Sprockets

CALL FOR ENTRIES - KLIK AMSTERDAM ANIMATION FESTIVAL

sprockets — Sun, 19 May 2013 09:33:00 +0000

Greetings, our animatin’ friends! This year’s Call for Entries is in full swing! Animated beauties in the categories Professional, Student, Commissioned and 3-D Stereoscopic animation are flooding in. Don’t forget to submit your newest animation too, before it’s too late, meaning before July 1st! You can submit online via klikamsterdam.nl. Aside from the category you submit your animation to, your animation will also automatically compete for the Amsterdam Audience Award, the Young Amsterdam Audience Award and the Political Animation Award.

Oh, and don’t forget to make your envelope a piece of art for a shot at the Most Awesome Envelope Award.

If the goldfever hasn’t hit you yet after hearing about all these super shiny prices, then you’re in for a treat! This year for the first time we proudly present to you: the KLIK! World Domination Award. This already desired award will honor an organisation, studio or individual that helped Dutch animation take another step towards total world domination. In September everyone - including you! - will be able to suggest names out of which a professional jury will decide on the proud winner.

If you want to be reminded when the suggestion period comes around, make sure you tick the ‘Dutch news’ box in your KLIK! newsletter preferences or follow us on Facebook or Twitter. For more info on the World Domination Award check our website.

This site is a member of Animation blogspot, part of the Animation World Network

NIKOLA MAJDAK – PIONEER OF SERBIAN ANIMATION 1927 - 2013

sprockets — Mon, 13 May 2013 18:58:46 +0000

Nikola Majdak

Nikola Majdak, pioneer of Serbian animation, passed away on May 4, 2013 at the age of 86. Born in Valjevo in the former Yugoslavia on November 30, 1927, his fascination with cinema spanned 6 generations.

At the age of 16 young Nikola began work in a laboratory, graduating to the projection booth and finally to camera operator. After graduating from the Art History Department of Belgrade University he went on to a career as a director of photography working on over 200 documentary, feature films, and animations, many of which won major awards worldwide.

Nikola served as the long-time president of ASIFA (Association Internationale du Film d’ Animation) Serbia, representing his chapter on the ASIFA International Board. He also served on numerous juries at such prestigious festivals as Annecy, Hiroshima, and Espinho.

Majdak was head of the Department of Film and Television Camera at the Faculty of Dramatic Arts in Belgrade and also headed the Animation Department of the “Dunav Film” film school. His animated films The Soloist and The Chalk-Man (1963) were the first cartoon films made in Belgrade. Nikola inspired generations of young animators. Noted Serbian animator and graphic designer Rastko Ćirić says “He (Majdak) inspired me to enter animation in 1980 along with other important Serbian animators such as Borislav Sajtinac who now lives in Paris, Dusan Petricic who has lived in Canada for 20 years, and a large number of other young artists”.

Nikola’s spirit will live on in the Balkanima Festival which he found 9 years ago. Rastko also wrote me that “We all hoped that Nikola would be present for the 10^th anniversary of his Balkanima Festival this year, but he went away too early”.

As befits his life, Nikola wanted his funeral to be a celebration of his life and he left a request that at his memorial a lively song by the popular Serbian songwriter Bajaga be performed. The song lyrics speak about friends who are scattered all around the world and cheers for health and happiness, for good wine and good women, as life is short and goes quickly. These words express Majdak’s spirit and love of life.

Ćirić sums up Nikola as “a man of huge energy, pioneer of Serbian animation, founder of many animation schools and a great festival”.

He is survived by his wife, Marina and his son Nikola Majdak Junior, who is also a successful animator. His film Rabbitland won the 2013 Crystal Bear at the Berlin Film Festival. He will also always be remembered and missed by his legion of cinephile friends all around the world.

I would like to thank Božidar Zečević, President of ASIFA Serbia and Serbian animator and graphic designer Rastko Ćirić for their help in collecting information on Nikola Majdak’s life and work.

This site is a member of Animation blogspot, part of the Animation World Network

MOVING INNOVATION, A History of Computer ANIMATION By Tom Sito, MIT Press

sprockets — Thu, 09 May 2013 10:50:43 +0000

It isn’t often that I read a text book that is a real page turner, but Tom Sito’s new book - MOVING INNOVATION, A History of Computer Animation is definitely a must-read.

It covers over a century of innovations including the first motion capture experiments of Etienne-Jules Marey, a contemporary of Eadweard Muybridge, to the use of optical effects by Georges Melies in his magical films, the design and optic effects wizardry of John Oxberry’s revolutionary contribution, the Oxberry camera, and on through the dawn and emergence of the Computer Graphics revolution, Moving Innovation follows the trail of historical developments of dreamers and inventors right up to the present. Even though such innovators as Elfriede and Oskar Fischinger, Mary Ellen Bute, and Norman McLaren never touched a computer, we are taken step by step through the groundwork they laid for present day CG. The book brings to life the colorful cast of math nerds, avant-garde artists, cold warriors, dope smoking hippies, video game enthusiasts and studio executives who were the strange bedfellows who brought about this new medium.

