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ANIMATION WORLD MAGAZINE - ISSUE 4.10 - JANUARY 2000
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2000 And Beyond: A Host of Possibilities and Changes David Starr, Executive Producer, Curious Pictures,
New York, New York, USA Andy Knight, Director/Owner, Red Rover Studios Ltd., Toronto, Canada "The major effect the next century will present within the animation community will be the constant exploration of the Internet and new digital media. These technologies have seemingly endless possibilities for the innovation of animation. "Whether it is advertising, series, shorts or long format films, the current/future technology will allow artists to present their work without the confines of major rules and regulations. This creates an outlet for unexplored forms of animation, distribution and advertising. "It will allow the artist (independent and/or companies) to set new standards for distribution networking in the industry. Animation directors and their creative teams will have the chance to take an idea as far as the audiences attention span will hold out, rather than the standard time lines the industry is currently using. The main hurtle here is how to get people to look at the work in a flooding industry of web sites. "New digital media is constantly updating, making it easier to create traditional and three-dimensional animation. However, this technology needs to be explored beyond the recreation of `reality' based themes. "As a result of technology the industry will flourish in positive directions, creating new and innovative work. This can only benefit the animation industry as a whole."
J.J. Sedelmaier, President/Director, J.J. Sedelmaier Productions,
Inc., White Plains, New York, USA Sean Montgomery, Animation Director, T O P I X / Mad Dog, Toronto, Canada "Most of the issues facing the animation industry today ultimately lead back to the primary preoccupation of all business: appeasement of the demanding Bottom Line God. The industry is demonstrating its piety in the standard `90s manner: by shifting work to areas where labour costs are cheap, launching co-production ventures with rivals, producing sure-fire hits rather than taking risks, and generally getting leaner and meaner. This latter situation is facilitated by the proliferation of new, small, shops looking for work, the falling price of equipment, and the large pool of talent now on the market; both those laid off after years of service, and those issuing from schools around the continent every year. It's a trend that will continue, as budget-conscious corporations demand better returns on their investment, whether it be in the realm of entertainment or advertising. "Two changes provoked by this situation are the growth of inhouse productions, and in web-based animation (primarily utilizing Flash). Web animation can provide independent animators or adventurous retailers a chance to reach a potentially large audience cheaply and easily. (One need only witness the Internet-based celebrity of Turkish ladies' man 'Mahir' to see how quickly word of mouth can bring traffic to your site.) Both offer a lot of creative freedom, an appealing situation to artists accustomed to tailoring their work to corporate interests. Plus, as our media grows increasingly hungry for content, audience interest in animation remains high, so there should be room for both options as well."
"When I first started in 1982, it could take up to 6 - 8 weeks to produce a 30 second commercial. Little improvement had been made since Hurd and Bray introduced, in 1914-15, the cel technique. As the animation, ink and paint and shooting tools became more and more proficient (read `the introduction of CGI'), the clients, producers and directors were asking for more fantastic imagery. "But the longer a project went on, the less actual it got. So the client wanted it faster. The longer a project went on, the more expensive it got. So the producer wanted it faster. The longer a project went on, the more outdated its looks got. So the director wanted it faster. How fast and how well can we produce animation? The industry is facing a `dog trying to catch its own tail' paradox. "Some of the few answers the industry came up with is the introduction of faster machines, more proficient software and more animators. Does it ring a bell? Animation is still a slow process. It can't be done by: add water, stir and serve. Animators have to manipulate each and every frame whether it is CGI or hand drawn, so give them time do what they do best!" Iain Harvey, Producer, The Illuminated Film Company, Richmond, England "In a further 50 years from now, it is unlikely that animation or film historians will look back at the present, seemingly limitless and fast developing technological world, as of any particular significance. This is not because I am not excited by what is happening but rather because we are too close to the occasion to be able to judge it effectively. As has always been the case in the past, it is how we make use of whatever techniques are available that will be remembered, not the techniques themselves. Strength of storytelling is why we remember Toy Story as the first fully digitized feature -- a fact that allows such innovators as John Lasseter, and in their time Disney and Henson, to stand out. That is why I hope we do not lose sight of the power of the imagination and the importance of original design as we come to terms with ever-cheapening digital possibilities. "The next gap I predict will be filled by the first genius that has a mind to make use of the non-linear film formats now available to us. I hope it is somebody with a true love of animation." |
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Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com.
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