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Anifex can produce all types of animation including model, cel and 3D computer rendered animation but they are famous for their clay animation; each character that is made has its own unique look and personality.
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Each character has to go through the same process. Here’s a quick step by step of what needs to be done to create the perfect little character.
Step 1: Once we have a character in mind, after drawing up a sketch, we make a model! We use two types of clay to create our characters. Anifex use two types of clay, one called Rainbow Clay but they also useVan Aken clay. This is a specialised clay for animation that is imported from the United States. Our Model Makers love this clay, because it’s very flexible and apparently it doesn’t taste too bad either.
Our Model Makers work from the sketches to create a 3D model of the character, once they have sculpted it exactly how they think the character should look, it moves onto the next stage.
STEP 2: In the workshop the guys take the clay model and make a silicone mould of it. Every character used in animation has an armature within the silicone body. An armature is a metal skeleton that supports the model during animation, much like the way our bodies are supported by a skeleton.
Each armature is made specifically for a particular model. The model maker and the director will talk about what actions the character will need to perform during the animation, and the armature will be constructed accordingly.
If you are making a short film where the characters don’t require a full armature, it is possible to make your own using a piece of light weight wood (Balsa) or foam for the body and solid non resin cored solder for the arms and legs.
Step 3: So now our character is ready for action, our animators take the model onto set ready for the shoot. Each shoot is a little different according to the complexity of the animation, but in general terms it usually takes about one week to shoot a 30 second model animated commercial. The overall production time for a 30 second animated television commercial is usually around 8 weeks, including model construction, the shoot and editing.
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‘Motion control’ is a broad term used by many industries to describe computer-controlled machines. In the film industry, the term ‘motion control’ is normally used to describe a computer controlled camera crane, or dolly. Motion control has become increasingly important for special effects photography in the last 10 years.
Our main use of this technology is to program intricate camera moves over sets and models that are repeatable over and over at different speeds. This enables us to shoot different ‘passes’ of a move which, when put together during the editing process, allows us to add or remove elements of the shot. This is a very technical process, but is often the only way a shot can be created.
A common example of this is where we will shoot a clean ‘background plate’ (this is a move over the set with no characters or unwanted objects present), before we shoot the actual ‘animation pass’, which is the frame by frame stop-motion version of the same move. When the pieces of film are put together during post-production, supporting rigs and wires can be digitally removed from the ‘animation pass’ leaving the clean background underneath.
Motion control systems can also be programmed to operate models, or move parts of a set during a shot. This creates a more realistic blurring effect (go-motion) during the film frames.
Anifex uses a Sorensen built ‘Gazelle’ stage-based 8 axis rig. Axes of movement are currently Track, Cross Track, Swing, Boom, Pan, Tilt, and in the future, Roll. Focus is also programmed into the system.
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If you think you’ve got the stuff, we’d love to hear from you!
When there is a specific position going, we will advertise it separately, so keep an eye out. The main areas where there are work opportunities on an ongoing basis are in model and set construction. If you have sculptural or model and set making abilities, please submit a written letter with your resume to Melissa Sheldrick, Anifex’s Business Manager. Freelance people are hired on a job by job basis depending on the work requirements. We are always happy to see what you have to offer.
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Work experience is a great way to get a feel for the industry.
Work experience with us is pretty awesome, because you won’t just be standing there; we want you to EXPERIENCE as much as possible while you’re with us. Applying for work experience is an extensive process, so we’ve broken it down into steps for you.
Step 1: All applications must be in writing:
Att: JoAnne Bouzianis-Sellick
C/o Anifex
65 King William Street
Kent Town 5067
Or emailed to joanne@anifex.com.au with "Attention JoAnne" and "Work Experience" included in the subject line.
Step 2: Your Application should include the following:
• Your Postal Address, Phone Number and/or Email Address.
• The Dates that you are requesting.
• An up to date CurriculumVitae, that includes your interests and hobbies.
• A brief explanation as to why you would like to do work experience at Anifex and what you hope to gain from it.
• A small Portfolio of your work. Your Portfolio should contain, Drawings, Paintings, Sculptures, Short films, Animations and anything that you may think is relevant. You can use photographs of works and sculptures that may be too big to submit.
• Your CV and Portfolio can be submitted in the traditional Paper Post way or by email or on CD-Rom, Video or DVD.
