I'm sitting here in the KLM lounge in Toronto waiting for my flight to Paris so I can make my connection to Rome where I'm on the jury of this year's I Castelli Animati.

At the entrance door to this lounge is a reproduction of Rembrandt's "Night Watch." How ironic. Rembrandt died pretty much a pauper, rejected by the cognizenti and collectors who hungered after work that was more fashionable. It wasn't always like that for Rembrandt. His work was popular in years previous. But fashion changed, while he stuck to his vision.

The CTN Animation Expo is a new animation event based at the Burbank Convention Center in California. The Expo is mixed with traditional artist, computer artists, schools, software companies, book publishers, Women in Animation and ASIFA, recruiters from well established companies, and several other animation related companies.

I attended on Saturday, November 21^st 2009.  Young men stood outside the convention center spinning bright yellow signs directing patrons to the parking lot. The parking lot was full and I had to park across the street in another lot.  The inside of the convention hall was no different, packed full of people, slowly moving from one seminar room to the next. Clusters of people formed in different corners of the main lobby watching live art demonstrations and lectures.  Lines of people curved around every corner of the building with patrons trying to squeeze into main rooms to watch the seminars.  The expo floor was crammed with people slowly shuffling from one booth to the next. The booths were packed tightly into the expo area, allowing only a little room for foot traffic.  It was a claustrophobic's nightmare.

VFX Animation Supervisor Keith Roberts.

written by Rick DeMott

CTN-X kicked off its first edition on Friday. Nov. 20^th, bringing a new animation conference to Los Angeles. In it's first year, the event had quickly outgrown its home at the Burbank Convention Center with attendees lined up to attend various standing-room only panels. As can be expected from a first time event, there were a few hiccups I heard of from some attendees, specifically regarding registration lists, but overall the event ran smoothly and was put together with an desire to give people the biggest bang for their buck. In the halls of the convention center, there were animation demonstrations from 2D artists. Panels were broadcast in the halls for people to casually watch. A pirate was on hand for artists to sketch. There was plenty to do in between panels and walking the convention floor.

Sessions ran in two rooms in either 45-minute or 20-minute intervals. In a wonderful move, participants went outside after the panel to meet one-on-one with attendees to answer their questions. This gave attendees a more intimate time with panel members and also allowed for a steady flow between panels.

Kevin Geiger and local government officials look at model of planned Zhengzhou Animation Base, scheduled for completion in 2 years.

The First International Zhengzhou Animation Forum and Trade Fair in Zhengzhou, Henan Province, China, brought together provincial officials and 50 foreign visitors from the US, Europe and Asia.

Finally I understood I am not indestructible so I have to decide to focus myself on highlights and to give the essence of the moment. This is how I proceeded to write this Day 3 Report for VIEW Conference 2009, in Turin.

Michael Giacchino

Michael Giacchino, great anchorman, entertained us with the Italian Wedding Party he ended up without being aware of it. People dancing, drinking and singing. He is an American soundtrack composer who has composed scores for movies, television series and video games.

During his workshop he shared an avalanche of background tips and techniques on his work. For instance: Michael writes the score for a scene very quickly, even in a day. Because he gets to see the entire movie before its completed and he can map each shot and satisfy the requirements.

Here is a nice design advice, which I find very useful in many other fields, Giacchino approaches a soundtrack writing job with this question: whats my feeling for this film if I have to reduce it to one chord? It is really a great way to distill the essence of a project.

While the Maestro drives the audience with questions and answers like if they were instrument players, frames of his films went on the big screen: Mission Impossible III, UP, Star Trek. I could feel the mood being created in the hall thanks to the music playing. He is right, some movies should have only music and no dialogues...

Because, also true, as he said, if the music is working well you are not conscious of it.

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.

The public packs into VIEW 09.

The VIEW Conference 2009 [http://www.viewconference.it/] is the 10th International Computer Graphics Conference, which started on November 4^th and will last until the 7^th of November 2009. It's held in the beautiful city of Turin, in the north of Italy, where I had the pleasure of attending this event, now for the fourth time.

