Feb 1 – RYAN HONEY Creative Director, Buck Studio


With over thirteen years of experience, Ryan Honey’s industry awareness and ability to adapt to clients’ needs has quickly made the design-driven production company Buck a top contender in the global commercial production market. Founded in 2003, Buck has offices in New York and Los Angeles and boasts over fifty employees.

Since Buck’s inception, Ryan has directed commercials for numerous major brands from all over the world. Be it live action, CG animation, special effects, cel, stop motion, or a combination of techniques, Ryan’s work continues to push the boundaries of innovation and quality in the commercial realm.


Recent clients include Nike, Google, Honda, Participant Media, GMC, Sundance Film Festival, Burger King, Old Navy, Cheetos, Microsoft, Powerade, NBA, Coke Burn (Russia), Coke Zero (Holland) and Toyota.
Ryan Honey – Creative Director/Partner
Buck
http://www.buck.tv

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36 comments on “Feb 1 – RYAN HONEY Creative Director, Buck Studio

  1. Ruthie Williams says:

    The presentation from Ryan Honey for Buck Studios was awesome. I thought all the clips shown were really fresh, polished, and effective. Hooray for a budding relationship with DADA and USC!

    Hearing about the production process at Buck really got me thinking about approaching a project idea-first, as opposed to method-first . I got the impression from Mr. Honey that pitching the idea first, getting the clients to go for it, and then figuring out how to do it next allows Buck to stretch their stride into new territory with each project. By taking more risk, the projects also take on a more entrepreneurial spirit, which ties in with the quote that Mr. Honey read at the beginning of his presentation. This must be nerve wracking at times, especially on such tight deadlines, but Buck obviously has a lot of talented people who are not squeamish about putting in the extra hours and using the resources they have. I also admire that they deal with design decisions from a problem-solving point of view, for example the abstraction of basketball player’s movement in the Nike World Basketball competition ad. This is a visually exciting effect on it’s own, but it is also wonderfully more efficient. I love the sentiment to create a style that is built to work with the timeline.

    But thank goodness this studio still manages to get in their passion projects. The Hunter S. Thompson short was incredible.

  2. Nesli Erten says:

    The trifecta is perfecta!

    Social consciousness, technique agnosticism, and unique aesthetic: it is a compelling combination that has undoubtedly worked out well for Mr. Honey and Buck Studios.

    Building a business structure on collaborative creative work is a model not often seen in many areas of human enterprise, especially in ours. It is a real shame too. I had a teacher once that always said collaborative learning/working heightens critical thinking skills. This is evident in the piece constructed for the World Basketball Festival in which images of basketball players were shredded to construct seamless and time-efficient transitions. We live in a culture inundated with titles, status, and hierarchy. Boy was it refreshing to see a company where content, imagination and ideas were the propelling components that guide business. And on top of holding true to their business integrity, they are super successful. At the end of the segment it said: “The rhythm of our game is the soundtrack of our culture.” At Buck Studios, the “rhythm of their game” is a hard chord to strike, but when struck, penetrates the masses in a very meaningful way.

    But my favorite part is really about the water. Because for a company to assume formlessness is for me the biggest achievement. This “formlessness” is seen across the magnificent range of style, technique and construction each project encompasses. Each more different than the last. It is a smart move for a company to deny taking shape or adhere to a specific style. If they did, their plan would become visible, which is just another word for vulnerable. Critical thinkers, like Mr. Honey, keeps the studio fresh and “cutting edge,” so to speak, by using adaptability as powerful tool to stay afloat. I like embracing that nothing is certain and no law is fixed. Maybe the best way to protect the rare magic they have captured in their studio environment is to be as fluid and formless as water.

    I enjoyed todays lecture so much. Thanks thanks thanks for coming to speak with us!

  3. Tonight’s presentation was very inspiring! I really liked how so many of the projects that he showed us used CG technology to improve the efficiency, speed, and ease of hand based animations, rather than completely replacing the old ways. There really is an aesthetic of the hand touch that can’t be achieved digitally. Though I applaud the Google project for that looked very hand-made despite it being completely intangible.

