Last Saturday the VES hosted its third annual Production Summit, this time at the quaint Montage Hotel in Beverly Hills. Despite all about VES 2.0 and the Bill of Rights to help facilitate quality of life improvements for artists and VFX companies, the purpose was to address the paradigm shift going on and to discuss better biz practices.

The latest wrinkle was starting with a series of breakfast roundtable discussions, ranging from animation trends and open source development/trends to partnering with international companies to the challenges of 3-D stereo, 48-60fps, digital color.

An upbeat Cartoon Forum, recently ended September 16th in Sopot, Poland- seems to have made a tremendous impact on the European animation business scene.   Sixty-six new animation series from 19 European countries were presented to over 800 participants at this year’ three-day event.  “The best Cartoon Forum in years” reverberates in post-Forum conversations with broadcasters, co-producers, distributors, investors and creators.  It’s unanimous.  Everyone loved Poland, and has had little time to go home and catch their collective breaths before heading to Cannes, France.

Cartoon Forum participants will “continue the Poland conversations” in the south of France, during MIP Junior (October 1 and 2) and MIPCOM (October 3-6). Many producers are optimistic about securing significant, tangible results for Cartoon Forum animation projects.  Making new deals needs to be done quickly all agree, due to the scary economic climate everybody’s facing today across Europe, and the rest of the globe. 

 

 

By Dan Sarto

There are a number of things I can always count on at an Ottawa festival. First, I will find myself defending Chris Robinson and the selection process. Second, I will find myself defending Chris Robinson and the selection process with people whom earlier in conversation I had defended Chris Robinson and the selection process.  Third, after watching several days of screenings, I will question Chris Robinson’s selection process.  Nothing ever changes.  I love it.

The festival brings together everything uniquely interesting about the animation industry.  Art, commerce, tattoos, the best and worst of kids cartoons, unintelligible films from Asia, alcohol, great student films and big studios walking hand in hand with little studios,  agreeing they'll refrain from poaching talent except at the parties. The Ottawa festival brings together big and small, have and have not, legend and newbie together in a unique way - cozy, intimate, unpretentious, inviting.  The care that goes into its planning is always evident – from the programming of retrospectives to the variety of master classes and talks, nothing on the schedule seems out of place and each holds its own against the other.  It’s tough to arbitrate the constant decision making surrounding what to do and when.  Suffice to say, days and nights are always full and I travel home lamenting all I didn’t get a chance to see or do.

Some final observations on the 5 day fest, in no particular order and really, to be honest, displaying limited insight:

 

 

By Dan Sarto

Another OIAF Grand Prix gets awarded, another Phil Mulloy feature takes top prize, another grumbling voice can be heard complaining about the winners.  Much like the start of Ontario’s moose hunting season, which I watched in awe Sunday on a TV at the back of a bar, as the Nelvana Grand Prix is announced, second-guessing the judging season once again begins in the province.  Hopefully, you won’t see too many animators hanging upside down, suspended from a crane over the bloody bed of a pickup truck.  But you never know.

 

 

By Dan Sarto

The Animator’s Picnic is inspired event programming – stop all proceedings, go to a park, eat, drink, see and be seen.  Find old friends, meet new friends.  On this unseasonably beautiful Autumn day, as I gaze out on the crowd of young animators, the future of our industry, I can’t help but think…I feel so old. Nothing like a large gathering of energetic young hipsters, free from the burdens of metabolic decline and hearing loss, to remind you just what a sorry-ass geez you are.  The crowd gets younger, the walk to the Bytowne Cinema gets longer and no amount of Advil or Scotch can change that.  Sometimes I wonder, if I start talking to a young female animation student, am I perceived as someone who has something useful to say, or just a perve?  Can one be both?

Check out a selection of pictures from this year’s picnic and pumpkin carving contest…

 

 

By Dan Sarto

I know it must be Ottawa Animation Festival time because it’s been roughly a year since my last verbal manhandling by an airport customs agent. Happy Anniversary! I seem to be a magnet for every disaffected flak vested agent looking to brush up on their 12-step time mismanagement drill.  My path through customs at the Ottawa airport was no different this year.  It must be my Vans.  The checkerboard pattern is on some secret watch list.  Or, maybe it’s because I’m Jewish.  Despite my feeble compliance, I couldn’t help but wonder if, sans sidearm, multiple 13 round clips, taser, pepper spray and truncheon, this fellow dissecting my passport was any match for me.  Yah, my ego whispered, I could take him.  If I wanted to.  But I don’t want to.  Lucky for him. And so starts my 2011 visit to Ottawa.

by Mo Whelan

I recently was introduced to Action On Film International Film Festival located in Pasadena by my friend, Alex Ballar. His live-action, comedy, feature film Zombie Drugs was nominated for three awards and won Best Art Direction – Feature. One of the animation community’s favorite independent animators, Bill Plympton, won the AOF 2011 Lifetime Achievement Award. Both winners spiked my interest in the film festival.

By Brenda Wooding

US networks like CN, Nick and Disney have been producing creator driven shows for years.  Anywhere you find up and coming creative talent showcasing their work, you will find a development executive from these networks on the hunt for the next Spongebob, Adventure Time, or Phineas & Ferb. Once found, the talent, along with their idea is unleashed upon the development team and funneled into their well oiled development and production pipelines. The goal is to keep the creative talent close to the heart while making a commercially viable (and hopefully successful) show.  With few exceptions, it is a fairly new approach abroad.  At the Annecy International Animated Film Festival this year, it was apparent that this method is starting to catch on abroad and regional channels from US studios like CN and Disney have been leading the charge.

 

 

By Nancy Phelps

The 2011 Annecy International Animation Festival was so full of films, business, friends, special events, and parties this year that it was impossible to do and see everything.   The first screening at the festival on Monday morning was The Big Sleep, a tribute to animators who passed away since last year’s festival, which was a very appropriate way to begin a week of films.

It was a treat to see work by renowned Japanese director Satoshi Kon (1963-2010) on the big screen, even under such sad circumstances.  His unique style of directing and the complex psychology of his characters were evident in such classics as the 2006 Paprika, Millennium Actress (2001), and Tokyo Grandfather (2003).

The passing of Gael Brisou (1971-2010) was a great loss for Folimage Studio.  His gift for color was exemplified in his 2005 film Sucre with its extremely sensual, dreamlike qualities.  His gift for working with color added a special luster to the backgrounds of such films as Jacques Remy Girard’s Raining Cats and Dogs and Jean-Loup Felicioli and Alain Gagnol’s current success Une vie de chat (The life of a Cat,) as well as numerous short films.

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.