The following lists of animation studios presents current and former organizations similar to artists studios but principally dedicated to the production and distribution of animated films. Such studios may be actual production facilities or corporate entities. The countries with the most listed, active studios, are Japan, United States, Canada, United Kingdom and South Korea, but studios are found across all continents.

Walt Disney Animation Studios (WDAS),[6] sometimes shortened to Disney Animation, is an American animation studio that creates animated features and short films for The Walt Disney Company. The studio's current production logo features a scene from its first synchronized sound cartoon, Steamboat Willie (1928). Founded on October 16, 1923, by brothers Walt and Roy O. Disney,[1] it is the oldest-running animation studio in the world. It is currently organized as a division of Walt Disney Studios and is headquartered at the Roy E. Disney Animation Building at the Walt Disney Studios lot in Burbank, California.[7] Since its foundation, the studio has produced 62 feature films, from Snow White and the Seven Dwarfs (1937) to Wish (2023),[8] and hundreds of short films.


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Founded as Disney Brothers Cartoon Studio in 1923, renamed Walt Disney Studio in 1926 and incorporated as Walt Disney Productions in 1929, the studio was dedicated to producing short films until it entered feature production in 1934, resulting in 1937's Snow White and the Seven Dwarfs, one of the first full-length animated feature films and the first U.S.-based one. In 1986, during a large corporate restructuring, Walt Disney Productions, which had grown from a single animation studio into an international media conglomerate, was renamed The Walt Disney Company and the animation studio became Walt Disney Feature Animation in order to differentiate it from the company's other divisions. Its current name was adopted in 2007 after Pixar was acquired by Disney in the previous year.

By 2013, the studio was no longer developing hand-drawn animated features and had laid off most of their hand-drawn animation division.[14][15] However, the studio stated in 2019 and 2023 that they would be open to proposals from filmmakers for future hand-drawn feature projects.[16][17]

Meanwhile, after the first year's worth of Oswalds, Walt Disney attempted to renew his contract with Winkler Pictures, but Charles Mintz, who had taken over Margaret Winkler's business after marrying her, wanted to force Disney to accept a lower advance payment for each Oswald short. Disney refused and, as Universal owned the rights to Oswald rather than Disney, Mintz set up his own animation studio to produce Oswald cartoons. Most of Disney's staff was hired away by Mintz to move over once Disney's Oswald contract expired in mid-1928.[22]

In 1929, disputes over finances between Disney and Powers led to Disney's animation production company, reincorporated on December 16, 1929, as Walt Disney Productions, signing a new distribution contract with Columbia Pictures.[28][29][30] Powers, in return, signed away Ub Iwerks, who began producing cartoons at his own studio, although he would return to Disney in 1940.[31]

In 1934, Walt Disney gathered several key staff members and announced his plans to make his first animated feature film. Despite derision from most of the film industry, who dubbed the production "Disney's Folly," Disney proceeded undaunted into the production of Snow White and the Seven Dwarfs,[43] which would become the first animated feature in English and Technicolor. Considerable training and development went into the production of Snow White and the Seven Dwarfs and the studio greatly expanded, with established animators, artists from other fields and recent college graduates joining the studio to work on the film. The training classes, supervised by head animators such as Les Clark, Norm Ferguson and Art Babbit and taught by Donald W. Graham, an art teacher from the nearby Chouinard Art Institute,[12][43] had begun at the studio in 1932 and were greatly expanded into orientation training and continuing education classes.[12][43] In the course of teaching the classes, Graham and the animators created or formalized many of the techniques and processes that became the key tenets and principles of traditional animation.[12] Silly Symphonies such as The Goddess of Spring (1934) and The Old Mill (1937) served as experimentation grounds for new techniques such as the animation of realistic human figures, special effects animation and the use of the multiplane camera,[44] an invention that split animation artwork layers into several planes, allowing the camera to appear to move dimensionally through an animated scene.[45]