    I really admire that the studio has done so many different types of animation and that it is so experimental in its style. Everything looked very unique from anything I’ve seen before and from one another. I especially liked the etched look of pieces of the Goodbooks advertisement.

    The people at the studio are wonderfully creative individuals to come up with the ideas used in these videos. These type of passionate people must be inspiring to work with. I liked that so many projects we were shown involved painting and building sets, and it seemed liked everyone was working together on assembling them. I think it’s very fun to build things by hand and it is nice to work together with others and see it completed more and more. I think there is a more direct satisfaction one achieves when one sees the progress of something made by hand rather than digitally made. Furthermore, one can more easily see the amount of completion.

    I also very much like the collaboration between everyone at the studio that Mr. Honey described. I think that allowing for people’s visions to mix is much more fruitful than having only person take the reigns. Also, it gives people who may not have a chance to present their unique vision, the opportunity to share.

    I think that the company has been so successful mainly for its philosophy of pursuing an idea without worry about the method. This prevents the artist from being controlled by the machine and other limitations, and allows for innovations in technology and methods to emerge. I think that’s the best way to think about any goal. Just let the dream guide you, and you’ll build the staircase to it as you go.

  4. Tristan Dyer says:

    This was, as we have established, a great seminar. You would still have known this without reading our blogs if you had been there and only saw the audience. Each piece Ryan Honey showed provoked a reaction from the audience. At one point, during the Happy F5 work I thought one of my classmates was going to have to be carried out on a stretcher because he was laughing so hard.
    What made each piece so successful was several factors. First there was the hand made look executed with CG like precision that everyone loves. But what I think is the true ingredient to Buck’s success is the marriage of concept to product. The way each piece flowed and looked matched with the message they were communicating, without being predictable. Also at the core of their success is the ability to build characters and stories. Even in a promo for the Sundance Festival they built a character out of the word Rebel in the form of fiber optic cables and told the story of growing from the underground. Hopefully one day we’ll get to see what they do to a narrative script, but as Ryan Honey said, they stay busy creating compelling content for good causes and paying clients.

  5. I really appreciate that this seminar was all about the films and the creative process behind them. No superstar or delicate genius stood in front of the work to reclaim all the credits. This speak very well and more substantially about the way Buck studios are conducted. It’s all about many talents working together to produce very diverse and impressive films with an insane attention to detail. It’s a great thing to witness what can be achieved when people can let go of their egos in pro of a bigger cause. They are truly an inspiration, I saw many resources that could help me with my production one…I hope the good books piece goes online soon. Also, very few things have inspired me to learn 3D, however, the way the use it in some of their work has me kind of excited…Lynda, here I .com

  6. Dan Wilson says:

    Ryan’s presentation was really fun. Though the story behind Milkquarious was tragic — getting to use the last Scanimate machine is great, but the fact that a dead, decades-old technology was pretty much the only way to create these effects says a lot about the state and effects of digital technology. In some areas, it seems like it’s pushed out cheaper and easier techniques (not that Scanimate is the best example of something to miss)

    I was surprised to learn that a studio of very adept traditional artists uses Maya so much either as reference or to replicate a traditional look. That’s a very good direction for the industry when used on the right projects, either to make them cheaper, faster, or to get the look exactly right. When I can, I like to compress and overlap pre-production and production. So I think taking advantage of all available tools, rather than trying to uphold some sort of “purity” (“This film is entirely hand drawn and screw technology”), is the right way to go.

    The puppets were the most fun part, as proven by all the heart-attack laughter in the room. It reminded me that I still want to pursue having a Professor Dan hand puppet made, but it also made me wonder if I need some more characters for him to play with … Glove glove glove.

  7. Ryan Gillis says:

    Before last night, I wasn’t aware that companies like BUCK existed.
    I thought that if you were an animator in a commercial studio, that you’d be working on text for car commercials or something.