Step 3: The hardest of them all.
• Waiting for a reply
• Please feel free to follow up the progression of your application by emailing me on the same address listed above.
Please be patient and understand that I still need to do my own work here as well as Coordinate the Work Experience Placements.
Further information regarding Work Experience at Anifex
My name is JoAnne Bouzianis-Sellick and I am the Work Experience Coordinator at Anifex. This however is not my full time job, even though there are enough applicants to keep me busy all year round. My main role at Anifex is in the Camera Department.
Anifex receives hundreds of requests for work experience each year. We are able to accommodate around FOUR of these. Anifex is not a big company and we can’t take on everyone.
Our work is highly variable and also sensitive from a client confidentiality point of view. This makes it limiting as to when we can have work experience students on board.
Applicants must understand that we give Work Experience to those that we think will benefit the most from it, to Mature Age Students and those that have skills in this area or are already in the industry.
We encourage the actual applicant to apply for work experience themselves and not their helpful parents or teachers. Preference will be given to those who apply personally.
High School Students, when you are applying for work experience with us please don’t leave it to 2 weeks before you have to be placed, as someone will have already beaten you to it.
Let me start by saying the following:
• We do not offer work experience in COMPUTER ANIMATION.
• We do not do DESIGN GRAPHICS.
• We do not do any SOUND RECORDING or MIXING
• We do not do any form of EDITING.
We do offer work experience in our Sculpture Department.
Greg Holfeld runs our Cel Animation Department and they also take Work Experience applicants but at this point in time we are not taking any applicants in this area.
One Day Observation may also be an option for the applicant when we are unable to offer a full week’s Work Experience.
I look forward to hearing from you, Good Luck!
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General Animation Information:
Stop Motion Magazine: stopmotionmagazine.com
Stop Motion Works: www.stopmotionworks.com
Stop Motion Animation: www.stopmotionanimation.com
Animate Clay: www.animateclay.com
Basics Animation 04: Stop-Motion by Barry Purves, AVA Publishing SA, 2010
(This book features some of Michael Cusack's short films, and uses them as examples of how to create a great stop motion film)
The Animator’s Survival Kit by Richard Williams, Faber & Faber, Second Edition, 2009
Stop Motion: Passion, Process and Performance by Barry JC. Purves, Focal Press, 2008.
The Encyclopedia of Animation Techniques by Richard Taylor, Simon & Schuster Australia, 1996.
Cracking Animation , The Aardman book of 3D animation. Peter Lord & Brian Sibley, Thames and Hudson, 1998.
Chicken Run, Hatching the Movie. Brian Sibley, Harry N. Abrams Inc, Publishers. 2000.
Ray Harryhausen, An Animated Life. Ray Harryhausen & Tony Dalton, Billboard Books, 2003.
Stop Motion Software
Anifex use Dragon Stop Motion software to help monitor the stop motion animation on set.
It assists the animators in creating a smooth looking production:
www.dragonstopmotion.com
Stop Motion Pro: stopmotionpro.com
AnimatorDV: animatordv.com
Cel Animation:
The Animator’s Workbook, Tony White, Watson-Guptill Publications, 1988
Cartoon Animation, Preston J Blair, Walter Foster Publishing, 1980
Film Cartoons, Preston J Blair, Walter Foster Publishing, 1980
Animation; from script to screen, Shamus Culhane, Saint Martins Press, 1988
Disney Animation – The illusion of life, Frank Thomas & Ollie Johnson, Abbeville Press New York, 1981
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The Hamilton Secondary College Adult Campus in the South Western suburbs of Adelaide offers a one year hands-on industry-based Screen 3 Certificate that covers all types of animation from cel and stop-motion to 2D and 3D digital whilst providing strong industry links.
View student work at www.animation-adelaide.com
For course information go to www.hamcoll.sa.edu.au and follow the links to the Adult Campus and Vocational Certificate Courses or contact Robert Farnan at rfarnan@internode.on.net
The Griffith University in Queensland offer a course in animation.
See their web site for more information:
www.gu.edu.au
The Victorian College of the Arts also have an animation course.
See their web site for more information:
www.vca.unimelb.edu.au
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The best way to further your chances of catching your big break in the industry is to make your own films. It’s as simple as that. Once you have made some films, and have some work to show people in the industry, your talent and enthusiasm will show.
This is the best CV that you can put together.
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