written by Joe Strike

Whoops, my bad: what I called Red Stick’s ‘Best of the Fest’ award yesterday is actually their “Golden Baton” prize, and I saw all three films last night. In addition to the music video Lilac Wine, the two other contenders were a Hitchcockian spy spoof (Pigeon: Impossible) and the student effort Blackface, a mystical jungle tale.

While the creators of the first two films (Chris O’Neill and Lucas Martell, respectively) were present, Blackface was represented by Pascal Drzazga (honest to God – he wrote it down so I wouldn’t get it wrong), an instructor from the ESMA (Ecole Supérieure des Métiers Artistiques) animation school in Montpelier France where the film was made.

Walt Disney was just one of the big studios at this year's CTN-X.

Now in its third year, CTN Expo has gotten over some of its growing pains. Gone was the hectic chaos that was last year's event, replaced with the efficiency that so impressed in its inaugural year. Los Angeles has been in need of a quality animation gathering and this fills the bill nicely.

Origins returns BioWare to its roots.

There’s no better way to start a day off, then with a panel of well-known press members presenting with attitude! My first stop was “Burned by Friendly Fire: Game Critics Rant.” The ideas represented by the press members in attendance were both refreshing and thoughtful. N’Gai Croal, formerly of Newsweek, opened up with a presentation on the term “Hardcore Gamer” and noted that we had to stop using it and other words like “Casual” to describe styles of play. The reason being, the game industry’s audience adapts to changes in the industry rapidly, and we as developers, journalists, and consultants need to do the same.

Rob Cook.

Rob Cook’s featured speaker keynote took us on a journey behind the scenes of a Pixar production. Interestingly, Rob is the Vice President of Advanced Technology at Pixar Animation Studios, yet he hardly spoke about technology. He talked about story, story, story, and art. It might just be that he is so humble to rather highlight other folk’s contributions to Pixar’s final products, but it surely is connected with Pixar’s secret recipe to success – their stories.

Mike Springer of Google

Too much work, too little sleep. So many friends, old and new. Amazing things flying on the big screen. This is VIEW Conference 2009. But everything has a price, like not being able to make it for the first session in the morning.

Since in one of my many past lives I also taught computer graphics to American architecture students in Rome, I have quite an interest in 3D applications for modeling and visualization. So, with another coffee, I attended the Workshop: “Using Google SketchUp for Design and Geo-Modeling: A Beginner's Course” with Mike Springer, Software Engineer at that small, un-known, provincial company named Google.

Chris O'Neill - winner of the Festival's Golden Baton Award (l-r), Stephen Beck, Stacey Simmons (director, Red Stick Animation Festival)

Saturday morning. Sitting in P.J.’s, the coffee shop around the corner from the Shaw Center. Except for a handful of sessions today, Red Stick ended Friday night with the awarding of the Golden Baton. The winner (of the three candidates discussed yesterday) was Chris O’Neill’s elegiac (how many times to you get a chance to use that word?) Lilac Wine. Earlier in the fest O’Neill had described his video as the remembrance of loved one who was no longer around, whether via the end of a love affair, or death.

It was an appropriate theme sadly: Red Stick’s annual Lifetime Award was a posthumous one this year, given to DreamWorks and Disney animator Pres Romanillos. Romanillos, responsible for characters like Spirit’s Little Creek, Pocahontas, and Mulan bad guy Hun Shan-Yu, fell to leukemia in July. The collective sense of grief in the room was palpable, with presenter Scott Johnston audibly tearing up when describing Romanillos’ “passion and generosity…he was in touch with something deeper than everyone sees normally.” Glen Keane appeared via video standing in front of Romanillos’ animation table. His sadness was visible too, in an extended, heartfelt (and obviously spontaneous) remembrance of the artist he had mentored, describing Romanillos’ talent and unbridled creativity. (“We had to hold back his desire to detail every drawing – it was like trying to restrain wild horses.”) Romanillos’ widow Jeanine accepted the award in his memory.

The Russian party.

By David Tousek

So what exactly have we learned at MIFA? Have we gained something meaningful? I have to admit I need more time to answer such a question, to see if an event of this kind brings along something worth the effort invested into just coming over. After all, if the animation business is about relationships / partnerships, then there needs to be a lot more work done after the event beside the initial quick flirting. But...

...I think I have been really open in my second post where, I believe, I made obvious that what one gains is the real-time networking, friendliness and sharing the same passion for the craft.  It’s an experience which encourages and supports our hard work and passion to produce animated movies.  Such inspiration is most needed especially for us that live in such a hard Bohemian environment in Central Europe.

By Zoe Chevat

On a rainy L.A. weekend in mid-November, the Burbank Marriott’s convention center was packed as young talent and seasoned professionals alike descended for the Creative Talent Network’s 3^rd annual expo. Hailing from as close as here in town, or as far away as San Francisco, Utah, and Egypt, the mob of students, young professionals, and animation fans were eager have their portfolios reviewed, browse artist’s sketchbooks, and soak up advice from some of animation’s most experienced names. While the packed convention floor played host to many kinds of exhibitors, including independent artists’ wares, studio reviewers, and cable-laded tech booths displaying the latest software, it was clearer than ever that, though the attendees might all consider themselves fans, this is no casual fan convention. An event like this aims to accommodate a broad swath of the animation community, but a large amount of its resources –and its advertising – are aimed at bringing in students. CTNX is for the young and hungry, boasting a crowd of current students and the recently graduated, who are looking at an angle into their beloved, but notoriously tough, contemporary animation industry.

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.