domingo, 31 de janeiro de 2016


I was about to write a post about the routine as an animator at Laika but they already made this video showing almost everything about it.

So, I decided to share things that maybe will interest you.

This board is placed in front of the assistant director's table and shows in which set the animators are working. And also shows if we are rehearsing or shooting, how late we stay animating (7pm)...
If you look closely, I was animating at set Pink 1.

As you can see on the table and up here, the rigs are a huge part of the process here.

I was animating on my birthday - same day as Ray Harryhausen :)

 Canon body and Nikon lens.

We animate behind the bars :)

Two Brazilians animators!

sexta-feira, 18 de setembro de 2015

Protect your shot.

A few weeks ago I was really stressed with the shot that I was animating. It was a shot that I planned as 2 actions. The first and main action was a character struggling to pull out an object. The second was when he catches his breathe after all the effort he made.

When the first part was done, the rig (which supports the character) was completely twisted. I couldn't do a precise move anymore, like breathe. Then, I had to decide between changing the rig in the middle of the shot, or keep trying to control the messed rigging. I chose the second option, because the first one would take a lot of time to setup (and it was also a big risk). In doing so, every frame became really-really painful. And super slow.

After a while, when I went outside the studio to take a break and refresh my eyes, I saw the remarkable animator Trey Thomas smoking a cigarette. To my surprise, he was also stressed thinking about his shot, which he just had to cutback some frames. Somehow, it made me more relieved since we both were having similar problems. To cutback or to not cutback? Actually, he had already decided.

I explained him my situation and he gave me an advice: protect your shot. It means that if you have to spend more time to do your best, don't think twice. The stress will pass, but the shot is forever.

After our conversation, I went back to my set, called my rigger, changed the rigging, deleted a bunch of frames to find the right pose and finished the shot. Not as easy as it is written here. 

Now, nobody remember how many days it took me to do the shot. What stays is only what they see on the screen, and it means my favourite shot in Kubo so far!

In the meanwhile, here's Coraline cake to celebrate 10 years of Laika!

domingo, 30 de agosto de 2015


Hi whoever reads my blog!

I haven't had time to upload this page since I started working at Laika. 
I'm working hard trying to make my shots nothing but perfect! If it is not here, then where?

Anyway, I met a lot of great animators here and one of them, Jan Maas,
 has the best description about being a stop-motion animator:

"As Stop-Motion Animator on feature films you are constantly balancing quality and quantity under the pressures of production. You need to be able to follow directions precisely, whilst bringing into the performance a lot of individual ideas and emotions. It's creativity inside a tight framework under pressure... It involves a lot of stress, individual decision making, problem solving and frustration, but it can be incredibly rewarding and fun too."

I've worked with many directors and it has always been a big challenge to put what they have in mind on the screen. It doesn't matter how precise they are on the briefing, you will always have to convert words into frames. Then, it becomes a highly technical job, where you have to combine all the "dogmas" (arch, silhouette, anticipation, timing, ...) with brilliant acting.

When doing so, from my perspective, the puppet sometimes "ask" for different moves. Either because of the armature/rig limits or when it shows new possibilities while I'm doing the rehearsal (or even animating). Since I'm always looking for the best acting, I take the risk and trust my instincts. It's an individual decision, but without forgeting the directions.

The frustation comes when you end up doing something different from what you had planned. It doesn't mean that it is worse. Maybe it's just meaningless moves in your acting. If the director says "It works", it sounds like "not completely a piece of shit" in my ears. 

If, in the end, they love your shot, life is beautiful! Then it is fun!

So, sharpen your eyes, work hard and try to give soul to your puppet, because soul means animu in latin, which means "what animates".

sexta-feira, 3 de julho de 2015

UV Blacklight Ink Marker

Since I can't post any pictures from Kubo and the Two Strings, I will share some great tips that I've learned from the animators here at Laika.

For example, UV Blacklight Ink Marker!

I was animating one of the heros and he had to cross the scenario in 10 frames. So, I just made a mark in the scenario where he was supposed to be in each frame. Then, I turned on the UV flashlight to see where to place him!

terça-feira, 30 de junho de 2015


I am really happy (and lucky) to say that I am animating at LAIKA for Kubo and the Two Strings!

First, I survived 4 weeks at test unit and one of the things that they asked me to do was "make Kubo alive, switch weight, breathing!"
Sounds easy, but if you are an animator, you know how challenging it is.

So far, I approved 3 shots (around 10 seconds of animation).
And I have to tell you, I fought for every single frame that I took!

quinta-feira, 4 de junho de 2015


I have had the pleasure to work for Vetor Zero again. This time I animate the classic character Pinocchio for a Brazilian documentary called "A Vida Privada dos Hipopótamos" . The doc is about foreign prisoners inside Brazilian jail.

  Pinocchio and the whale was made by the incredible hands of Fabiana Fukui.

My talented buddies Alexandre Elaiuy and D. Lee.

terça-feira, 30 de dezembro de 2014

Pictures 2014

The creator of Clay Kids, Javier Tostado.

Animating Jessie!

Visiting Solan og Ludvig in Norway.

Workshop with Tim Allen at Festival Brasil Stop Motion.

Animating the amazing new Brazilian stop motion feature film!

Working overnight in Drugo...

And finally, vacation with my love!

sábado, 18 de outubro de 2014


Since July, I have had the honor to work with a very talented crew at Clay Animation studio in Valencia, Spain.

We are 16 animators working hard (120 frames/day) with animating the 2nd Season of Clay Kids TV series!

The best part of working here is that every day is a surprise.

It can be action scenes, jumping, running, skateboarding, walking like a cat and... sleeping!

Here is the first episode released from the second season:

quinta-feira, 28 de agosto de 2014


This beautiful piece of  #stopmotion film is my latest job as a senior animator.

Created for Global Commission on Drugs Policy, the animation has a powerful message about the criminalization of drug use.

I am really proud and honored to be a part of the crew who created DRUGO! 

Thanks for VetorZero!

Making of and full credits here: