Tim Willits

Tim Willits is the Creative Director at id Software, where he's been since 1995. One of the interesting things in the gaming industry is how so many of their issues predate identical issues in other arenas.

One example is the current UGC / open source / community ownership explosion online, which is having a dramatic impact on music, film, and television. id has always allowed people to modify their games, which has the added benefit of allowing them to identify skilled and passionate talent. All of the designers they've got in software now are from the community; young people out of college with no experience can download games, make changes, add levels, create new art, and use that for their resumes to get into the industry.

Carolyn Soper

Carolyn Soper is a Vice President of Disney Animation Studios, and has been working on the upcoming Disney feature Bolt. She walked AnimfxNZ attendees through the process of building a hamster named Rhino.

Henry LaBounta

As Chief Visual Officer for EA Black Box, Henry LaBounta works with art directors and studios to define their visual goals in preproduction and help them execute.

Game Art Direction has three main focus areas – the look of the game, the characters and animation, and the graphic design (menus, user interface, and fonts) – and most of the unsolved problems are with the characters and animation.

Aimee McCammon of Park Road.

AnimfxNZ 2008 began with a song.

A contingent of Maori gathered to perform a 'powhiri', or New Zealand traditional welcome. The foreign visitors and speakers lined up so the kaumatua could determine if they were friends or foes. Thankfully, there were no enemies among them, and the conference was able to proceed.

Hai capito? Visual culture panelists (l to r) Phil Stenton, Will Wright, Glen Entis and Michael Rubin get some auditory input.

Friday, the final day of the VIEW Conference, and a time for summing up. Let’s make a list:

• That luscious gianduia chocolate.

• On the technical side, the computer graphics folks such as Paul Topolos of Pixar, Lucia Modesto of PDI-DreamWorks, and Jack Grahm of Double Negative seemed to revel in showing off what they have been able to do with their new toys and techniques.

Pervasive computing gets the upper hand.

Well, I’m torn. Shall I go to the presentation on “Hair shells and bi-quad transition rig on Shrek the Halls and Madagascar: Escape 2 Africa” or to the “Humanizing virtual agents: the role of speech technology in effective human-machine interaction?” All of this requires a certain mind-set. Maybe if they made a rule that titles had to be short, like “Beards and boundaries” and “Talk to me, Mac,” I would feel less anxiety about making these choices.

VIEW Conference visitors The Hive filmmaking collective presents their credentials and contemplates transformation

The autumn haze in Turin is downright metaphorical. The precursor of another grey Po Valley winter, a haze that creeps into the bones and causes a ridiculously high percentage of arthritis in these parts. Sunny Italy my foot.

Curators Lars Denicke and Peter Thaler welcome attendees to Pictoplasma 08. All images courtesy of Pictoplasma, unless otherwise noted.

“Characters want you! The floodgates opened and our visual culture was set upon by a mass of abstract characters, grinning, blinking and snarling in their inimitable pared-down graphical way. In what has become a truly global movement they have invaded digital media, animation, advertising, design, fashion, street and fine art, mashing up and guzzling their way through a diet of pop culture, tribal art, folklore, logos and cartoons. They are the true embodiment of the utopian promise of global communication. They speak in emotions that bypass language and cultural boundaries.”

OIAF Artistic Director Chris Robinson previews Chainsaw by Australian animator Dennis Tupicoff.

The Ottawa International Animation Festival (OIAF) is trying out some new elements this year, including a new venue (the Canadian Museum of Civilization), a new free shuttle bus between venues and new additions to programming, like a live art presentation by Daniel Barrow, who uses an overhead projector and narration to create something called "manual animation."

The festival mascots designed by Koji Yamamura.

From the shores of enchanting Rio to Sao Paulo’s urban hustle and bustle, I was lucky enough to attend Brazil’s 2008 Anima Mundi festival. This is the only festival I know about that starts in one city for a week and then moves to another town for another week of festivities. While this makes it one of the longest festivals, I think most people would want it to last even a little longer.