Tom delves into the work of engineers and inventors like John Whitney, Senior, who is considered the father of computer animation. After the war, visionaries like Whitney scavenged the then numerous army surplus stores for components such as Mark V and VII antiaircraft gun sights. They modified them to create things like the Analog Cam Machine, which eventually led Whitney to becoming the first IBM artist in residence. Another chapter is devoted to “Spook Work: the Government and the Military” and the seldom acknowledged major role that technologies developed for World War II played. They enabled innovations in the newly dreamed of area of computer animation.

Films such as Tron and Toy Story didn’t just happen. Names such as Alexander Schure and Ivan Sutherland are hardly household words but they both made substantial contributions for present day animation to build on. Schure, an entrepreneur who won $10,000 on Jeopardy on the topic of animation, founded the New York Institute of Technology. His financing and support created the first research lab/studio to attempt computer animated features and commercial work. Sutherland, the creator of the first graphic interface program Sketchpad, is considered one of the fathers of computer graphics and started the legendary computer graphics program at the University of Utah. This list of innovators and visionaries goes on and on right up to the present.

Chapters devoted to visual effects and motion capture take the reader step by step into how each new discovery has changed the art of animation. The path from Walt Disney classics such as Pinocchio and Lady and the Tramp to John Lasseter’s Brave Little Toaster and the birth of Pixar is traced in detail. With the rise of Pixar and the conquest of Hollywood the story is far from over and the author will have plenty of new material for a sequel as CG continues to develop.

As an animator and Hollywood insider for more than 30 years, Tom Sito has experienced first-hand many of the innovations that he writes about, and is a masterful story teller. His impressive list of credits includes being one of the key players in Disney’s 1980’s and ‘90’s animation revival. He has worked on such Disney classics as The Little Mermaid, Beauty and the Beast, and The Lion King. In 1995 he left Disney to help set up the DreamWorks animation unit. In addition he is also a professor of Cinema Practice in the School of Cinematic Arts at University of Southern California.

The 336 page book has hundreds of crisp black and white photographs as well as copious footnotes, a brief alphabetical description of the cast of characters, and a glossary of terms. The extensive bibliography steers the reader to other books, articles, and on line sources on related topics. Each and every paragraph is just crammed with many interesting facts, and as you read, each paragraph leaves you smiling (or outright laughing) and the narrative never seems boring or pedantic.

Whether you are involved in the animation or games industry or a lover of animation this book should be read and kept close for handy reference. For animation schools, Moving Innovation is an invaluable educational reference to not only teach students about their past but to guide them into the 3D revolution.

Publication Date: 24 May 2013 Price: $29.95 7 x 9 Hardcover

Order from: http://mitpress.mit.edu or on the shelf of your local bookstore

This site is a member of Animation blogspot, part of the Animation World Network

CALL FOR ENTRIES -

sprockets — Wed, 08 May 2013 10:17:40 +0000

I was lucky enough to be invited to the International Short Film Festival last year and it was a wonderful experience. The festival is open to both live action and animated shorts with awards for separate categories.

You can read my article about the 2012 edition under January 2013 in my blog archive and then be sure to send your film.

The 13^th edition of the International Short Film Festival will take place in October 2013 (9th to 13th) in Lille, France.

The international short films competition is composed of 3 categories : International, National and Young Audience.

These competitions are opened to all shorts (maximum 25 minutes and completed in 2012 / 2013).

The “Very Short” section is a parallel category dedicated to films which are less than 4 minutes.

DEADLINE : JUNE 15TH 2013

Register your short with the registration form online : https://docs.google.com/forms/d/1veQnhV6UqCqVJyH5uc59Sspwbwmcmh1jtNkil8pN5yQ/viewform

Please, don’t hesitate to send your latest productions!

Do not refrain from contacting us for further details.

Thank you for your participation, we’re looking forward to see your productions.

Best regards,

Les Rencontres Audiovisuelles.

www.festivalducourt-lille.com

This site is a member of Animation blogspot, part of the Animation World Network

9th EDITION OF THE FETE DE L’ANIM - 14 to 17 March, 2013, Tourcoing and Lille, France

sprockets — Sun, 21 Apr 2013 17:52:28 +0000

Fete Anim’ 2013

My first visit to the Fete de l’Anim, 14 through 17 March was full of lovely surprises. It was a real pleasure to meet up again with my good friends Joanna Quinn and her scriptwriter husband Les Mill. They have been busy in their studio in Wales so it’s been a couple of years since I have seen them. It was great to have a few days to catch up on all of their news over meals. Joanna told me that after years of commercial projects she is finally getting down to work on her next Beryl film. I don’t want to give away much about their new film but I will say that after her disastrous “career” with the video camera Beryl has now decided to pursue a career in “fine” art.

