We’re thrilled to sit down with Animation Mentor Alumnus and Pixar Animator Brandon Kern, a talented animator whose journey into the world of animation is anything but conventional. With a background in chemistry, Brandon made a bold career shift that led him to work on some of the most beloved animated films of our time. In this Q&A, Brandon shares his experiences at Pixar, discusses the challenges and rewards of animating iconic characters, and offers valuable advice for aspiring animators. Join us as we explore how Brandon’s unique path and passion for collaboration have shaped his career in feature animation.

An Unorthodox Start to a Career in Animation

Animation Mentor: Tell us about your animation journey. How did you get to where you are today?

Brandon: I started my animation career later than most. I had little to no art education before joining Animation Mentor, instead, I had a 4-year degree in chemistry. It wasn’t until I worked in the science field for a couple of years that I realized I needed a career change. I’m still not sure what made me decide to take the plunge into animation, but luckily I had a friend of a friend recommend Animation Mentor. I fell in love with the art form as soon as I started class 1 and after 18 months of hard work, I lucked out and grabbed an open temp animator gig at Blue Sky Studios working on Ice Age 3. It was only a short 2-month stint, but I learned so much and it solidified my drive to work in feature animation. After I wrapped, I had a tough summer applying to every animation job I could find. When I thought I might have to give up on my dream, Blue Sky invited me back to work as a Junior Animator on Rio. Things got a little smoother after that. I was promoted to Animator on Ice Age 4 and spent 9 more wonderful years at Blue Sky until I left shortly before the studio’s closure. I started at Pixar a few months later at the end of 2019, helping to wrap up Soul. I’ve been there ever since.  

Working as a Pixar Animator

Animation Mentor: Walk us through a day in the life of an animator at Pixar.

Brandon: I like to get to work a little early around 8:45 so I can grab a coffee and chat with fellow animators before heading to dailies at 9:30. Dailies (sometimes called Sweatbox) is where animators have the opportunity to show their work to the director(s) for notes or approvals. Regularly going to dailies, whether you are showing or not,  is one of the most important things you can do as an animator. It’s where you will learn the most and where collaboration happens. What I love about Pixar is that you can have a voice in giving feedback when you attend these meetings. After Dailies I’ll head back to my desk and set my goals for the day. At any given time, you are working on a sequence of shots. I’ll review any outstanding notes for my shots and gather, shoot, or reshoot any reference. At noon I’ll grab lunch with fellow animators. After lunch, I’ll try to strap in and crank out as many frames as possible until about 3 when I’ll usually grab coffee with friends and ask for their opinions on my current work. After that, I am heads down til my work day ends at 6.

Animation Mentor: What scenes or characters throughout your career have been your favorites to animate and why?

Brandon: So many come to mind! Having the opportunity to work on the Peanuts characters is one of my biggest highlights. The devotion to keeping those characters on model and true to the comic strips was truly inspirational. Working within the constraints of the style while creating authentic performances was extremely challenging but just as rewarding. I have a lot of work I’m extremely proud of on an upcoming series called Win or Lose. The characters in the series are so lovable and relatable and were an absolute blast to animate. The storytelling and style of Win or Lose is truly something unique and I think it’s going to blow everyone away. I can’t wait for everyone to see it!

Animation Mentor: What is one of the most challenging shots you’ve ever animated and what did you learn from it?

Brandon: My most challenging shots from a technical standpoint were the handful of shots I did with the wire work Counselors on Soul. The rigs themselves were a technological marvel, but the performances were always a puzzle. I tend to lean toward reference-heavy workflows, but those characters demanded an entirely 2d state of mind. Every gesture could be achieved in a thousand ways and constantly demanded thinking outside the box for a more creative choice. Those shots expanded my toolbox and I learned that a more creative approach will often lead to a more entertaining performance.

Animation Mentor: Have you seen a piece of animation recently that inspired you? What was it?

Brandon: I know it’s been out for a while, but I still can’t get over Arcane.

Experience as an Animation Mentor Student

Animation Mentor: How did Animation Mentor help prepare you for the industry?

Brandon: Outside the wonderful education on animation fundamentals, the most important lesson I learned from Animation Mentor was the importance of collaboration with your peers. Animation Mentor’s tools for leaving and receiving motivation and notes create a collaborative environment that mirrors that seen in feature film studios. When you are at Animation Mentor, take time each day to check out what other animators are doing. Get inspired by it. Steal from it. Leave honest feedback and hope you can get some back.  When you’re stuck, ask for help. Those aren’t just recommendations, but an important part of workflow that needs to be learned just as much as timing and spacing. Animation Mentor’s tools created a fantastic environment for me to practice them.

Advice for Animation Students

Animation Mentor: What advice do you have for current or future Animation Mentor students?

Brandon: No matter how good you are, you will get a lot of notes. Learn how to receive them professionally. In all my career, the animators I’ve seen struggle aren’t those who need to work on fundamentals or polish, but rather those who don’t handle getting notes well. As stated above, animation (especially feature) is an extremely collaborative art form.  Shots can feel very personal and I often see animators taking shot notes as a personal attack. Try to separate yourselves from your performance and remember it’s part of a greater story that everyone is working as hard as possible to get right.  So many times I’ve disagreed with a note only to take a step back and look at the big picture and realize how off I was. If you get a note from a director or supervisor it’s not optional.  Does this mean you can’t defend your work? Of course not, but there is a fine line between defending your work and being defensive. Your time at AM is a great opportunity for practicing where that line lies. If you get notes from a peer, thank them, it shows they care. We all sulk sometimes after getting challenging feedback, and that’s fine for an hour or an afternoon. Find a support structure that will listen to you and give you honest feedback whilst helping you get back on your feet. Learn to love notes.

Brandon Kern in the credits

See what other projects Brandon has worked on on IMDB.

Want to be mentored by professional animators?

Follow your animation dreams just like Brandon Kern did by learning from animators at studios like Pixar, ILM, Riot Games, Disney, and Blizzard! Get more information about Animation Mentor’s Character Animation Program or check out our Game Animation Program.