    I had no that there was a job that consisted of non-stop visual development. It seems like a dream. The reason I’m getting a degree in animation is because I want to learn how to make these visuals I have in my head. Not because I have stories to tell, typically.
    But after a semester here I was beginning to think that jobs didn’t exist in the animation world that didn’t involve some story element.

    I’m shocked that I haven’t realized this before. Every job, BUCK can explore new ideas and styles. It’s mad insane dream job that I never even considered.

    The real treat was having Ryan show us all of the production work. It makes the commercials that seem impossibly polished, seem more do-able.

    But ultimately, what I found most impressive was the studios’ attitude. Whenever I get freelance jobs and the clients have no direction whatsoever, I’m frustrated. To me it means that the project a lot of work that isn’t going to go anywhere. But whenever clients approached BUCK without plans, they were excited to have free reign. Usually, it seemed, for no pay.

    That’s definitely a work ethic that I’d like to absorb.

  8. Eric Tortora Patp says:

    Buck was made of awesome. I loved their work, their approach, teir ability to recombine their inspirations in to unique and excellent new ideas and yet still brillaint homages to their inspirations (both the Hunter S Thompson goodbooks piece and the Henson inspired Happy F5 pieces as clearly being “said-artist by way of BUCK”. Their skill, craft and enthusiasm shout from their work loudly, and I greatly agree with their “technique agnostic” modus operandi (as absolutely no one who knows me will be shocked to know). However, I can’t help but feel that their difficulty getting their own in house projects to stick in the way of funded deadlined work for hire and commissions is te dark side of this free flowing and multifaceted work model. Speaking as someone who aims for this style of work and view, and gravitates towards it I can say with absolute certainty that versatility and flexibility at best hit an uneasy balance and at worst act in total opposition to completing your own internally motivated feature or series (ie longform) projects. What BUCK really needs is some rich lunatic to dump a stack of funding, point at something like the Happy F5 show and say “make that the new Sesame Street for the key demo, and do it in 9 months.” I hope that happens, or that alternatively they develop a way to do it inside that can render results in a timely fashion and returns in kind. Because, as I said at the open, BUCK was and is made of awesome.

  9. Buck studios had a fantastic presentation. It was very dense, but very practical and came with a major wow factor that I haven’t seen in some time. I loved the range and styles in their reel and was blown away by the work done on the brand new ad that I’m not sure if I’m allowed to name. It’s great that passion drives their work and that they’re able to do projects they care about and still run a profitable business. Going back to the last piece demoed, the artwork was quite incredible. What struck me in particular was the inky look that they achieved using flash. Since I’m working on a project that includes hand drawn ink, I was very curious as to what advice they could give to me and my teammate to make it work as well as they did. I also respect the amount of work and effort they put into making their projects looks as polished as possible. Shooting and animating paint elements just for textural overlays is pretty hardcore. I’m glad it paid off. I would greatly enjoy someone from Buck coming back through DADA and doing a half day workshop on some of the more advanced tricks and techniques they’ve come up with that can help us push our work further. There seems to be a great deal information that we can glean from them, I hope as many people will find that opportunity to do so as possible.

    Awesome Show. Great Job.

  10. Lisa Chung says:

    Personally I was most excited for the stop motion pieces mainly because I haven’t really seen the technique used in commercial/ music video that isn’t pixilation or puppet animation. Their choice to use object and cutout animation is quite ingenious. They start with founded object or simple cutouts like fiber optics or abstract curves and animate their formation to create a word or an image like a map. The idea is simple but the technique allows for a strong graphic style while creating an effective message. So needless to say I adored the BUCK logo made up entirely of food.

    As an aspiring stop motion animator, it is so refreshing to see non-commercial stop motion techniques used in such an innovative and successful way for ads. It opens up so many career possibilities. I love stop motion features from the puppets to their sets but I also love all types of stop motion, so I appreciate companies like BUCK studio who support the underdogs of this technique such as cutouts, founded object and experimental animation. One other company I can think of that also supports this cause is PES

  11. Matthew Steidl says:

    Ryan is a good showman, but it helped that the content he brought from Buck was exciting and fresh in its own right.

