Vancouver Animated News

Vancouver Animation Online Community

2008-07-20T08:31:00.000-07:00

Vancouver Animation is an Online Community in response to the rapidly growing Animation Industry in Vancouver.

Vancouver Animation is for Animation and Animators only, it currently offers a selection of articles in Animation Books, Tools, Animation Ninjas, Short films, Feature Films, Awards and Press releases. A Forum is available for registered users who want to share their thoughts, work and their passion about the art of animation.

Vancouver Animation recognizes and acknowledges that what makes the Animation Industry at Vancouver a great place, its due to a vast multiculturalism. For that same purpose Vancouver Animation holds Forum Threads in English and various other main languages to welcome Vancouverians and potential Vancouverians to bring their culture, traditions and new ideas to enrich and upbring the Vancouver Animation community.

All the posts in Vancouver Animated News have been acquired by Vancouver Animation through an agreement of both parties.

Vancouver Animation contributes and values the art of Animation, it hopes to have a healthful impact on their readers, on the Vancouver Animation Industry and around the world.

For more information visit: www.VancouverAnimation.ca

Animation Mentor Webinars

2008-07-13T09:40:00.000-07:00

Animation Mentor is holding Webinar sessions.

These webinars are designed for animators and prospective students who are thinking about enrolling Animation Mentor. The Webinars are meant to show how Animation Mentor really works.

Carlos Baena, Bobby Beck and Shawn Kelly are hosting some of them interviewing students, talking about tips and tricks for animation, how's life in the major animation studios and much more. There is no fee to attend.

For more information please visit: http://www.animationmentor.com/webinar

House of Cool aquires Red Rover Studios

2008-07-06T10:59:00.000-07:00

House of Cool has acquired Red Rover Studios for a sum that has not been made public. Both studios are based in Toronto and will be merging talent, assets and inventiveness.

House of Cool is a Canadian pre-production studio focusing on developing original content. They have contributed to such films as MONSTERS INC, THE INCREDIBLES and HORTON HEARS A WHO.

Red Rover Studios based in Toronto has been awarded for their work on Feature Films, Short Films, TV Series and Commercials, some of their achievements/awards include BEAUTY AND THE BEAST, PLUMBER,HEY ARNOLD and high profile clients such as Walmart, Diet Pepsi, Toyota and Ford.

For more information please visit:

Kidscreen
House of Cool
Red Rover Studios

Animation Tools: Pencil

2008-06-29T08:32:00.000-07:00

Pencil is an animation/drawing software for Mac OS X, Windows, and Linux. It lets you create traditional hand-drawn animation (cartoon) using both bitmap and vector graphics.

Pencil is free and open source.

This software pushes Classical Animation as an art form, letting the animator draw frame by frame.

Its interface is clean, simple and easy to navigate, you'll be animating in a matter of minutes. It supports onion skin, variable FPS and audio. Among other features you'll find background images for rotoscoping purposes, colors, layers and alpha channels.

Pascal Naidon brings Pencil as a result of his love for animation, he based it on "Pencil Planner", a pencil test software by Patrick Corrieri.

For more information please visit: Pencil

The World's largest theater: YouTube

2008-06-22T20:09:00.000-07:00

YouTube launches The YouTube Screening Room.

Every other Friday YouTube will be showcasing 4 films from around the globe, whether they have been premiered in international film festivals or not. The selected films will be playing with a high quality player giving the audience, filmmakers and the film themselves the best compliments.

There are 2 Animated Films already!!

-The Danish Poet
-Love and War

YouTube is Connecting films and audiences in the world's largest theater.

For more information please visit The YouTube Screening Room

The Animator's Survival Kit Animated

2008-06-16T07:37:00.000-07:00

Richard Williams Animation Masterclass presents a 16-DVD box set - The Animator's Survival Kit - Animated.

Disk Content
16-DVD BOX SET INCLUDES:

Starting Right
Timing and Spacing
Working Methods
More Timing More Spacing
Building Walks
Flexibility in a Walk
Sneaks, Runs, and Animal Action
Flexibility
Overlapping Action and Weight
Takes
Vibrates
Accents
Dialogue 1
Dialogue 2
Giving the Performance
Putting it all Together

Lesson lengths are an average of 40 minutes, plus specially animated examples for each lesson and the animated logo

During his more than 50 years in the business Williams has been one of the true innovators and serves as the link between the Golden Age of animation by hand and the new computer animation successes. Perhaps even more important has been his dedication to passing along his knowledge to a new generation of animators so that they in turn can push the medium in new directions.

For more information please visit: www.theanimatorssurvivalkit.com

AnimationRigs.com: "Rigging Stories to Life"

2008-06-08T11:41:00.000-07:00

Animation Rigs.com is devoted to create powerful and robust character animation rigs through a series of video tutorials meticulously explaining the art of rigging.

Their services are based on affordable monthly and yearly payments addressing individuals and companies, in other words personal use and commercial use.

Once you register you'll get to see what's in the other side of the fence, there are a lot of video tutorials ranging from beginner to advance. You'll have full access to online tools that are connected straight to Maya's interface via html, when you click any of the hyperlinks on a specific tutorial Maya will react to it and will bring models, scenes, samples, etc.

A lot of their tools are made for animators, meaning that a basic technical level is enough to comprehend the current tutorial. On this same note, their animation tools are made to accelerate the rigging process without compromising its quality. The animator will jump quicker to the animation stage, in particular if they use Rapid Rigger. Rapid Rigger is an impressive tool designed to rig a character in about 30 minutes or less.

AnimationRigs.com is also developing Studio Sim, where artists participate in each production stage, from Character Design to Modeling to Rigging and finally Animating.

AnimationRigs.com is already changing the way of what animation productions used to be. They are bringing innovating animation tools and concepts, making them an important player in the animation industry.

For more information please visit: www.animationRigs.com

Artist Community: ’skine.art.

2008-06-01T09:41:00.000-07:00

'skine.art. is a sketchbook artist community, its all about art done on sketchbooks, meaning artists drawing on the go!

'skine.art.'s website looks very well maintained and has a clean cut, its easy to navigate and most importantly the art has high priority.

Any artist can contribute, they just need to register to submit their artwork.

