Wilbert van Veldhuizen

1993, The Netherlands

Enrolled in Animation in 2016

Education and Work Experience 

In 2016 I graduated as a 3D animator from Utrecht University of the Arts (HKU) with my graduation film Aufseherin. The film is based on the life of Hebe Kohlbrugge, an important figure in the Dutch resistance during World War II. I interviewed Kohlbruge in 2015.

In my second year of the HKU I was part of the group that created the short film Hout, which was about a retired woodcrafter who constructs living wooden animals. Hout was very well received by the online community and was featured at quite a few festivals.

Before the HKU I did two years of animation and graphic design at Grafisch Lyceum Rotterdam (Dutch Creative College for Media). I did a 6-month internship at the 3D animation studio House of Secrets in Hilversum in 2014, and in 2011 I did a short graphic design internship at Studio Teekens, Amsterdam. In my spare time I have taken on small freelance jobs for various clients.

Research Question

I am actually not one hundred percent sure which of these two questions I would like to research because they represent the two main ingredients of every 3D animation film, namely technology and content. I, like I think most other generalist 3D animators, find it difficult to decide which of these two is more important.

The first question is quite technical and is about the ways you can work as an animation studio or individual animator. The second question is more theoretical and is about why you would choose to use animation in a certain way or for a certain purpose. I would like to add that these questions are not final, and I will probably reformulate them later on. They do, however, represent the field and direction I would like to do my research in.

Question 1:
How do you integrate 2D and 3D animation in a single pipeline/workflow?

Why would you choose to do this? What are the pros and cons of doing this? What kind of role does a 2D/3D animator fulfil in this kind of workflow? 

Well-known animation studios that integrate 2D and 3D animation in a single pipeline/workflow: Frameorder (on a small scale in the Netherlands); Buck (on a large scale internationally).

Question 2:
Why choose animation as a medium for a serious (nonfictional, based on
true events, dramatic) film?

What is the added value of animation when telling a nonfiction story? What are the pros and cons of animation in comparison to more traditional live-action film? What decisions do you have to make to translate a nonfiction story into an animation? 

Well-known films that choose animation as a medium to tell a serious (nonfiction) story: Waltz with Bashir; Persepolis, Alois Nebel.