    I was most fascinated by their declared “technique agnosticism”, which though largely true did wind up exhibiting some common tendencies. Namely, the tendency to build animation in Maya, then rotoscope over it with other techniques. It is a wonderfully economical way to give a hand-crafted look to a commercial work, and do so within a tight time constraint. That these artists give so much weight and importance to the analog techniques despite the pervasiveness of Autodesk and Adobe tools is reassuring for a program that still makes an effort to honor them in its curriculum.

    I was also struck by their creative process: come up with an idea, get the bid, then figure out how to execute the idea. It’s cavalier, and maybe even arrogant, but it underlines how competitive the business is, and how to succeed you have to believe yourself capable of achieving things before you have something in your reel that proves it.

  12. Yang Liu says:

    Buck Studio is one of the studios I admire so much but I only have tiny confidence to qualify for any jobs there. Their showreel is extremely strong in terms of the art direction. It is the most difficult part as well as important part in production, and I feel it takes years of experiences to have such ability. Also, the techniques they use are very modern and efficient, and the mix of mediums always follows the art direction. Because of their strong art design, the final products do not look dull and flat at all. The most successful part of their works is not how sophisticated they look, but how unique the style is. I love the way they use maya and adobe to achieve many brand new look, and it’s very inspiring to my thesis film as well. I appreciate what Buck studio has done in all their impressive works, and I learned that the best creative process always includes the artistic vision and use of technologies. Thank you Ryan for making a great lecture for us.

  13. Ben Brownstein says:

    Wow. Buck studios is pretty incredible. All of their work is excellently done. Their range of styles and techniques is impressive. Their work reminds me that even if I end up working in advertising, it will still be possible for me to have a large amount of creative freedom. In some ways I could perhaps have even greater creative freedom than if I was working on a film or television show.

    However, sometimes it seemed like they put some unnecessary effort into their projects. It was mentioned that one portion of the F5 project had every frame hand painted. It was almost impossible to notice, and in my opinion did not add anything other than more work.

  14. Liffany Chen says:

    I think it’s safe to say that Buck Studios is pretty inspiring.

    Milktopia?! I remember seeing White Gold “Got Milk?” commercials during my younger years and learning that Buck Studios (which used the last remaining scanimate machine?!) had been the studio to produce it just blew my mind. Just the fact that the studio had went through ALL of that trouble to locate the scanimate machine just shows how important the vision and look of the project is.

    I was very impressed with the NHL illustration animation. I thought the idea of “shredding” the characters from scene to scene to keep the detail and quality of the original designs was ingenious. Mr. Honey did mention that the idea sprung from an impending deadline, which I guess just goes to show that sometimes really great ideas can come from pressure cookers.

    The Goodbooks piece was really cool. I liked the ever sarcastic spin on a 50’s private eye narrative. The animation and story was very fluid–in more ways than one–and that’s what I feel makes it so intriguing (plus, it has so much going on that I feel compelled to watch it again). It’s so intricate with billions of details, I can only begin to imagine the amount of work that went into it. I hope it gets uploaded to cyberspace soon!

    The studio’s love of the method and process reminds me of some particular actors (again, I mention theatre.), which now that I think about it, strengthens that particular aspect of art. When I say that, I mean that there are many actors that act for the love of the craft–and screw money–and the talented workers at Buck Studios clearly do their work for the love of it. That’s something I highly respect.

  15. Javier B says:

    Art Melting, Solid design, liquid fusion animation that’s BUCK. Melting Analog and digital , Buck is a styles force in the world of animation and in a commercial media. Even though Buck is strong in style and designs animation, hopefully we’ll see a independent project separate consternates of the commercial world, and just pure BUCK.

  16. Andrew Malek says:

    If production companies like Buck are the wave of the future then sign me up. Perhaps what was most distinctive about the work shown by Ryan Honey’s company was its versatility and freshness along with the dedication to innovation for every project that we saw.

    In particular I was happy to learn that Buck works with a slightly less hierarchical approach to creative decision making. While I’m sure it can be more difficult to function efficiently this way I feel such an approach is more honest with the way a film is really made, and the results seem to speak for themselves.