Once the art has been submitted it shows on thetop of the page, which has a blog-roll type layout. Newer posts go on the top, other artists can comment on the sketches and favorite them praising the artist.

'skine.art keeps their top contributors visible on the "Top Contributors" section including a thumbnail image of their art. Also there is favorite column listing the artists links.

There is a forum that allows artist to introduce themselves, chit-chat, participate in sketch contests, etc. And last but not least 'skine.art holds artists interviews where you can get to know them even better through interview questions.

'skine.art is definitely a solid and attractive online community making your stay very pleasant and giving you intense feelings to jump back to your sketchbook.

Moleskine is the legendary notebook used for the past two centuries by great artists and thinkers, including Van Gogh, Picasso, Hemingway and Chatwin.

For more information please visit: 'skine.art.com

The Cat Came Back / Le Chat Colla

2008-05-25T10:38:00.000-07:00

A histerical animated shortfilm by Cordell Barker, "The Cat Came Back" (1988) is based on the old century-old folk song of the same name.

The story is about an unexpected visit to Old. Mr Johnston, its a little yellow cat that destroys everything on his way. Mr. Johnston makes manic attempts to make the cat stay away.

This film has won numerous awards and will be screened in Toronto, Ontario and also on Television in late May 2008.

View excerpts from the film Online

More information at NFB.ca

Born and raised in Winnipeg, Cordell Barker began an apprenticeship in animation in 1974, cutting his teeth on Sesame Street spots, K-Tel commercials and local and national ads. In 1982, he approached the NFB about making a film that eventually became The Cat Came Back a 7-minute animated folk song which received an Oscar nomination in 1989 and went on to garner 18 international awards.

Cordell has worked as an animator/director on numerous TV ads in Canada, the US and England for clients such as Energy, Mines, and Resources Canada; Benylin; Nike; Chili's Restaurant and Bell Canada. He continues to receive awards for his innovative animations.

Cordell is happily married and the father of «three evil boys« who provided the inspiration for his latest film, Strange Invaders, about a strange child who suddenly appears one night to a childless couple.

Talking Animal Movies

2008-05-18T13:16:00.000-07:00

For good or for bad there are a lot of these type of movies being made. It goes back to DR DOLITTLE, GOOD BOY, BABE, GARFIELD 1 & 2, sequels to AIRBUD, SNOWBUDDIES, etc, etc, etc. For the regular audience they are funny and cute, and for Hollywood this genre comes with a great financial promise.

Some of these movies are low budget while some others are high profile movies, THE CHRONICLES OF NARNIA, THE GOLDEN COMPASS to name a few.

For animators this is a great opportunity to get their feet in a feature film and start building that resume. It not only gives them the opportunity to sharpen their facial animation skills but to get to know how a bigger pipeline works at a major studio, how it integrates with the other departments and to work with well known Animation Directors such as Chris Bailey - (Director GARFIELD 1 & 2).

Facial Animation sounds simple enough, however you'll be surprised with some of the difficulties to convey the lines, phonemes, emotions and to keep it consistent throughout the entire show.

Talking Animals movies are a great avenue for junior animators to get into a Feature Film Level. Senior animators have a different take on these projects, they see them as an easy task or an easygoing contract just to get them by until their next big project. Wherever your animation skills are at, the opportunity to participate in a talking animal movie will be certain, this film genre will continue to have a big market in the movie making business.

The Animator Element: Eric Luhta

2008-05-11T13:04:00.001-07:00

Play Demo Reel

What brought you into animation?

I always loved animation when I was a kid, particularly Looney Tunes and the after-school cartoons of Transformers, GI Joe, and stuff like that. I would watch Disney movies over and over, and after Pixar came out with Toy Story, I was hooked on computer animation. But I never entertained the idea that I could be an animator because I assumed you had to be able to draw like the Disney masters. So I made a living playing, teaching, and writing music for a long time while just being an "animation fan". Then I decided I wanted a career change so I could do the music I wanted without worrying about it paying the rent, and since I loved video games, went back to school with the hopes of becoming a game designer. I took an animation class, and I was hooked. I left school to go to Animation Mentor, and here I am.

How do your musician background and animation background relate and feed one another?
I've been a musician since I was 5, so 26 years now, and there isn't a time I can remember where I didn't play music. I think after having such a dominantly non-visual background, its made sound and music my foundation where I'm comfort

able and ideas can flow. I need music to visualize anything, whether its a story, emotion for an acting shot, a character, anything. I'm actually almost paralyzed in that regard without it. So I'll always find pieces of music that I think fit with what I'm animating, and listen to them over and over while I do my planning. The more I do that, the more I find it's what works for me as an animator. I've also been experimenting with using music notation to help with my animation timing recently. I'll write out the rhythm of the "hits" on music paper, and it opens up a lot of possibilities because I can look at it in a way that I have lots of experience with. That makes me more comfortable trying different things since its more familiar.

On the flipside, animation has made me a better composer and musician too. Since animating requires such intricate detail work, getting used to that has made me much better at getting into the fine details of what I'm composing, thinking about all the minutae instead of being lazy and leaving things in a broader state.

What was your first big break into the Animation Industry?
My first animation job was as a temp animator at Blue Sky on "Horton Hears A Who!", and it was amazing. Looking back, I don't know how ready I was for it, but like everything like that, it's the best way to get some true, hard earned experience. I can't begin to quantify the amount I learned there from just being around all the incredible animators at Blue Sky, and it definitely prepared me for the road ahead.

How was your experience at Blue Sky Studios?
Blue Sky really showed me firsthand what being a great animator required: the passion for the artform, the dedication to work at your shot until it was great, and the sacrifice it takes to make something truly alive, beautiful, and entertaining. That's the greatest thing I took from that experience, and while I was too green to really get it at the time, it's something that's been informing my work ever since. The animators there are so amazingly talented and passionate and give all they have to their work, and it shows when you watch the animation in Horton.

How is it working for Psyop?

Psyop has been a blast! The projects are always fun and the environment is never, EVER boring. :) It's another place that's just chock full of super talented people, and it's been another fantastic learning experience. They are really serious about putting good stories and characters into all they do, and I've really been enjoying my time there.

------------------------ Short Film: Prospective Student ------------------------

Play Prospective Student

What prompt you for the story?

