For most artists, landing a job at The Walt Disney Company would be reward enough for a life spent immersed in sketchpads and computers. But for AIP alumnus Michael Kaschalk (Visual Communications, '93), his mix of creativity and practicality has positioned him to lead the world’s most famous animation house through the largest creative shake-up in its history – the tenuous transition from 2D to 3D animation.  

“Determination, determination, determination,” says Kaschalk, who was hired by Disney in 1996. and has since risen to the top of the company’s effects department. What helps him maintain his edge? “Putting quality first, staying focused, and not allowing nay-sayers to discourage me.”

Kaschalk oversaw the groundbreaking 3D effects on 2001’s “Atlantis,” a film that combined both 2D and 3D elements. This trend toward computer-generated graphics would eventually see Disney dissolve its traditional (2D) animation department and absorb its team of artists into the existing 3D effects crew.  

“We went from a 2D/3D hybrid studio to a completely 3D studio in a short amount of time,” says Kaschalk. “I and my team had to adapt [from] using two mediums to solely [a] digital one, which was difficult. A large part of my responsibility was to adapt those who could to 3D.  

“We at Disney set up several options including after-hours self-training labs and classes in Maya, Houdini, and Shake. These classes specialized in various fields – for example, one class on modeling, another on character animation, another on effects animation, and so on. Most artists chose to learn a 3D skill that related to their 2D skill and rarely crossed departments, although a select few successfully transitioned not only from 2D to 3D, but to a different craft (modeling instead of animation, etc.).  

“On a technical side, our software developers created plug-ins for the tools we use to help mimic the 2D workflow. Adding things such as timing charts to the 3D software helped the animators feel comfortable with the software, since they could now use tools which resembled the 2D world.”  

Kaschalk’s responsibilities don’t stop at the computer screen. He contributes story ideas, manages the visual effects artists and leads the fine-tuning that brings his team’s vision in line with the director’s. To accomplish these goals, Kaschalk surrounds himself with versatile, adaptable and – most importantly – talented artists.  

“One [thing] we are ALWAYS looking for is artists who are ‘pushing the envelope.’ Students who look at blockbuster films and feel and show that they can do it better are always in high demand. Unfortunately, good ideas and good talk are just that. You've got to show it in your reel.  

“Every student should know you are not just making beautiful pictures. You are creating eye candy that is selling tickets. They go together, but there is a clear difference. You need to learn how to be a salesman and an artist.”  

With the changing climate at Disney reflective of the viewing public’s seemingly fickle taste in animation – after all, Disney’s primarily-2D "Lilo & Stitch" was a box office success only three years ago – one might wonder about Kaschalk’s thoughts on the future. But with his never-say-die attitude, Kaschalk doesn’t back down from a challenge.  

“It's like the stock market,” says Kaschalk. “You'll go through a lot of highs and lows, and you'll hear a lot of encouraging and discouraging advice, but if you stay the course, it always ends up in your favor.”