The Advanced version gets you a number of other features including four Art layers as well as the ability to see 3d models placed in a scene by a Premium version but not access or edit them. Now you can pay annually, monthly, or buy a perpetual license which is more or less buying it outright without a subscription.įor Harmony, $15 a month will get you the Essentials version which seems to be fairly robust except for the one Art layer limit and no 3d capabilities. Where are you from and how did you get into the animation business?īorn in the wilds of northern Ontario, I learned to draw from a mix of Marvel comics (Jack Kirby) and MAD magazine (Jack Davis.) After I moved to southern Ontario, I studied briefly at Sheridan College in a comics program they had in the late ‘70s, then graduated in advertising illustration at the Ontario College of Art (now OCADU.) Asked by a prof what I was going to do after graduation, I replied: Continue…īig news today in the world of animation as Toonboom has just released a new subscription model for both their Harmony suite AND their very popular Storyboard Pro software to reflect the new Cloud business model like Adobe and Autodesk have done in the last two years. The Disney machine exposes the world to different products and one never knows which will resonate. Surprisingly, on a recent trip to China, it was the show in my resume the audience most responded to the most. I also really enjoyed working with Brad Goodchild on Pepper Ann. It was really fun to board and I was sorry when it ended. I loved the mix of action, science fiction and goofy comedy. It was a show on CBS created by Doug TenNapel. In the early ‘90s, I worked on Project Geeker. I like action comedy but these days, it is mostly pre school work. I like working on different styles of projects with different directors. What are some of your favorite projects you’re proud to have been a part of? I did get passes to all of the chains other theatres, so I also saw the other classics of the time as well. (pre VHS and DVD days.) However, our cinema was targeted with mid 70’s action movies –Dirty Mary, Crazy Larry, The Devil’s Rain and lots of early kung fu- Five Fingers of Death. This is where I first experienced multiple viewings/study of the same movie. I’m not sure if it is crazy but I worked at a Famous Players cinemas (3 screens) for 7 years. What are some of the crazier jobs you had before getting into animation? I’m a freelance storyboard artist in Toronto (the GTA.) I also occasionally instruct at Sheridan College in Oakville. What is your name and your current occupation? The formula really came from Snuffleupagus on Sesame Street, and how Big Bird had this big, furry, mastodon-type character that only he would see, and then he would, like, go to try to find other people to get them to bring them back and show them the Snuffleupagus, and then the Snuffleupagus would always … But they did it as an anthology, where they’d check in on one story and come back. Povenmire: The reason we wanted to do several stories at once is Rocky & Bullwinkle, because that was what we grew up with. It also points to why it was so successful, because Dan and Swampy really were open to any sort of joke and they say as much in this interview. I only worked on 7 of the episodes and did some revisions for the Phineas and Ferb Movie (which is how I got to be on the series full time) but everyone still let me feel like a part of the team which was a great feeling considering everyone else had two seasons under their belt. Storyboard Pro is ideal for independent storytellers, studios, agencies, schools and students, videographers and video production teams to layout stories and hit the ground running in production.Slate has a great interview up with both Dan and Swampy and if you loved the series like I do, you’ll enjoy this article.Īs the final episode of Disney’s Phineas and Ferb airs this weekend I am proud to have been a small part of it and none of it would have been possible without Dan Povenmire and Swampy Marsh who were actually great bosses and did a fantastic job of bring the ‘funny’ out of everyone as we wrote and boarded the shows.
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