I heard this story about Buddhist monks, where they would want to join a temple and to prove their dedication, would have to wait outside for days. If they waited long enough, they would finally be let in. And then I thought how it would be a funny situation if one of the monks waited at the wrong door and was wondering what was taking so long. I used that as the basis of a story that I could base on my own experience, which is being a student so eager to impress his teachers that he ends up doing some really stupid things and missing the obvious. I made some really funny (at least they are NOW) mistakes in music school being over enthusiastic about proving myself, and at least it came in handy.

How long did it take to complete?

It was written and animated over 6 months, and then it sat on the shelf for 8 months after I got busy at Blue Sky and Psyop. I ended up getting a couple weeks off between projects, and just decided to finish it once and for all.

What was the biggest challenge for you?
Besides the animating, it was difficult to do lighting and texturing with my limited knowledge of those subjects. It ended up being what it is, but I learned a ton in the process and the next film I make will be that much stronger for it.

What is the greatest satisfaction for you?

Seeing it all play together with the music and sound and everything is an amazing feeling that made all those long days and nights worth it. Watching a character that feels "alive" because of what you did is a reward in itself. But the best part is people just telling you that they enjoyed it and thought it was funny and entertaining. That's why we do what we do in the end.

Eric Luhta is part of the next generation of Animators, during Animation Mentor he was a prospective student and as a graduate he is already making creative contributions to the world of animation.

For more information please visit: www.ericLuhta.com

Blogged with the Flock Browser

Animation Tools: PoseManiacs

2008-05-04T10:00:00.001-07:00

PoseManiacs

A fantastic Online Drawing Tool developed by PoseManiacs.

Whether you are a life drawing enthusiast, an artist looking for some practice or just thinking about getting into drawing, PoseManiacs is here to help you. Their website comprises thousands of poses made of 3D models wrapped around with a muscle texture that enables the artist to see the muscle position and behavior. Each pose is viewable from any angle, artists can find a complex foreshortening angle or an easier one by simply rotating the camera around.

30 Second Drawing Tool

This tool mimics an actual life drawing class where the artist starts warming up by gestural drawings, big and fluid strokes following the model's poses on a given time. This tool is customizable for different posing durations and visual components that adapt to every artist needs.

Negative Space Drawing

This is a classic when it comes to drawing, it teaches the artist to see things in an opposite space rather than focusing in the body. PoseManiacs present 2 color silhouettes to help the artist.

Hands for drawing

Every artist knows that drawing hands is a intricate task. This drawing tool lets the artist choose from a variety of hand poses, once he finds what he is looking for he can rotate the camera around and zoom in and out.

Some other great drawing tools include Random Pose Viewer and Widgets

PoseManiacs is doing a remarkable job in integrating art and technology, their online drawing tools encourage artists from around the globe to keep studying the extraordinary human figure.

For more information please visit: PoseManiacs

Animated Short Film: "Peppy" by Anil Kapoor

2008-04-27T09:59:00.001-07:00

Click image to Play Peppy

What drew you into animation?

Without a doubt it was the Disney characters and animations. As a kid, I just loved those shows and in desire to do something similar I would scribble lots of figures in motion. Those days in India, animation wasn't considered a career which could provide you with your daily bread and butter. Soon after I finished my studies, I joined an Architectural firm and was introduced to CAD and 3D. I was blown away by the possibilities of this medium. Seeing my interest, my brother bought me a copy of 3D software. Every day after office hours and all weekends I immersed myself into exploring and doing animation. It’s around then that I decided to make animation as my career path.

How was your Animation Mentor experience?
To put it in plain words, AnimationMentor experience was simply great and exhilarating and is continuing in the AnimationMentor Alumni site. The way AM course is structured together with the lectures, assignments, critiques, feedback from peers and mentors, just rockets your growth as an animator and then like the saying goes ‘the sky is the limit’.

With an Engineering and Animation background, what is your take on Motion Capture used for Animation?
Motion capture is fine, if it suits the requirement and objective of the project.

What do you foresee for the Animation Industry in India?

I think the animation industry in India has a bright outlook. There is immense talent and potential. Some of the major studios from the US and other countries have set up in India or are tying up with Indian companies. It is one of the fastest growing industries in India and offers plenty of possibilities and opportunities.

Your Short Film is great. -How did you come up with the acting choices?
Thanks for your comment. For this short film, the acting choices just came naturally because the main character is based on me :)……. just kidding.

The moment I got the idea, I started thinking about the various acting choices that would fit the situation keeping in mind the playful nature of the character. I wanted the film to be funny. The free time, whether at home, lunch break, traveling or waiting, was spent thinking about the acting choices, the little touches here and there and refining them. I would then record myself acting and get my wife to stand in for the female character. I would also end up acting the female character and my wife would then stand in for the male character. I started being the character and totally identifying with it. Comments and critiques from my mentor, Doug Sheppeck, were also very helpful. All these factors helped me nail down the acting choices.

I wanted to incorporate dance in this film, not any particular dance style or genre but just spontaneous dancing by a character that is not shy or conscious and lets his emotions out through his small little dances. So there are two places in the film where the character would approach or go after the girl dancing. In fact you can see another dance in my demo reel pantomime shot.

-What is the most rewarding part for yourself?

The most rewarding part is the acceptance of the film by the audience. Feedback is that they empathize with the characters. Some viewers commented that the character’s performance reminds them of themselves. Some also felt it is a film which made them forget that they are watching a CG film. I believe such positive feedback is a reward for an animator.
It also very heartening to know that one of the mentors at AM would be using the film for teaching certain aspects in his classes.

-How did this Animated Short Film made you grow as an Animator?

One of the focuses of the film was to come up with convincing performances of the characters with a touch of humor. This required lot of planning. It kept me to think, rethink and constantly push myself to keep improving the animation performance. The comments and critiques from my mentor, friends and my family further helped me.

Anil Kapoor got a hunch about animation and he followed it up, after completing his Civil Engineer studies he enrolled Animation Mentor where he produced his first Animated Short Film "Peppy" as his final project . Currently he works as a Character Animation/Animation Instructor at Nanyang Polytechnic, Singapore. Anil turned out to be a very animated Engineer.