Much of the character animation on these productions and all subsequent features until the late 1970s was supervised by a brain-trust of animators Walt Disney dubbed the "Nine Old Men," many of whom also served as directors and later producers on the Disney features: Frank Thomas, Ollie Johnston, Woolie Reitherman, Les Clark, Ward Kimball, Eric Larson, John Lounsbery, Milt Kahl, and Marc Davis.[61] Other head animators at Disney during this period included Norm Ferguson, Bill Tytla and Fred Moore. The development of the feature animation department created a caste system at the Disney studio: lesser animators (and feature animators in-between assignments) were assigned to work on the short subjects, while animators higher in status such as the Nine Old Men worked on the features. Concern over Walt Disney accepting credit for the artists' work as well as debates over compensation led to many of the newer and lower-ranked animators seeking to unionize the Disney studio.[62]

A bitter union strike began in May 1941, which was resolved without the angered Walt Disney's involvement in July and August of that year.[62] As Walt Disney Productions was being set up as a union shop,[62] Walt Disney and several studio employees were sent by the U.S. government on a Good Neighbor policy trip to Central and South America.[63] The Disney strike and its aftermath led to an exodus of several animation professionals from the studio, from top-level animators such as Art Babbitt and Bill Tytla to artists better known for their work outside the Disney studio such as Frank Tashlin, Maurice Noble, Walt Kelly, Bill Melendez, and John Hubley.[62] Hubley, along with several other Disney strikers, went on to found the United Productions of America studio, Disney's key animation rival in the 1950s.[62]

Production of full-length animated features was temporarily suspended after the release of Bambi. Given the financial failures of some of the recent features and World War II cutting off much of the overseas cinema market, the studio's financiers at the Bank of America would only loan the studio working capital if it temporarily restricted itself to shorts production.[66] Features then in production such as Peter Pan, Alice in Wonderland and Lady and the Tramp were therefore put on hold until after the war.[66] Following the United States' entry into World War II after the attack on Pearl Harbor, the studio housed over 500 U.S. Army soldiers who were responsible for protecting nearby aircraft factories from enemy bombers. In addition, several Disney animators were drafted to fight in the war and the studio was contracted on producing wartime content for every branch of the U.S. military, particularly military training, and civilian propaganda films. From 1942 to 1943, 95 percent of the studio's animation output was for the military.[67] During the war, Disney produced the live-action/animated military propaganda feature Victory Through Air Power (1943),[68] and a series of Latin culture-themed shorts resulting from the 1941 Good Neighbor trip were compiled into two features, Saludos Amigos (1942) and The Three Caballeros (1944).[68]

By the end of the decade, the Disney short subjects were no longer being produced on a regular basis, with many of the shorts divisions' personnel either leaving the company or being reassigned to work on Disney television programs such as The Mickey Mouse Club and Disneyland. While the Silly Symphonies shorts had dominated the Academy Award for Best Short Subject (Cartoons) during the 1930s, its reign over the most awards had been ended by MGM's Tom and Jerry cartoons, Warner Bros' Looney Tunes and Merrie Melodies, and the works of United Productions of America (UPA), whose flat art style and stylized animation techniques were lauded as more modern alternatives to the older Disney style.[84] During the 1950s, only one Disney short, the stylized Toot, Whistle, Plunk and Boom, won the Best Short Subject (Cartoons) Oscar.[85]

The Mickey Mouse, Pluto and Goofy shorts had all ceased regular production by 1953, with Donald Duck and Humphrey continuing and converting to widescreen CinemaScope before the shorts division was shut down in 1956. After that, all future shorts were produced by the feature films division until 1969. The last Disney short of the golden age of animation was It's Tough to Be a Bird. Disney shorts would only be produced on a sporadic basis from this point on,[71] with notable later shorts including[86] Runaway Brain (1995, starring Mickey Mouse)[87] and Paperman (2012).[88]

Despite the 1959 layoffs and competition for Walt Disney's attention from the company's expanded live-action film, TV and theme park departments, production continued on feature animation productions at a reduced level.[76]

The Disney animation training program started at the studio in 1932 before the development of Snow White eventually led to Walt Disney helping found the California Institute of the Arts (CalArts).[91] This university formed via the merger of Chouinard Art Institute and the Los Angeles Conservatory of Music. It included a Disney-developed animation program of study among its degree offerings. CalArts became the alma mater of many of the animators who would work at Disney and other animation studios from the 1970s to the present.[91] e24fc04721

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