By Mika Kennedy

Conventions (or "cons", in the fannish parlance) like Creation Entertainment's SupernaturalCon in Burbank, CA aren't looking to secure their next legion of television-watching prospectives.  They're not like San Diego's Comic-Con, with a warehouse full of vendors, promotional panels, or enticements designed to help you remember their name.  If you've been to Comic-Con in the last six years, you're there for what's to come--television's new spread of genre shows this season, exciting upcoming developments in extant genre shows, the newest set of genre tropes graving the silver screen this summer.

Supernatural's Burbank Con isn't like that, nor does it try to be.  "News" doesn't factor in, and rarely does "new" in any sense.  If anyone was there to glean some juicy spoilers, talk candidly and specifically about what the next few episodes will have to offer, they walked away empty-handed.  And if you stop to think about it, it makes sense:  within the realm of single-series fan conventions it's a sure bet that your target audience, by virtue of the rapid-fire dissemination of info via Twitter, Tumblr, and LiveJournal (the dinosaur of this triumvirate)--they already know the hottest info you could possibly offer.  There's almost no point in bringing any news to the table, because your audience already heard it from Ask Ausiello; they Tweeted a producer and received an answer; someone hiding in the bushes in Vancouver Instagrammed paparazzi photos of that day's scenes and now the entire Internet's already seen it.  Should you disregard this ineffable truth and choose to divulge something at the con, the fans on the outside will absolutely hear about it before half the audience does, thanks to the more nimble-fingered Twitterers in attendance.  And I can speak from experience on that one--the first thing one of my Internet pals said to me when she learned I'd been to the Burbank Con was, "SO YOU SAW JENSEN IN A HOODIE???"

The Kosovo/Serbian border

By Nancy Phelps

When I last left you I was on a bus from Pristina, Kosovo headed to Belgrade, Serbia where I was planning to meet my old friend Rastko Ciric and attend the first edition of the Festival of European Student Animation that he had organized.  It was supposed to be a six hour trip.   I knew that Serbia did not recognize Kosovo as a country and people travelling on a Kosovo passport could not cross this border but I had been assured that I would not have a problem since I was travelling on a United States passport.

A group shot in front of the doors of Sony.

Sony was the second stop on the L.A. leg of the Oscar Showcase tour this year. See the day in pics.

The filmmakers meet the George Lucas.

It's been a busy an exciting three days, but such a wonderful time. Some highlights and pictures. I’ll sketch in details tomorrow.

At the Valentine’s Day dinner, I Met the Walrus illustrator James Braithwaite starts a conversation on Guy Madden’s short film Sissy Boy Slap Party.

The Los Angeles leg of the Oscar Showcase tour kicked off at Sony Pictures Animation. The group congregated in the lobby where I met the new members of our merry band — I Met the Walrus producer Jerry Levitan, Madame Tutli-Putli executive producer David Verrall and Even Pigeons Go to Heaven producer Simon Vanesse. Not joining us for the first two events of the day was Madame director Maciek Szczerbowski, whose lobster taco from the night before was not sitting well with him. Jerry laughed when Walrus director Josh Raskin revealed that he had been describing him as “a 14-year-old kid with balls of steel.” I leave Jerry’s response to your imagination, because Walrus illustrator James Braithwaite warned Jerry not to say things like that around the human mimeograph as he pointed to me. I like to think of myself as the unofficial stenographer of the animated Oscar nominees.

I Met the Walrus director Josh Raskin and Jerry Levitan have written in to answer The Six Questions. If you don’t already know about their film, it’s based on audiotapes that Jerry made as a teen when he snuck into John Lennon’s hotel room and asked for an interview. Josh then transformed the sound recordings into a whirlwind of images that depict and comment on what is being said. The funny and poignant film says just as much about Jerry as it does about the rock ‘n roll icon Lennon.

Ron and I snapped quite a few pictures during the San Fran leg of the tour. Here’s a gallery of some of the pics that Ron took. Keep checking back for more exclusive photos from the Oscar Tour.

The group out front of PDI/DreamWorks. From left to right - Jakob Schuh, Max Lang, Geefwee Boedoe, Ron Diamond and Dan Sarto.

Written by Dan Sarto

Day 2 of our tour started exactly as Day 1 ended – everyone sleeping snugly in their rooms at the Skywalker Ranch Inn.  Each room at the Inn is named after and designed in the style of a noted celebrity – I was in the Frank Lloyd Wright room, Ron was in the Norman Rockwell room, others scattered within Orson Wells, Ella Fitzgerald, Lillian Gish rooms, to name a few.  A fast breakfast of bagels, yogurt and sugary, creamy, caffeiny Starbucks’ coffee drinks, followed by a mad dash to load the car without getting soaked and we were off in the pouring rain towards Redwood City and PDI/DreamWorks. Our stay at the Inn was way too short, but I can honestly say it was truly cool with a capital K.

All assembled for the SPA/SPI leg of the tour: (From left to right) Sue Goffe (producer, A Morning Stroll), Grant Orchard (director, A Morning Stroll) Michael Fukushima (producer, Dimanche/Sunday), Marcy Page (producer, Wild Life), Bonnie Thompson (producer, Wild Life), Marc Bertrand (producer, Dimanche/Sunday), Patrick Doyon (director, Dimanche/Sunday), Wendy Tilby (director, Wild Life), Amanda Forbis (director, Wild Life) and Ron Diamond (president, AWN.com and executive producer, Acme Filmworks).

By Zoe Chevat

Next stop on our whirlwind Oscar-nominee tour was Sony Pictures Animation and Sony Pictures Imageworks, which share a campus not five minutes from the main Sony lot. There, we were greeted by Don Levy, Senior Vice President of Marketing and Communications for Sony Pictures Digital, and our enthusiastic host for this inside look at the company's animation and VFX divisions. Though originally an VFX company, still known for their work on tentpole hits like Hancock and the Raimi Spider-Man franchise, it eventually occurred to the team at Sony that their pipeline was already in place for in-house animation. Taking a page from legendary special effects and animation giant, Ray Harryhausen, for whom their on-site screening theater is named, the company has stepped up its game in recent years with films like Cloudy With a Chance of Meatballs and Arthur Christmas, with many more projects in the pipeline.

After a quick word to the lunchtime crowd in the screening theater, many of whom are up to their necks putting finishing touches on MIB3, the latest action blockbuster to come through Imageworks’ doors, our group was off to take a look at “how it’s done at Sony.”