Click to play Peppy

For more information please visit his website: www.anilanimator.com

Artists must have books: The Pocket Lawyer for Filmmakers

2008-04-20T08:14:00.000-07:00

THE POCKET LAWYER FOR FILMMAKERS:

A legal toolkit for independent producers

Filmmaking is a business.

by Thomas A. Crowell.

If you are thinking about producing your own Animated Shorts and Animated Movies as a business, this book can be very handy for your legal side of your production. Although this book is made for live action productions, Animated Films can translate most of the events to its corresponding areas.

This book delivers its contents in two ways, as if you were making a movie from beginning to end of your production and also with random questions, for instance: if you want to know about the different types of Copyright, or how to set up a production company, or how are the money percentages divided in a movie?, just refer to the FAQ pages and it will take you right to the answer.

The structure of the book:

-Setting up your production company

Why do I need a company?

-Development

Should I hire a Screen Writer? buy a Script? Write it myself?

-Pre-production

How do I hire a Producer? Director? Actors? Voice Actors?

-Production

My Art Director wants to have a well known poster in the background, what about the copyrights?

-Postproduction

I want to hire a Composer, how do I do that?

-Distribution

Selling your movie, common distribution deals, the money pipeline how does the money get from the movie goer to your pocket?

Nowadays it seems easier than ever to make an independent production, inexpensive technology is a strong player and the internet your window to the world, filmmakers are sharing different areas of production. It doesn't mean that they will take care of every single aspect but it does mean that they need to become a more knowledgeable and educated person.

For more information about the author please visit: www.thomascrowell.com

Animation Ninja: Dimos Vrysellas

2008-04-14T21:17:00.000-07:00

How did you become an animator?

As manufactured as this may all seem I can assure you it is the complete truth, as I remember it.

Growing up I wanted to be a cartoon character. I loved the imaginative world, the wonderful laughter and the seemingly over the top “physics” of the cartoon universe. I wanted to be Bugs Bunny, Mickey Mouse, Scooby-Doo, G.I. JOE and whatever else I was into those days. I didn’t just want to draw them, heck, I was doing stuff like that anyway. I loved to draw and that’s all I would do when I was a kid. NO! I wanted to BE them. Well, maturity and sensibility took over me as I “blossomed” into adolescence and sadly I realized I was STUCK in the real world. That’s when I turned the tides on REALITY and decided animation was what I wanted to do. I knew from a very early age, approximately 11-ish what I wanted to do and that was draw and bring life to cartoons. My life was pretty much all headed down that path from then on. I took as many art classes in high school no matter what they were geared towards, I drew on all my papers and notes, on every page and in EVERY class. Even math and science, which were wonderful for honing my skills as I got the most practice in those classes (hahahahaha), and I managed to impress a few folks as time went on.

At the age of 17, a high school art teacher realized I needed some extra help outside of the normal school system and asked me to enroll into a CO-Operative Training program where I went to work at an actual animation studio (thanks Bill McMullan). I did this for a semester and then I went on to work for this company part time for MANY years afterwards. This was the beginning of my career in animation. From then on I was more then hooked and knew full well there was NOTHING else in the world for me. Well, maybe brain surgery but my hands were way to shaky for that kind of work so I went with what I was good at and my shaky hands helped with. DRAWING! ;-)

How did you get your break into the industry and in particular DreamWorks?

Apart from the Co-Operative training which was the true beginning of my career, my big break came when DreamWorks SKG came calling in early 1995. That was the most amazing surprise of my professional life. I wasn’t even done college and I was offered a contract within days of meeting the DreamWorks representatives. I was in shock and disbelief. My family was so happy and proud and I was just frozen with amazement. Completely overjoyed! At the time DreamWorks literally JUST started but as most everyone knows it was started by the entertainment industry’s most respected film makers. I was one of the first 3 or so students DreamWorks hired from Sheridan College and I was within the first 100 to 200 employees there. I am still pinching myself to this day. Needless to say it was the BIGGEST break of my life and probably one that nothing else in my professional career can ever come close to.

What is the highlight of you career?

I would like to hope that hasn’t come yet! I mean my first film was “The Prince of Egypt” and I worked at DreamWorks for 9 years on ALL of there traditional films and their first in house CG feature “Shark Tale”. EVERY moment there for me was marvelous. But I don’t want that to stop so I am hoping I still have some great moments to come.

I couldn’t just pick one “event” or anything like that because there is really too many. I animated on several movies, mostly on main character teams. I worked with amazing artists including my most influential mentors and supervisors Darlie Brewster and James Baxter, I was asked to join a development team to help with building proprietary tools and systems and I was part of a family there. I made many friends and just loved it all. There isn’t just one part of it, so I would say my entire DreamWorks career from 1995 through 2004 was the highlight in my career to date.

Sadly, back in 2004 in the midst of production on “Shark Tale” I made the decision to resign and return home to raise our son around our families in Toronto. After many years away from my family and friends in Canada, I grew more and more homesick. It was the toughest and saddest thing I think I have EVER done and I really miss all my friends and co-workers at DreamWorks but I don’t regret the choice. For me, my wife and kids always come first and building a better life for them was (and still is) my priority. There’s really no other way to do that then around family, PERIOD!

What is the next step in your career?

I have already taken the “next step”. After working at several Canadian studios such as Nelvana and working some freelance, I decided it was time to start my own little production and servicing company. In 2005 I started Circus Ink Entertainment Ltd. with my brother Nick Vrysellas and our first clients were Nelvana Ltd. We helped with Character Animation on several high profile television series like “Miss Spider’s Sunny Patch Friends” and the “Handy Manny” series for Disney. We’ve also serviced other companies for commercial work and such. We’re still young and growing but we have a whole lot of experience guiding our way. In fact our Senior Producer and Consultant is Andrew Reid who has been in the Canadian Animation Industry since the early 70’s. He was also my very first boss when I worked for him while I was in the Co-Op training course I mentioned earlier.

I am also currently Mentoring at AnimationMentor.com as well and have been doing that for about 2 years or so. Now, that is a very rewarding step in my career! I never thought I would teach but it sort of fell into place and I have loved EVERY second of working with Bobby Beck and gang! This program is phenomenal and one I am very glad to be a part of. It is a great way to help spread the knowledge we “experienced” animators have attained over the years. We never had anything CLOSE to what AnimationMentor.com has provided their students with when I was studying and it is truly a great experience to be a part of.

