio(*cough* bedroom) and other content. In the future I should be posting at least once a week! ><

That’s all for now!

-Hamish .S

Sickness and Depression

I’ve been going through a bit of a rough patch with my health lately, hence the lack of posts and progress.

A couple of weeks back I got a pretty bad case of the Flu and it ended up turning into an intense case of tonsillitis. It looked and felt like insects had laid eggs in my throat. Thankfully after a course of antibiotics I’m almost 100% again.

I’ve also had a pretty difficult few months mental health wise, battling with depression. It’s something that I’ve struggled with since I was a teenager and It’s never really gone away, I’ve just gotten better at dealing with it. It still comes back to fuck with me every so often.

I really recommend learning how to use Cognitive Behavior Therapy if you suffer from a similar thing. It won’t cure you but it might be a useful tool to help you at least make your depression manageable. See a pro for sure if you’re having a rough time, but if for some reason you can’t (cost etc.) there are some D.I.Y CBT guides out there to take you through it and help you learn to utilise it yourself. Hopefully it’ll help you remain productive even in the shittest of times.

There’s some D.I.Y Cognitive Behavior Therapy material here and here.

Another thing I’m beginning to realise the more I get older is that if you hope to make it as an independent filmmaker, artist, musician, writer etc., you really need to take care of your body as well as your mind. Because we’re working on the fringes with fuck-all money or support it really puts you in a precarious place if you get sick or messed up. It also sucks up loads of time you could be spending improving in your art. You can’t  work as hard when you’re sick and your quality of life isn’t as good so it’s worth keeping on top of.

I’ve been trying to exercise every day or two and eat better which is making me feel better. It also gives me more energy to do solid creative work. No doubt I’ll have a relapse into healthiness but as long as I get back on the horse I’ll be making progress.

Anyway that’s enough of a rant for now. I’ll have more updates on my feature and more badass animation content soon.

-Hamish .S


1st Feature Script Reading

Over the weekend I finished the 11th draft of my feature script and had some friends around to do a reading of it. They gave heaps of in-depth feedback and solid critique which is what I needed. The outside perspective is really helpful as after days and days of writing you can kind of lose perspective and you miss things that don’t really make sense or aren’t particularly strong.

hamish with script

I’m going to take 6 days off the feature and then I’ll get stuck back into it with fresh eyes. I’m not sure how many drafts it’ll take until I get to the final version but It feels like I’m getting much closer.
I’m really looking forward to finishing it and getting stuck into other pieces of production which will roll out quicker.

wall of pain

Gotta keep pushing on!

– Hamish



Normally I try to stay away from more commercially oriented stuff on this site as Underground Animation is for the stuff that’s made for the sake of it, not for a commission(not that I’ve got anything against that per se)… but this is way too good not to post.

This Adult Swim promo is written and directed by Greg Sharp from Rubber House, a studio based in AUS. Nice!

Q&A with GAMER

I came across music/animation duo Gamer on a late night youtube binge several months ago. Their work struck me as a deranged mix between ‘Cyber City Oedo 808‘, DOS game cut-scenes like ‘I Have No Mouth and I Must Scream‘ and a John Carpenter + Kurt Russel collaborations. I was seriously impressed by the pulsing synth lines, bizarre fantastical narratives, pixel art brutality and an element of humour to it all.

Gamer is Phil Shaw who makes the music, and James Rowsell who makes the animation. You guys are based in Wellington, New Zealand?

Phil: I’m based in Melbourne now, but we started collaborating in Wellington NZ, where Jimmy is still based.

James: Yes Phil lives in a convict colony, he is a traitor.

How long have you guys been working together and how did it come about? 

P: We started doing this mid 2012 after I made a couple of tracks and asked jimmy if he could provide animated visuals for music videos and live shows.
Jimmy elaborate here…

J: So Phil had just started making electronic music, before that I think most of his stuff I had heard was live rock etc. At the same time I had started drawing pixel art (before that I only really drew stuff by hand). I made this crude animation of Kim Kardashian, who I was really into at the time (still am), with a severed hand shooting out multicoloured lines. Phil saw that and said “I have this new stuff I’m working on, you should make me an animation” and I said “I will do this”. That’s how it went down I believe.

James, what’s the process for creating your style of pixel art animation?

J: I draw up a bunch of thumbnails by hand and then just start drawing and animating it in Photoshop. The whole thing is pretty much done in Photoshop then I import it into Premiere and edit it. I have started to do keyframing in Premiere also as it requires a lot less processing power than keyframing in photoshop.

Phil, what’re you using to create the music and SFX? Is it all from DAWs and VSTs or is hardware involved?

P: The first EP is all VSTs and I use Logic Pro – I had no hardware at that point and was making it up as I went really haha. I started exploring the virtual synths and trying to find sounds that sounded like what I was hearing in my head – with some degree of success. If you listen to both EPs there is probably a big difference in the mastering levels, because I really didn’t know what I was doing then and also my old computer would crash if I added too many tracks haha.

By the time I made the Smoke Signals EP I had purchased a Juno 106 Analogue Synth and it’s used on all the tracks. Its probably 80% Juno 20% VST. That machine is great, it sounds amazing and is really easy to use once you get the hang of it… it also has midi and presets so you can save the sounds you make and use them live easily. As far as the Analogue/Digital argument goes, I use both and they are both great in my opinion. The sound the Juno makes played live though is really amazing, it has a massive fat square wave that I love. As much as anything else the hands on nature of some analogue synths is what I love about them.

I do like the restrictions of only having one hardware synth as it really makes you learn how to use that one instrument well….although in saying that if I did have the money and the room I would get a giant modular system haha.