    What I would really like to see what would happen if you gave this company a feature film to work with.

  17. Linda Jules says:

    What an amazing presentation! Buck’s arrangement consisted of a fantastic mix of styles and mediums, all designed and executed to perfection. I was especially excited to hear Mr. Honey get into great detail about the entire filmmaking/commercial process from inception to creation.
    As much as I love to watch “best of” clips, it does get somewhat monotonous when presenters just play clips, without getting into the juicy behind the scene details. Mr. Honey really focused on what we as students looking to break in to our careers need–thorough breakdowns of each piece.

  18. Louis Morton says:

    It was comforting to hear that there wasn’t a secret recipe or quick fix behind the amazing work of BUCK. Each piece seemed to develop it’s style organically, based on its content or message. And with so many talented experts in every medium at hand, it’s no wonder the unique spots made by BUCK stand out so much.

    While the work and thinking behind it was super inspiring, I also learned a lot by hearing Ryan go into the nuts and bolts of how a studio like BUCK operates. Knowing how many weeks and how many people it takes to complete a 30 second spot has definitely given me a better idea of what it takes to make it in motion graphics. This was the most useful seminar to me in terms of thinking forward to the professional world. Knowing the details I think helps and gives us all an edge up. Thanks for the great presentation and I hope we have more seminars like this in the future!

  19. Joseph Yeh says:

    AWw yeA!! I love Buck’s animation. It is great to see artist’s doing work that is born from passion. I feel this could be the type of thing I have been aiming to do for the rest of my life. Even more so, I think starting my own studio like Buck and “working for myself” would be one of the greatest accomplishments. Advertising animation seems to be more diverse and creative as opposed to large film studios where there is less room for input. The various graphic art styles used by Buck are really exciting and colorful. In addition, working on multiple projects and creating innovative work at a fast pace matches the attitude of the new and modern.

    Furthermore, the techniques that Ryan spoke of were awesome. Working with an idea first is real talk. So this is how an animation baller works. I also think using 2d rotoscoping on 3-d reference is an awesome way to go.

    Thank you Ryan for the inspiring presentation; I’m pumped to work harder after seeing such great work.

  20. Lauren Chew says:

    It was enjoyable to take a look into the Buck Studio animation work procedure. I loved how the studio doesn’t focus on just one particular style of animating, but on multi-styles – which shows how versatile one studio can be. I am especially fond of the integration of both CG and 2D styles for the various projects. The studio seems to be extremely particular in terms of the art and production design because each element in every animation is so precise, measured accurately and correctly…everything seems to be orderly and carefully planned (….so I thought…)….until Ryan revealed how the entire animator/art team are the ones who plan out the boards and direction rather than one ‘leader’.

    I have never heard of this studio’s existence. For some reason I admire how Ryan explains that the decision-making process for the studio’s work is done as one whole team rather than by just one or two specific directors. I found that to be an unconventional studio technique – at first I disagreed and was against that style of work ethic but now that I think about it – perhaps it would prove to be more efficient, so I assume the employees must get along well with each other if they do their work like in that method.

  21. Larry Lai says:

    Buck’s animation is so fantastic and creative! All of their works powerfully convey the intention of the target clients. They use many types of media to present their wild ideas, which turn out to be a world full of imagination. Buck is a good example for animators who focus on the promotion film or commercial film. The concept of this kind of animation should be strong and precise enough so that it can communicate with the audience about the company’s image or appeal. It is hard, though. But it is a good training for the concept development and the time management. In conclusion, Buck’s animations are powerful, precise, and communicative.

  22. Einar Baldvin Arnason says:

    I must admit that I had many issues with the work of Buck studios. I felt their work was very lacking in character and their methods backwards. The perfect example I can think of is using a laser cutter to cut down the materials needed to build a cardboard city. The result being something very stale, aspiring to be hand-made but instead being typical of most graphic design – bland and uninspired.