I have also been known to take on some freelance work here and there. I like to keep doing projects on the side because I am a workaholic, which many folks, even my close friends find hard to believe (hahahahaha). If you ask my wife she’ll tell you I work too much. I don’t think I can be easily torn away from my computer or drawing pad. I need to keep animating, drawing or creating, somehow. I know it’s lame but that is the world I live in. ;-)

What do you foresee for the Canadian Animation Industry?

Well, that is definitely not a very easy question to answer. I think the international industry is doing great and there are more and more products and markets in the world that require animation in some form or other. Things internationally are looking great. Even domestically, there are studios opening up everywhere from coast to coast in Canada. Everything seems to be going positively up here.

Canada has always been in the forefront of the animation industry and provides the world with some of the top talents and best places to work. Not to mention the best technology, such as Maya and XSI which are the industries TOP applications for CG animation production and TOONBOOM for traditionally based animation. Canada is truly a power house for animation.

That being said, I fear that recent world wide economical instabilities and an over-saturation of the talent pool are bound for one of two things. An increase of demand and work coming this way or implosion underneath all it’s own weight. I am more of an optimist so I lean towards the positive side of the thinking process but it is important to know the risks too. When there is a lot of good there is potential for a lot of bad. I think balance is important and right now the industry is slightly unbalanced as I see it. But I am not a financial analyst or industry forecaster. I just do what I do best, create and animate. I love every minute of it and I am doing my best to keep doing what I love.

Can you tell us about Circus Ink and the AnimTools you are developing?

We’ve just recently started a software development and interactive media division for our company called FUNhouse Interactive. The idea to begin this division started from a tool I had designed called “ANIMTools” (now called “tradigiTOOLS”). These tools help CG animators using Maya, follow a more efficient workflow. It is based on the traditional way of working that many animators, such as myself were taught. These tools are similar to those that feature studios have developed and used in their CG projects. The tools I created were adapted, re-developed and perfected to suit the workflow I personally use and try to teach. The thinking behind these tools is simple. Animation has already been invented and the system almost perfected by the animators of the past. Since the introduction of computer animation MANY of these time proven methods and techniques have been left behind for reasons completely foreign to me. These tools help to standardize the workflow and simplify animation production. Most of all, “tradigiTOOLS” brings the fun back into animating in CG. For gosh sakes...100 years of animation workflow using traditional methods can’t be wrong. It just works!

We are pleased that AnimationMentor.com has endorsed “tradigiTOOLS” for their students education. We are also very pleased to report that studios and professionals all over the world are now starting to use “tradigiTOOLS” in productions and works that they are a part of. Our clients include studios like Elliott Animation Inc. in Toronto and world renowned animators like Jason Ryan. Not to mentioned, hundreds of professionals and students too.

There are other tools we are currently researching and developing but I can’t really say much about that right now. Things like this take time and we want to make sure we keep the quality and integrity of our products up to par with that of “tradigiTOOLS”, which has had over a year of research & development time before we released the tool publicly, earlier this year (2008). We are very excited about the future of our products.

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The sale is up and running effective immediately for your readers and friends. It is only open to SINGLE user licenses (Win, Mac and STUDIO single) and not the STUDIO multiple seat licenses. It's for 10% off and the coupon code is Pochat. It runs until the end of this month (April 30th 2008).

Hope that's cool. Cheers!

Dimos Vrysellas is an energetic Canadian Animator, he graduated from the Classical Animation Program at Sheridan College in 1995 and worked for DreamWorks Animation where he animated in both their 2D and 3D Animated Feature Films for almost a decade. Currently he teaches at Animation Mentor. Dimos' energy is the equivalent to a nuclear plant that contagiously spreads motivating students to persevere regardless the obstacles they are going through.

For more information please visit:

Circus Ink www.circusink.com
FUNhouse Interactive www.funhouseinteractive.biz
Personal Site www.dimos.ca

Animation Tools: The Face Machine

2008-04-06T12:55:00.000-07:00

Anzovin Studio already famous for their Setup Machine now releases The Face Machine. Similar to their previous products, The Face Machine is a tool designed for Maya that allows its users to fully rig a 3D face in a matter of minutes.

The system is based on widgets or handles that users can position and align to their existing character. These handles are easy to identify, they are shaped in the form of an eye, eyebrow, nose, etc. All the facial features controls are waiting to be located and placed where they belong. Once the user has gone through the entire face, its just a matter of additional clicks to finalize the rig.

The Anzovin website also counts with numerous demos that indicate how The Setup Machine works.

For more information please visit: Anzovin Studio

These kind of tools are great for animators, as the traditional saying in the Computer Graphics industry goes, "Tools should be made in a way that allow the artist to focus on the art". Although rigging characters is getting easier and easier, it is an art of its own. The Face Machine and The Setup Machine are exceptional software tools pushing the envelope and making a better Computer Graphics community.

Animated Spring Season

2008-03-30T20:12:00.000-07:00

The snowing season is coming to an end and while some Animators are sad to put away their snowboards, some others are excited and already thinking about their next "outdoorsy" activity.

Vancouver British Columbia, also known as Hollywood North and the California of Canada it opened his arms to welcome the Spring Season with a gorgeous sunny Sunday.

This has been a very animated day at Deep Cove.

Deep Cove view from the bay. Beautiful, isn't it?

I know what you are thinking, yes the BG is amazing, look at those mountains! Great reference for Concept Artists.

The 15 min. animators survival kit, this time not from Dick Willialms. Hopefully everybody knows how to swim or at least scream out loud.

On your marks... set... keyframe!

Not bad for some computer nerds. You only need to to relate things to your art. IK left, IK right, 1 frame here, 4 frames there... Playblast!

And when you find amazing things from nature like this water fountain. You can't stop thinking... wouldn't that be cool to be made in CG?

The Spring season at Vancouver draws jubilant faces, it obviously features the beginning of warm and sunny days and most of all that Summer is just around the corner. Vancouver's Summer is one of the best ones in the entire planet due to its geography, its diversity of scenery, activities and occupations, it can suit and satisfy anybody's taste.

