Animsquad Master Class Disney S Zach Parrish Brent Homman Top

Zach, known for his "super-fast, awesome" workflow, begins by setting up his Maya file and proceeds through the entire animation process: blocking, splining, breaking down, and final polishing. He shares a host of practical tips, keyboard shortcuts, and his personal "golden workflow nuggets" that have made him so efficient in a high-pressure studio environment. Interspersed with the technical instruction, Zach shares engaging anecdotes about his experiences on major Disney films, like working with legendary animator Glen Keane on Tangled and pushing the limits of cartoony animation.

: Lessons are grounded in his experience working on blockbuster hits like Frozen , Raya and the Last Dragon , and Strange World . Why This Masterclass Stands Out

: Rather than showing a clean, pre-made timeline, the instructors encounter real pipeline bugs, bad deformation loops, and design issues in real time. Watching them troubleshoot their mistakes teaches students how to solve practical production problems under tight deadlines. Zach, known for his "super-fast, awesome" workflow, begins

Parrish and Homman are praised for their ability to articulate why they make certain artistic decisions, not just what they are doing, according to the Vimeo trailer.

For more information on current offerings or to view the original trailer, you can visit AnimSquad or their Vimeo channel . : Lessons are grounded in his experience working

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To understand the value of the AnimSquad masterclass, one must understand the pedigree of its instructors. Both Zach Parrish and Brent Homman have established themselves as premier animators at Walt Disney Animation Studios, having contributed to some of the most successful animated films of the modern era. Parrish and Homman are praised for their ability

Brent showed a side-by-side of a student reel versus a professional Disney reel. The difference? Not literally, but they pushed the squash and stretch just enough to feel organic. Brent demonstrated how to "break" the arm or spine subtly to simulate mass, a technique he used heavily on the character of Bruno in Encanto .