    What bothered me the most was the use of Hunter S. Thompson’s likeness for what is essentially and endorsement for a charity. There is no way of knowing if he would have liked to have his image used for that specific purpose and having someone both imitate his writing style as well as mannerism for that purpose was appalling to me. It is a very questionable thing to use someone’s identity to further one’s own ends, in particular when it is someone as opinionated as Thompson was. I felt the animation of the piece was very well executed though, but that is beyond the point.

  23. Robert Calcagno says:

    It’s interesting to see the kindred style of Google and Buck Studios; it’s a rare example of a company that was looking for a studio that matched its style rather than finding any studio and making them do their style. For the past year or so, Google has been going for this, as Ryan Honey put it, humble exterior to differentiate itself from the metallic minimalism of Apple. And most of Buck Studios’ work come across as humble and handmade but utilizing modern tools to accomplish that feel.

    The two are so in sync with one another that it almost becomes a “egg or chicken” kind of situation; while it’s not likely that a graphics studio could have an influence on a giga-corporation like Google, they just work so seamlessly together that you can tell where one starts and the other begins. I can’t recall a similar corporation-studio relationship so it stands out.

    It’s an ideal relationship and one that anyone would hope for; where two different parties aren’t trying to impose their own agendas on the other but instead are able to collaborate and bring out the best of both parties. The art of adversity is a sound means of creating a great product, but kindredship in creativity doesn’t hurt either.

  24. megatoe says:

    BUCK Studios is like a dream workplace for me. The works presented last Wednesday were needless to say, very impressive and inspirational. I love the variety of animation that they do – puppet, stop-motion, CG animation, and often a mix of 2 or 3 more medium. Yet, they are still able to demonstrate their own style through different media, despite of the need to fulfill different clients’ needs.
    The thing I admire the most is their work ethics. The studio does not work like a hierarchy system, and is very open-minded. People work on different departments for a different job depends on their skill sets. And they specifically don’t put the directors’ names on their final products. Because everyone contributed, they would only put “BUCK Studios” for credits.
    Also, very often they are willing to receive projects even if they are not earning any money. The drive to create these animations is simply their passion, and this is something I really look up to.

  25. Simo Liu says:

    It was the most interesting seminar I have seen before. What BUCK studio brings me was a lot of laugh, fun and creative ideas. BUCK studio is amazing place which I dream to get into after they showed their works. The used the modern technology combined with tradition drawing and methods which I really appreciate. And the results show that this way really works. I got much inspiration from their works. One reason why I like the studio is I can feel the happiness and true feelings from the animators who put their feelings into characters and make them real. The two funny characters are really amazing and vivid. They give me a lot of fun and happiness. They look like real characters. I think that is the important point that animators should put the emotions and feelings into characters and make them alive! Thank BUCK studio who give me a great visual banquet!

  26. Cecilia De Jesus says:

    I really enjoyed Buck’s presentation and appreciated their painstaking process of getting exactly the look and feel they want. I found it pretty interesting how they use a blend of techniques to create their work. I was surprised to see how they use CG in both direct methods and also as reference. I have battled with that decision with my work and I was curious to find out why they chose CG for some things and chose to use it merely for reference for other things. I thought their results either way were very impressive.

  27. Amy Lee Ketchum says:

    This was one of my favorite seminars ever. The Happy F5 Show made me laugh so hard I was crying. Buck’s work really struck me as a studio that has discovered the fine balance between digital and traditional animation. Not once did I feel that the digital effects overpowered their work, especially when they were going for a more traditional look. I also enjoyed seeing how versatile they were and how they appreciate a well-rounded skill-set. I am motivated to develop every part of my animation skills from hand-drawn to digital.

  28. Lanzhu Jian says:

    I love BUCK, from Ryan’s presentation I feel that is do-able to live in a dream world like that, endless idea and fun to make animation. I almost tears down when I saw The happy F5 show. I haven’t got it for a long time. that requires good timing and movement of puppet to make people laugh. but that inspire me to experiment some puppet scene within my animation.