Vancouver Siggraph Chapter

2008-03-23T14:30:00.000-07:00

As its name illustrates, the Vancouver Siggraph Chapter promotes Computer Graphics and related arts in Vancouver British Columbia, generating interest among its community and having regular Events, Exhibitions, Presentations, Making Of's and screens the long awaited Electronic Theater. It attracts hundreds of people in several related fields.

The Vancouver Siggraph Chapter takes place in the Vancouver Film Centre. There are various exhibitors and sponsors such as: Animation, Visual FX and Game Design schools, art bookstores, Stash, etc. Most importantly; you'll be able to mingle with active members and students, and without question you'll run into your acquaintances as well. The theatre counts with two levels, if you are one of those eager inquirers that like to interact with the panelists, its better to stay on the main level, also its a good strategy if you are dying to get a t-shirt. On the other hand, if your plan is to chill out and whisper with somebody else about the film, presentation or lecture, you might want to try the upper level, where there are fewer seats and it has more of a private feeling.

Find out more about the Vancouver Siggraph Chapter

Find out more about Siggraph

The first Siggraph conference ever held was in 1974 and to the world's surprise it had hundreds of attendees. Since then it has been growing every year and held in different places, Dallas, San Diego, Los Angeles, Boston, etc. The highlights of this annual event are its Conferences, Exhibitors and The Electronic Theatre.

Siggraph stands for Special Interest Group on Computer Graphics and Interactive Techniques

In 2011, for the first time ever, the main Siggraph conference will be held outside the United States, it will be held in Vancouver British Columbia.

Horton Hears a Who

2008-03-16T09:15:00.000-07:00

Horton Hears a Who opened in Canadians theatres in March 14, 2008. This is the first Animated Feature for 2008.

It represents the finest creation for Blue Sky studios. The story arc flows smoothly as the film progresses. There are no confusing moments or out of place sequences, one shot leads to the other. Even the gags fits graciously pointing to the next sequence and proving that the computer animation studio is determined to pay serious attention to its story telling department.

The character design is well transitioned from drawing to three-dimensional models. Horton the elephant being the main character, its a well rounded product of both creative skills and technical craftsmanship. The mayor of Whoville performance is gorgeous, the animators balanced the study of the actual with the animation medium, making it a highly appealing character to watch. The rest of the cast is well received by the audience, and one of the audience's favourite character was the little yellow ball who had a shy and light personality.

Horton Hears a Who shows that Blue Sky has never been better in presenting all the process together to its audience.

About the Director:

Jimmy Hayward is brought to Blue Sky Studios to work with and direct the story telling department during Robots. Unfortunately the production was already started, making it difficult for corrections since several sequences were fully finished. For Horton Hears a Who Jimmy Hayward brings his vision from the beginning demonstrating that he has something to say to the world, he can hold and entertain his audience in an Animated Feature Film.

Jimmy started his canadian animation career at Mainframe Entertainment a Vancouver based studio responsible for creating the first Computer Animated TV series in the World. Jimmy then moved to Pixar Animation Studios working for a decade in projects such as: Toy Story, Toy Story 2, A Bug's Life, Monsters and Finding Nemo.

For a Box-Office analisys go to Box Office Prophets.com

Artists must have books: The Dream Team

2008-03-09T10:03:00.000-07:00

The Dream Team:
The RISE and FALL of DreamWorks: Lessons from the New Hollywood
by Daniel M. Kimmel

This book will help you shape your business in animation skills. Remember... no money no funny.

The book starts on how the DreamWorks idea for a complete film studio was conceived. When Katzenberg was still working for Disney and didn't get the promotion he was hoping for. From a simple conversation Steven Spielberg, David Geffen and Jeffrey Katzenberg had a glance at what they could create and fulfill the dreams of each of these troika members.

You will find engaging facts about the animation division at Disney and DreamWorks, how much movies had cost, how they were marketed and how much revenue they made. The competition between these studios will make life difficult for the other, and even obstructing Pixar Animation Studios with release date strategies. Fascinating facts about how Shrek was created, how much DreamWorks paid for the rights for this unexpected wealthy franchise.

Controversial moments in history where Katzenberg fell in love and believed in Animated Films while at Disney and Michael Eisner didn't seem to pay attention anymore. Jeffrey was the only member of the troika that kept pushing forward the Animation Division and responsible for not doing Classically Animated movies anymore.

Animators and Business Education.
In the present climate, where the industry is being changed by technology and in particular with the Internet, Mobile Devices, and Video On Demand (VOD). There is an opportunity to go the Entrepreneurial way, the need for big distribution firms might not be what it used to be in the near future. As a result Animators will be able to create, market and distribute their products executing the complete scope of a business.

And the Genie goes to:

2008-03-04T09:09:00.000-08:00

Madame Tutli-Putli

Maciek Szczerbowski, Chris Lavis, Marcy Page

Film Synopsis:

A timid woman boards a mysterious night train and has a series of frightening experiences.

You can watch the entire short at CBC.CA

Madame Tutli-Putli boards the night train. As day descends into dark, she finds herself alone, caught up in a desperate metaphysical adventure. Adrift between real and imagined worlds, Madame Tutli-Putli is drawn into an undertow of mystery and suspense. The NFB present a stunning, stop-motion animated film that takes the viewer on an exhilarating existential journey. It introduces groundbreaking visual techniques and is supported by a haunting and original score. Painstaking care and craftsmanship in form and detail bring to life a fully imagined, tactile world unlike any you have seen. The night train awaits you.

28 Genie Awards

2008-03-02T08:47:00.000-08:00

This is the 28th year for the Canadian Genie Awards, bringing the best of Canadian filmmakers.

Here are the nominees for the Best Animated ShortFilm category:

Madame Tutli-Putli

Maciek Szczerbowski, Chris Lavis, Marcy Page

Film Synopsis:

A timid woman boards a mysterious night train and has a series of frightening experiences.

You can watch the entire short at CBC.CA

Jeu

Georges Schwizgebel, Michèle Bélanger, Marcel Jean

Film Synopsis
From the countdown at the start to the stock-still “END” that wraps up the film, Jeu is a dizzying whirlwind that never ceases to amaze. Georges Schwizgebel has created a frantic race end- ing in inertia, a metaphor for modern life’s nonstop hustle and bustle. A series of shapes tricks the senses again and again as they swirl and twist in a playful dance. All the world is a
stage and everyone a player, including the filmmaker himself, in this chaotic universe where men play ball and musicians play the scherzo from Prokofiev’s Second Piano Concerto. Jeu is an exercise in virtuality at breakneck speed. This circular and cyclical race dazzles with changes in scale orchestrated by a virtuoso of animation.