Previously I have had the opportunity to tell the wonderful series of events happening at the Torino Incontra Conference Center to a magazine, a blog, and a CG portal. This year I have the great honour to talk to Animation World Network's readers.

The sparkling energy behind VIEW is Maria Elena Gutierrez who is driving a group of partner institutions, private and public sector, in investing in innovation and knowledge-sharing in the field of Technology and Creativity.

The Terrible Thing of Alpha-9!

OIAF is a huge event, with lots of activities in numerous venues. As the festival came to a close on Sunday night, it was a pleasure to be able to sink down into the seats of the ByTowne Theatre and watch the Best of the Fest – the award-winning animation shorts.

In my humble opinion, the quality of the animated entries surpassed 2008. Perhaps it is the passion and vision of young student filmmakers that freshened the fare.

The Adobe Prize for Best High School Animation was awarded to Did U See That? by Yuri Rhee, Ha Jung Kim, Paul Kim and Hyun Jung Lee, Korea Animation High School, South Korea. The black-and-white lines of this animation were simple and the story was too – about a young boy haunted by the appearance of a menacing sea turtle and flying hogs. The teen goes to the authorities to report what he’s seen, and is promptly locked up in the loony bin. However, his psychiatrist soon discovers that pigs do fly.

The Best Undergraduate Animation prize went The Terrible Thing of Alpha-9! directed by Jake Armstrong, School of Visual Arts, USA. This short had real comic-book space adventure sensibilities in its design and storytelling. It was also an engaging shaggy-dog story, with the shaggy dog being a goggle-eyed alien monster instead of a mutt.

The Best Graduate Animation award was given to Lebensader, directed by Angela Steffen, Filmakademie Baden-Wuerttemburg, Germany. This beautifully rendered animation makes bold use of brilliant, flowing colors as a child regards a leaf and witnesses the interconnection of all living things. The animation design has strong kinship Canadian native art styles – simple at first glance but increasingly complex as the eye takes in all the nuances of the presentation.

Special projects like Ultramarines are keeping animators animating.

OIAF’s Chez Ani Café was transformed from a peaceful koffeeklatch to the crowded, boisterous AniMarket as throngs of job-hungry animators jostled to get in line and chat up recruiting companies.

Exhibitors included Walt Disney, Rainmaker, Nelvana, Pipeline Studios, Starz and Studio B, as well as such schools as Algonquin College, Mel Hoppenheim School of Cinema, Sheridan College, Carleton University Interactive Media and Design, Vancouver Film School and Durham College.

The Simpsons' David Silverman.Only at OIAF can you get a chance to talk about the crazy Balloon Boy escapade with veteran Simpsons director David Silverman, and get to compare that incident with a Simpsons episode where prankster Bart pretends to be little Timmy, a boy who has fallen down a well. Happily, like Bart/Timmy, Balloon Boy was safe and sound the whole time.

Silverman talks about his work on The Simpsons – both he TV series and movie – with great affection and enthusiasm. “The Simpsons challenges the intellect and stimulates the intellect,” he says. This, despite the fact that the show relies on what he calls a “double act” routine – with one big idiot leading a lesser idiot.

When asked if another Simpsons feature is in the offing, Silverman replies, “I’m sure in future there will be. Right now, we’re too busy on the show.”

Silverman advises that The Simpsons series is being adjusted for HD format. “Backgrounds had to be redesigned and updated, and that involves a lot of fine line work,” Silverman says.

In 2000, Silverman departed Simpsons territory and co-directed Dreamworks’ The Road to El Dorado and in 2001, he co-directed Pixar’s Monsters, Inc. “I had been working on The Simpsons for 10 years, and I thought, ‘This can’t last forever’,” Silverman recalls. As it turned out, after those gigs, Silverman returned to The Simpsons’ comfortable couch for another extended run.