I have just read with interest and pleasure, an article on AWN written by Karl Cohen titled, “What is Great Animation?”  In the article Cohen discusses not only his views but has asked a number of luminaries to provide their personal thoughts on the topic.  Cohen is a teacher and historian with an impressive background.   I found all the various opinions and observations irreproachable and yet, illusive like all attempts to define something without first knowing exactly what it is your trying to define.

 

Tomorrow is the final day for the unique CG short film animation training project created by Czech animation education group Anomalia and taught by Arconyx Animation Studio head Kenny Roy. The two week project was part of a summer marathon of animation courses at Anomalia, all taught by experts from top world studios such as Pixar, Valve and Aardman Animations.

Thanks to Karl Cohen for sending this my way.  Karl asks the question "Isn't this too absurd to influence kids to be super skinny?"  My response is, never under-estimate just how absurd very serious people can be when the very existence of humanity hangs in the balance.

A group by the name SumOfUs, which claims to be fighting for people over corporate profits, has launched an online petition calling for Disney to "Stop using your children's characters to promote dangerous body images." They are upset over Disney's collaboration with Barneys New York on a set of super skinny, super modelesque proportioned versions of Minnie Mouse, Daisy Duck and other classic Disney characters, all aimed at young women, to be used in upcoming Christmas displays.

There is a fine line between holding onto false hope and living in a perpetual state of denial. Here is where I’d like to introduce you to acceptance. Here is where I’d like to introduce you to acceptance. Acceptance means that you can’t alter how events play out in your life or the way people will behave towards you in any given situation, but you do have a choice in how you will react to those situations.

By Tim Kridel

Siri might be the best-known example of a voice-enabled UI, but it is certainly not the only one. Whether speech will eventually replace touch as the primary way that smartphone and tablet users interact with apps is debatable. But for now, one thing is clear: Developers should start considering whether and how to add speech control to their apps to stay competitive.

When looking to integrate voice controls to mobile apps, developers are faced with a growing and often bewildering array of implementation options. To help sort through the technology and design options, we recently spoke with Ben Lilienthal, co-founder and CEO of OneTok, a new company that aims to make it easier and cheaper for developers to speech-enable their apps.

Once upon a time, a long, long time ago, it was 1985 in fact, the SIGGRAPH Electronic Theater thrilled me by selecting “Nick Brew”, my first ever CGI animated project, for its eminent annual screening of the best of computer animation from around the world. For me it was a foreword to the world of 3d computer animation.

I do admit, technologies utilized today by computer animation are simply breathtaking. Prospect such powers unveil are truly arousing. They made me itch for the chance to harness them, to will them to accomplish my imaginative feats, make my dreams come true. The insanely realistic modeling, texturing, shading, lighting and rendering are truly astonishing. Synthetic actors, their dynamics, the gestures and facial expressions are almost life like. Today it takes an experienced eye to differentiate a synthetic actor from a real live one. It is amazing. It's a genuine achievement. So what is wrong with this?

Surprise, surprise - I’m not at 30,000 ft. as I write this latest blog but on a high-speed train, traveling from Moscow to St. Petersburg in Russia, as I make my journey back to the U.K. following a wonderful time attending the KROK International Animation Festival.  This unique festival, now in its nineteenth year, is held in alternate years between Ukraine and Russia and what makes it so unique is the location – it’s on a river cruise ship.  This year was the Moscow edition.  

By Ellen Besen

Festival fever can hit hard - you’re all pent up ready for a good time - and then just as suddenly it’s over…          

OIAF is wrapping up for another year - a good time to consider the best and worst of this venerable festival. Festivals can be addictive with all the ups and downs that word implies - a chance to break and out and party with friends from all over the world - but also an exhausting slog during which you inevitably hit moments where you wonder why you do this year after year. What elements feed these opposing sensations? A whole bunch of details it seems some which change over the years and some which form the traditional foundation of any particular festival.

By  Dan Sarto

For some reason, every time I attend the festival in Ottawa, something happens along the way to remind just how fun it can be to visit this last great bastion of politeness and public drunkenness.   This trip was no exception.  Against my better judgment, breaking a solemn vow I made back in 2002, I flew through Toronto.  Back in 2002, the last year of my mullet phase, I was stopped by security at the airport in Toronto and held for close to an hour.  Whether it was my sunny disposition or dreadful hairstyle that put me on someone’s watch list, I’ll never know.  Some junior G-Man barely old enough to shave grilled me for 45 minutes, asking me the same set of questions over and over, as if I’d finally break down sobbing and divulge where Bruce Willis should go to find the nuclear device.   I kept thinking that Chris Robinson was somehow behind the interrogation, because this agent kept going into another room and coming back with more ridiculous questions about animation. It made me chuckle, which made my inquisitor even more annoyed, which probably attributed to the length of the grilling.  However, upon my release, I swore I’d never fly through Toronto again, a vow I upheld until Tuesday.

By John Moore

Crowdfunding has taken off as a financing vehicle for a variety of projects, from music albums to software. Websites such as Kickstarter and IndieGoGo bring the funding appeal to the Internet public, and they sometimes even offer rewards to people who pledge support.

Crowdfunding may sound like an apps-to-riches story. But executing a crowdfunding campaign isn’t as simple as it may sound. Here, Scott Steinberg, CEO of strategic consulting and product testing firm TechSavvy Global and co-author of The Crowdfunding Bible, explains why.

What do you see as the most dangerous misconceptions regarding crowdfunding?

Scott Steinberg: The most common mistake is that people expect crowdfunding to be very straightforward, very easy and right for any type of project. It takes a tremendous amount of effort to run a campaign --  30 to 45 days is standard. We call it a marathon, not a sprint.

Crowdfunding tends to work best for projects that are easily communicable visually and can be summed up in a sentence. For a crowdfunding campaign to be effective, you need to capture the viewer’s attention very quickly and provide a strong call to action. You need to create a sense of urgency around the campaign and get people to dip into their pockets then and there.