Watch the Trailer from the National Film Board of Canada

Here and There
Diane Obomsawin, Marc Bertrand

Film Synopsis

Childhood can be a chaotic time, especially if you're bouncing back and forth between two continents. With engaging candour and gentle humour, the director offers up images from her family album. Directed by Obom.

Watch Production Stills from the National Film Board of Canada

The Genie Awards are for Canada what the Oscars are for the USA. They demonstrate the highest achievement for Canadian Filmmakers in a variety of categories such as:

Best Motion Picture
Achievement in Art Direction/Production Design
Achievement in Costume Design
Achievement in Cinematography
Achievement in Direction
Achievement in Editing
Achievement in Music - Original Score
Achievement in Music - Original Song
Performance by an Actor in a Leading Role
Performance by an Actor in a Supporting Role
Performance by an Actress in a Leading Role
Performance by an Actress in a Supporting Role
Achievement in Overall Sound
Achievement in Sound Editing
Original Screenplay
Adapted Screenplay
Best Documentary
Best Live Action Short Drama
Best Animated Short
Golden Reel Award
Claude Jutra Award
Special Award for Outstanding Achievement in Make-Up Design

For more information please visit www.GenieAwards.ca

Animated Oscar Winners

2008-02-24T21:42:00.000-08:00

BEST ANIMATED FEATURE FILM: RATATOUILLE

Ratatouille wins the Oscar for Best Animated Feature Film over Surf's Up and Persepolis.
This is the second nomination for Brad Bird and second award for Animated Feature Film he
has under his belt.

FILM SYNOPSIS
Remy the rat longs to exercise his talents as a gourmet chef and gets the chance when he
finds himself in a famous Parisian restaurant after becoming separated from his family
during an escape through the sewers. When his secret improvements to the restaurant's
food are mistakenly attributed to Linguini, the garbage boy, the two team up to form an
unlikely culinary partnership that will benefit them both.

You can find Brad's Bird thank you speech video here, Oscars.com

BEST ANIMATED SHORT FILM

The Best Animated Short Film goes to "Peter and the Wolf" from Suzie Templeton and Hugh
Welchman. This is their first Academy Award Nomination.

On the same category were:
My Love (Moya Lyubov), Même les Pigeons vont au Paradis (Even Pigeons Go To Heaven), Madame Tutli-Putli, I Met the Walrus.

FILM SYNOPSIS
Remy the rat longs to exercise his talents as a gourmet chef and gets the chance when he
finds himself in a famous Parisian restaurant after becoming separated from his family
during an escape through the sewers. When his secret improvements to the restaurant's
food are mistakenly attributed to Linguini, the garbage boy, the two team up to form an
unlikely culinary partnership that will benefit them both.

You can find their thank you speech video here, Oscars.com

FILM SYNOPSIS
A young boy and his animal friends face a hungry wolf in Prokofiev's classic musical piece.

The 2nd Annual Elans Canandian Awards for the Electronic and Animated Arts

2008-02-18T15:46:00.000-08:00

Congratulations to all the winners!

ANIMATION CATEGORIES

1. BEST FEATURE LENGTH ANIMATED PRODUCTION

Barbie as the Island Princess Rainmaker Animation Jennifer Twiner Mccarron

2. THE SEVEN GROUP AWARD FOR BEST ANIMATED PRODUCTION (Television Series)

Edgar & Ellen Bardel Entertainment Delna Bhesania, Barry Ward, Trish Lindsay, Barbara Ferro

3. BEST ANIMATED SHORT SUBJECT

Yellow Sticky Notes Jeff Chiba Stearns

4. BEST DIRECTION in a FEATURE LENGTH ANIMATED PRODUCTION

Barbie as the Island Princess Rainmaker Animation Greg Richardson

5. BEST DIRECTION in an ANIMATED TELEVISION SERIES

Ruby Gloom: Venus de Gloomsville Nelvana LTD Robin Budd

6. BEST MALE VOICE OVER IN AN ANIMATED FEATURE OR TELEVISION PRODUCTION

Lee Tockar George of the Jungle Studio B

7. BEST FEMALE VOICE OVER IN AN ANIMATED FEATURE OR TELEVISION PRODUCTION

Marÿke Hendrikse Johnny Test Cookie Jar Entertainment

8. BEST ORIGINAL MUSICAL SCORE

Bruno and the Banana Bunch Cuppa Coffee Studios Adam Goddard

9. BEST STORYBOARDING

George of the Jungle: Naked Ape Man Studio B Dennis Crawford / Lyn Hart

10. BEST PRODUCTION DESIGN OR ART DIRECTION

Edgar & Ellen: Crushed Bardel Entertainment Greg Huculak and Zoe Evamy

11. BEST WRITING IN AN ANIMATED PRODUCTION

Storm Hawks Nerd Corps Entertainment Rob Hoegee

12. THE ELECTRONIC ART’S AWARD FOR BEST INTERNATIONAL ANIMATED PRODUCTION (Television Series)

Family Guy Fuzzy Door Productions Seth MacFarlane, David A. Goodman, Chris Sheridan, Danny Smith

13.THE INAUGURAL AWARD FOR BEST INTERNATIONAL ANIMATED PRODUCTION (Feature)

Bee Movie: Dreamworks Animation SKG

14. LIFETIME ACHIEVEMENT AWARD IN ANIMATION

Kai Pindal

ELECTRONIC GAME CATEGORIES

1. THE AUTODESK GAME OF THE YEAR

Mass Effect Bioware/Microsoft Games BioWare

2. BEST CONSOLE GAME

Assassin’s Creed Ubisoft Assassin's Creed Development Team

3. BEST PC GAME

Company of Heroes Relic Entertainment Ian Thomson

4. BEST NEW VIDEO GAME COMPANY
We are honouring two companies this year:

Blue Castle Games Rob Barrett for The Bigs

Slant Six Games Brian Thalken for their Socom U.S. Navy Seals: Tactical Strike

5. BEST SOUND DESIGN IN VIDEO GAMING

Skate Electronic Arts: Audio Director: Lance Brown Sound Designers: Francois Lafleur, Bryan Rennie, Sean Webster, Terry Fairfield