The full length album currently being made seems to be about 50/50 Hardware and Software so far….

When you play live do you project visuals as well? 

P: We have only done a handful of shows so far but all except one had the visuals being projected behind/on us. I think the visuals really add to the show, so only want to play live with them in future…

J: Yes the projections are there to give me legitimacy. I really just do a live edit of the animations in Resolume. I need to learn the program properly so I can hook it up to Phil’s computer and just have it play off the music, that way the computer can do it. Computers are better at making those kind of on the spot decisions.

P: Jimmy is being coy, he has a great stage presence, especially when sitting on the floor with a computer. The live animations do look really great and take the focus off me looking awkward behind a synth.

From start to finish how long does it take you to complete a piece?

P: To complete a track it can take me anywhere from a day to a few months as I usually start one then come back to it after working on others.

J: For animation it takes ages, maybe a month for 1 to 1.5 mins. It varies because of the complexity of animation and also whether the ideas flow fast. I am not a real animator so some animation ideas I have are difficult because I have to figure out how to do it, that makes the process take a little longer than it should be.

When you guys are working on a piece; is the sound inspired by the animation or vice versa? I’m guessing that for a short animation like Ancient Cosmos it’s the visuals first then the sound, but for a music video piece like Shaping Staff it’s the other way around?

P: With shaping staff the music was already pretty much done. Jimmy and me discussed and planned a story for it, then he animated it. For turbo, I was as surprised as everyone else at the ending haha that’s all Jimmy’s brain.

I didn’t actually do any of the music for Ancient Cosmos, that was a friend of ours and fellow synth music aficionado James Quick. I was busy doing the Smoke Signals EP so James did that.

J: As Phil said Ancient Cosmos was a kind of side project I worked on that Machinima asked me to do. It got a lot of hatred from the Christian community, I didn’t predict that one, don’t mess with the pope! I am keen to do both, but yeah the animations for Gamer have been made for the music Phil has created. In terms of inspiration it probably bounces back and fourth a bit.

Due to the nature of Pixel Art, and the synth tones used, your work has aesthetic connection to video games from the 80s and early 90s? Do you draw inspiration from any in particular?

J: Well for me I was never specifically influenced by videogames. I first started getting interested in pixel art because of the Russian illustrator Uno Moralez. Pixel Art is always linked to games I guess, but really the things from games that inspired me where the animated movie sequences in between game play and not the game graphics themselves. The initial idea for the shaping staff video was actually inspired by a cut scene from a Master System Star Wars game, where this imperial cruiser just sleazes into the frame from above, I liked the shitty motion of it. Some games that have really influenced me artistically are Space Quest, Leisure Suit Larry and Snatcher, oh also the backgrounds of fighting games. Films are my biggest influence though, especially ones directed by Stanley Kubrick, Michelangelo Antonioni and Frederico Felini. I am also influenced by the manga of Suehiro Maruo and Yoshiaki Kawajiri. But really it always changes, l just watched Under the Skin and that was pretty inspirational. I am also learning a bit of 3ds Max and certain functions of that program inspire me. I personally am not trying to recreate a kind of timecapsual from the 80s/90s. I like the aesthetic and economic restriction of pixel art. Perhaps it is impossible to escape the link between this style and “retro”. What makes gamer different I think is that although we are influenced heavily by the past there is nothing in our work that is an attempt to just reenact what has already been. If you listen to Smoke Signals that is not just some 80s inspired retro track, it has things that are going on are outside of the so called synth-wave scene I think.

Where else do you both draw inspiration/influences from? Where do you hope to go with your work?

P: My biggest influences are movies from the 80’s/early 90’s and or my memories of them. I grew up with films like Total Recall and Robocop that depicted the most hilariously degenerate future realities and that’s definitely in my head when composing. I am also a fan of B grade action/horror/exploitation films. I mostly get inspiration from finding a good Synth tone though; if it sounds cool I will be inspired to make something out of it. Artists like Jean Michel Jarre and Mort Garson and John Frusciante are big influences, but also contemporary electronic artists such as Kavinsky. Lots of French electronic and house stuff has been influencing me production wise. We have been included on a recent French retrowave compilation for the label Folistar so am pretty stoked about that. Also just seeing live music is a huge inspiration for me.

I have had the chance to see lot’s of amazing bands live in Melbourne, Goblin and Metronomy were awesome and seeing Gary Numan live was the best live gig I’ve seen in years. Loads of inspiration there.

J: I second all what Phil just said, forgot to mention music. Mitch Murder (I got to work with him which was cool), Zombi, Fabio Frizzi, Goblin, the Tetsuo Iron Man soundtrack, Black Sabbath, Clams Casino, Lil Ugly Mane, Raider Clan mix tapes, mid 90s to early 00s DNB.

Do you wish to create more short animations with diegetic sound like Ancient Cosmos, or are you keen to do more Music video type work?

P: I like to continue working on tracks as songs and have Jimmy animate to them. I am keen to do the other way around/its just a bit harder as it’s quicker to make tracks than it is to animate and send huge files back and forth.

J: I have no plans, I hope that one day I can just animate and not rely on anything else for money but that is a bit of a pipe dream. I think you can’t really plan these things because you need to constantly flow with new ideas and possibilities. It would be cool to do a game though; I would be keen to try that.

What can we expect from GAMER in the future?

P: A new LP is nearly done so that will be out later this year. I am also keen to make some loops/tracks for a video game in our style for sure. Exploring that at the moment.

J: Yeah hopefully a game, I really want to make one, it will be a bit of work but can’t be much harder than an animation…


You can check out more of Gamer’s music and animation (that may or may not anger the Christian community) at Bandcamp, Facebook and Youtube.
Buy their shit!