Professional and Artistic Development
Workshops
and Panels
How to Set up your own Studio
That's right. You too can set up the next great small animation studio.
Start from Ground Zero and work your way up. This workshop offers practical
advice and, equally important, inspiration on how to do it yourself.
Thursday, October 21, 12:00pm
New Tools of the Trade
Participants:Alias Wavefront
This workshop will offer demonstrations of new technologies available
to animators as well as the creative possibilities and applications of
these technologies. A selection of demo reels of new technologies of animation
will be shown, including new processes developed and used by leading animation
companies. Alias Wavefront will be demonstrating their new Maya 2.5 software.
Thursday, October 21, 2:00pm
Preparing a Portfolio 1 Traditional
Participants :Dave Master (Warner Bros.) Back by popular demand! This
workshop will offer advice on how best to assemble an impressive portfolio
of your work. The presentation will cover areas such as life drawing,
animal studies, sketch books, and animation reels. Advice will also be
given on how to tailor your portfolio for the areas of background, layout,
storyboard, animation, computer animation, and clean up. Hosted by Dave
Master, Manager of Training and Development at Warner Bros. Feature Animation,
this is a session which, we hope, will help you get a job.
Thursday, October 21, 4:00pm
Budgeting for the Future
While individual animated productions vary enormously in length or style,
preparing and presenting feasible, comprehensible budget plans is a common
step in the production process. But is there a consistent model available
to animators and producers? Would a common approach help? Is a consistent
budget template desirable to facilitate production funding and operations?
If so, which one would work best? Whether you are an independent animator
seeking funding support, or a large studio in search of investment, presenting
a clear budget plan is essential. This special industry panel will address
these and other questions about the seemingly ad hoc and fragmented budgeting
process for animation productions.
The panel will include representation from private companies and government
agencies. Frank Taylor of Funbag Animation Studios, Joelle Levie of Telefilm
Canada, Beverley Bettens of the CFT License Fee programme, have been invited
to participate in the panel, as well as a representative of a high-tech
company involved in developing software budgeting packages for the animation
industry.
Friday, October 22, 10:00am
Animation and the Law
Participants: Steve Reynolds, Jeremy Dolgin A special focused discussion
of the legal implications of creative work, with attention given to issues
of copyright, artistic control over creative production, and intellectual
property. This is especially relevant to independent producers and animators
with regard to how you can legally protect your work.
Friday, October 22, 12:00pm
Storytelling in Animation (Original Ideas)
Participant: George Griffin
Developing original ideas into animation. Leading American independent
animator, George Griffin, will take you through the steps of writing,
storyboarding and animating.
Friday, October 22, 2:00pm
Getting your Film Shown: Alternative Forms of Distribution
After months of work you have finally completed your film. You would like
people outside your family and friends to see it. Where do you start?
Representatives from all sectors of distribution and exhibition will discuss
how to get your films shown.
Friday, October 22, 4:00pm
Preservation of Animation
Participants: Representatives from the National Archives of Canada You
have spent your life making your animated works. You may expire but your
films do not have to. Archives throughout the world preserve and maintain
film as well as restore prints. Learn about the archival process as well
as how to enter your works into the archives.
'La Gravure Sur Pellicule Comme Pensee'
Norman McLaren wanted the relation between artist and technique to be
as close as that between a musician and a violin or between a painter
and a painting. The prescription appears to be so simple: it expresses
the will to create 'film with an artistic position'. Yet the problem with
the relationship between art and technology is always present and, in
my opinion, this poses the most relevant challenge on art of our times.
The prerequisite for 'Art and Technology'. In this respect, animation
engraved directly onto film is the most radical approach that one can
take. It illustrates the difference as directly and anachronistically
as possible. In my lecture I will attempt to explain why and how I choose
to use this technique (or how it chose me), how I have remained true to
it for thirty-five years, whether this choice was technical or aesthetic
or more a kind of philisophical decision, a way to experience the form
in its extremes, on the edge of chaos. Paradoxically, this is a path towards
other disciplines-and towards art.
Sunday, October 24, 10:00am
What is the role of Animation Schools ? Are the needs
of students being met?
You get into an animation school. You may find your self incredibly frustrated
by the direction of the courses. Let them know the obstacles facing students
in animation school. What needs to change what does not. Come and participate
in an open discussion on these and other issues facing students. Instructors
and students will lead the panel.
Sunday, October 24, 12:00pm
Q&A :Your Worst Fears about animation May Be True.
Participants: Linda Simensky , Eric Darnell Linda Simensky, vice president
at Carton Network and Eric Darnell, director of Antz, will answer any
questions you may have about the art and commerce of animation. Ask anything,
there is nothing they will not answer. This will be an open forum, so
do not be timid and just ask.
Sunday, October 24, 2:00pm
Storytelling in Animation (Adaptation): Cracking the
Classics, Mach 3: Pinocchio
The Blue Fairy could bring Pinocchio to life with one wave of her wand,
but she left the realchallenge for Disney's animators to solve: how to
show the audience- through movement- that Pinocchio was now thinking for
himself. Join Ellen Besen in discovering the elegant solution to this
and other prolems presented by the making of Pinocchio, as we gleefully
take apart another animated classic.
Participant: Ellen Besen - Ellen manages to squeeze some filmmaking into
her schedule but is otherwise occupied by her teaching duties at Sheridan
College which include strorytelling for animaton and co-ordinating post-graduate
animation filmmaking.
Sunday, October 24, 4:00pm
Animation Workshop
Located in Room 156 in the National Archives of Canada , the workshop
and panel discussions will take place between 10 am to 6 pm,
between Thursday, October 21 and Sunday, October 24. The
Workshops will last between 1.5 hours and 2 hours.
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