6. BEST ORIGINAL MUSICAL SCORE IN VIDEO GAMING

Assasins Creed Ubisoft Jesper Kyd

7. BEST CHARACTER IN VIDEO GAMING

Commander Shepard (Mass Effect) BioWare/Microsoft Games Drew Karpyshyn

8. BEST ART DIRECTION IN VIDEO GAMING

Mass Effect BioWare/Microsoft Games Derek Watts

9. BEST HANDHELD GAME OF THE YEAR (psp, ds, etc...)

Socom U.S. Navy Seals: Tactical Strike Slant Six Games Brian Thalken

10. BEST GAME DESIGN OF THE YEAR

Mass Effect BioWare/Microsoft Games Preston Watamaniuk

11. BEST MOBILE/CASUAL/ARCADE GAME OF THE YEAR

Skate Electronic Arts David Manriquez

12. BEST WRITING FOR A GAME PRODUCTION
Mass Effect BioWare/ Microsoft Games Drew Karpyshyn

13. THE NOKIA AWARD FOR OUTSTANDING INNOVATION IN GAMING

Company of Heroes: Opposing Fronts Relic Entertainment Josh Mosqueira

14. THE ERNST & YOUNG AWARD FOR INTERNATIONAL VIDEO GAME OF THE YEAR

Crysis Crytek/Electronic Arts USA Cevat Yerli CEO, Crytek

15. VIDEO GAME HALL OF FAME

Don Mattrick

STUDENT ANIMATION AND ELECTRONIC GAME CATEGORIES

1. THE GOVERNMENT OF BRITISH COLUMBIA’S AWARD FOR STUDENT ANIMATED OR MOTION GRAPHIC PRODUCTION OF THE YEAR

Legend of Boruta Emily Carr Institute Bartosz Nowakowski

2. STUDENT GAME OF THE YEAR

Bloom Vancouver Film School Boring Games; Project Manager: Adrian Audet TEAM: Brennan Massicotte, Guilherme Ramos, Mike Wilson, Brian Vidovic

3. BEST ORIGINAL SOUND DESIGN/MUSICAL SCORE FOR AN ANIMATED PRODUCTION OR GAME

Le Building Vancouver Film School Doug Woods

4. BEST Student ART DIRECTION - GAME PRODUCTION

Seas of Europa Vancouver Film School Todd Agnello, David Bowring, Diego Rodriguez Pons,Ryan Stancl

5. BEST STUDENT ART DIRECTION - ANIMATED PRODUCTION

Mano Sinistra Emily Carr Institute Kate Lee

6. BEST STUDENT WRITING FOR AN ANIMATED OR GAME PRODUCTION

Documentary Vancouver Film School Lawrence Chung

7. READY TO ROCKET

Bartosz Nowakowski Emily Carr Institute

The Elans honors and accolades the Electronic and Animated Arts. Its first event in November 2006 was hosted by Hollywood Legend William Shatner. The Elans highlight Canada’s record of exceptional productivity and talent. --"As the Movie Industry goes to Hollywood for its Oscars, so the World of Video Game and Animation will come to Canada for its Elans".

For more information please visit The Elans

Animation Festivals

2008-02-10T22:22:00.000-08:00

Don't keep your animated short films in the shelf, put them out there, send them on a World Wide tour, get acquainted, get famous, and if you are extremely lucky you'll find a Distribution deal.

If you don't have an animated short film yet but are planning to, be sure to have or own what can hurt you the most. The copyrights. Even though you animated the film and its truly yours, an aspect that is typically overlooked is the rights of the music. Without the consent of the author you won't be able to submit it, not even to one festival alone. Plan ahead to either have original music or to contact the author in advance, it takes time to find them and to get a response, a lot of emailing and phone calls.

Festivals are great to attend but if you really want to feel the adrenaline running through your veins, you'll have to attend a festival where your film is being screened, yeup; best feeling in the world. You'll be one of the lucky ones to see the audience's reaction to what you have created. All that hard work! that summer you didn't see the sun, all those frames you treated with so much care and gave all the love in the world. It will finally pay off, *sigh...*.

Then, when you start getting emails from festivals advising that you are in the middle of the competition with some other animated short films, you jump to their website to take a look at your competitors and its clear that yours its better than others, ahh... what a great feeling! there's no doubt that your film will pass to the next selection stage, so long suckers! see you later!, see you in --- the Whaaat? You get another email saying your film didnt' make it to the next stage? what's going on? again you are visiting their website to see who made it, and unfortunately you found out. You watch some of the other films and you can't help but asking How on earth did that short film (if you can even call it like that) beat mine? and here's another one, oh... and there's another one. Who are the judges? What are they thinking? Its unbelievable, they have no appreciation for what animation truly means... What da?

Then you get an email from another festival, your film is officially selected, they send you this crazy thick document with all the specifications that you need to meet for your exhibition copy, BetaSP, DigiBeta, what? 35 mm? that's time consuming and... mega-expensive, where am I going to transfer and... double take!, what whaaat? you need it at 30fps? but film is supposed to be at 24 fps. That means I'll need a 3:2 pulldown, how do I do this? Does that means that all my wonderful inbetweens will be touched electronically?, the animation will lose some fluidity?. ARgg, ease in, ease out, favor this pose, favor the other one. All this intricate work to end like this? *sigh...*.

Oh animation festivals... there are so many now. You will need a budget from $500 to $3000 us dollars for about 50 submissions. This is how you market your film, this is the administration side of animation. Remember to be selective when looking into festivals but not too much, otherwise your film won't make it in. They receive a lot of submissions, thousands of them!

A new online submission system is Withoutabox. Its a great way to apply to a large number of festivals making your life easy with tracking numbers, press kits, dvd's, festival categories, etc. Very cost effective. Thanks Withoutabox!

Animation Festivals are known as a proven method of getting your work "out there", they have a lot of variety ranging from experimental animation with very low cost techniques to more elaborated films using the latest technology. Any film can participate. Go on, show your talents to the world.