    I really appreciate the behind process of BUCK’s work, I finally figue out some superb effect was not as I thought to be, and there are some 3D tools to help me with, I won’t frustrated trying to figure out how to make these complex 2D lines and perspective. I know how many work were conbined with 3D objects. And the reference of reality movement.

    I m still very amazed by the last animation BUCK showed us, the effect is very stylish, and the black, white, red graphic contrast make the style even more sharp and modernise. Agian, There is some effect I thought was accomplished by flash, but again. I m wrong, they are still mostly done by 3D and 2D drawing. which gives the animation a richer feeling.

    another thing I forget to mention also very important, they said they always wanna to do something new to push them up even it is for free. I think this is how artist keep them fresh and respect.

    this is amazing presentation and I wish I could work in BUCK.

  29. Brandon says:

    I honestly never really knew about BUCK studios until this seminar. I must say that I’m completely impressed by the work they produce. There is an unbelievable amount off creativity and technique that goes into each project that is definitely something to strive for on my own projects. I also could definitely see where he was coming from with wanting to be your own boss and answering only for your own work/projects. While I did enjoy the final projects, I do find myself questing certain aspects of their process. While it may add a nice texture to the final product, I find myself wondering if choices like going over every frame with real paint falls in the category of unnecessary work only done for artistic self gratification. When does the amount of work/time required negate the style chosen for a particular scene.

  30. Buck Studio’s presentation included a body of commissioned work that gave us a window into creative process behind the advertising industry. Each project included many talented designers and animators working together to produce detailed and colorful pieces. I enjoyed the studio’s visually appealing presentation.

  31. Chen Huang says:

    This is the most amazing presentation.I really appreciate that this seminar was all about the films and the creative process behind them.

  32. Buck is inspiring, and it seems the studio’s work ethic leads them down interesting creative paths. The fact that Buck occasionally works on passion projects shows, since these pieces have a freshness seems linked to the free expression of their creative visions. Another huge inspiration was seeing Steve Day creating reference footage for himself. This video seemed completely in line with the feeling of the studio, encompassing a genuine interest and passion in creating, and a dedication to getting the best possible performance. This was a great talk, thank you so much for coming to speak with us!

  33. LaMar Ford says:

    All I have to say is wow. I haven’t heard of Buck, but I have seen their advertisements on television and online. After meeting Ryan and seeing more of their work, I was blown away. The insane F-5 intro, basketball intro to the World Games, and the Hunter S. Thompson short impressed me the most. I love the unique designs and their approach to problem solve creative issues with each project. Because the company doesn’t stick to one medium, it is cool to see the collage of different types of animation and mixed media.

    I’m happy that Ryan and Steve took the time to visit us.

  34. migueljiron says:

    These guys are simply one of the best out there. I really admire any studio who place such an emphasis on hand drawn animation, and they are one of the few animators who really dare to push and do something different in that medium. Their Hunter S. Thompson animation is astounding in its design and execution- if a little busy at times. I believe their main strength is their willingness and ability to take times on projects and let money take a secondary importance in making a couple of animations. It seems they approach projects as having two kinds of value: money value or prestige value. When a studio can get to a place where they have the luxury and can afford to make this kind of decision, its an exciting thing to watch.

  35. Meng Chia Chung says:

    I love their work so much!! I went home and check their animation again and again after the seminar. It was really cool to see how much cool design and animated that 2D hand draw animation can be. I admire their work a lot !!!!!!

  36. chaoqi zhang says:

    Awesome!!
    The works Buck made were great! I did enjoy what I saw and inspired by what I heard from Ryan Honey, was shocked by his industry awareness and ability to adapt to clients’ needs, know the reason why this young company design-driven production company Buck grew fast to became a top contender in the global commercial production market .I totally agree that working with the idea first, getting the clients to go for it, and then figuring out how to do it next, it allows Buck to stretch their stride into new territory with each project.
    Also Ryan’s wide stretch in various media including live action, CG animation, special effects, cel, stop motion, or a combination of techniques, which continues to push the boundaries of innovation and quality in the commercial realm. I was encouraged by his way to touch the boundary.
    Hope to see more inspiring works from Buck in the future.

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