At the group table, Nancy, Les Mills, Erick Oh and Raoul Servais in front

Les, Joanna, Erick and Nancy

I have seen Joanna’s films many times and they still make me laugh and it was so lovely to see them all together on the big screen. Before showing Britannia, her biting satirical account of the rise and fall of British Imperialism represented by the country’s iconic British Bulldog, Joanna said that the film had received the Leonardo Da Vinci award which was presented to her at Buckingham Palace by the Duke of Edinburgh. It was obvious that the Duke had not seen the film when he asked what it was about. Joanna replied “British Imperialism” and the Duke frowned. His aide immediately chimed in “It’s about a Bulldog, sir” and the Duke smiled and said, “Ah, quite all right then.”

During her masterclass, Joanna took us through the steps that she takes to create story boards based on Les’ scripts. She also showed numerous clips from her films and commercials. We also got to see her changes over the years to the bear character in her long running Charmin toilet paper commercials.

Joanna Quinn at her pegboard during her master class

Joanna is an entertaining speaker as well as an extremely talented animator. She treated us to many funny stories about her life and career as an independent animator, such as how she draws in front of a window of her home and when she is working on facial expressions for a character she makes faces and looks at them in the reflection in the window. She said that passers-by must think that a crazy lady lives there when they see her.

Sketch of Raoul Servais in Joanna Quinn’s notebook

It was a real treat to get to know Erick Oh. At his masterclass he talked about the path that led him from UCLA film school to his current work at Pixar. He told the packed audience that he was lucky enough to receive a Pixar internship and although a very small number of interns are hired after their apprenticeship, Pixar obviously saw how talented Erick is. In his three years at Pixar he has worked on Cars Two and Brave as well as the soon to be released Monsters University. He showed clips of his work on Brave where he worked primarily on the queen. He also talked a bit about the different departments at the studio and their individual roles in creating Brave.

Erick presented a separate program of his 7 short personal films which are clever, original and showcased his talent as a 2D animator of hand drawn short films. He told us that he was able to afford a large symphonic orchestra to play the music for his film Heart thanks to a $9,000.00 Matt Groening Initiative Award he received while working on the film at UCLA. His most recent short How to Eat Your Apple is an extension of his recent series of illustrations in the form of an animated poem. The surreal film portrayal of human nature and its essence in the circle of life is currently being shown at animation festivals worldwide.

Olivier Catherine interviewing Erick Oh under image from one of Erick’s film

The majority of the talks and screenings were held in Tourcoing, France, but there were also events 15 kilometers away in Lille. The festival provided drivers to take guests back and forth so one morning I went to see Erick Oh’s exhibition entitled His Chamber at the L’Hybride venue in Lille. His drawings show a great depth which reflects his fine art background. The unique style of intricate lines and lack of color except for an occasional red accent or shadow of grey suits his dark inner thoughts and is very far removed from his work at Pixar. Erick says that he tries to draw on his personal work for an hour or so every night because in his words “I do this to survive, otherwise I might go crazy”.

Nancy at the Erick Oh exhibition

Canadian animator Patrick Bouchard introduced a program of his films beginning with his 1998 student puppet film Jean Levieriste and coming up to his 2012 award winning Bydlo. At his masterclass the Patrick talked about his experiences as a stop motion animator at the NFB (National Film Board of Canada). He went through his approach to storyboarding, set construction, lighting, and animation.

I had never seen Talon d’Argile Iclay (Talon) which Patrick created in 24 hours at the Festival Off-Courts de Trouville. The very short 1 minute film in which clay figures undergo a metamorphosis is the film which Bydlo eventually grew out of. Bydlo is a 9 minute allegory of mankind heading for disaster, a tragic vision inspired by the 5^th movement of Mussorgsky’s powerful Pictures at an Exhibition. Last year when I saw Bydlo at Annecy the sound track was not in proper sync with the animation and since the music is a very integral part of the film it lacked the powerful horror and impending doom that I discovered when I saw the film again properly screened.

With programs in the two theatres at the Le Fresnoy complex in Tourcoing and events down the block at Plaine Images/Teinturies running concurrently it was impossible to see everything that I wanted watch. Sadly I missed Dutch Animator Adriaan Lokman’s Master Class. Adriaan and his wife moved to La Grande Server, France in 2004 after his abstract black and white film Bar Code won the Annecy Grand Prix. I know it would have been interesting to hear him speak about his new film Chase which is also winning awards and his current experiments with making 3D animations as well as his experiences working in France.

I was sorry to miss Serge Elissalde’s presentations. The French animator first came to prominence when his 4 minute film The Street Sweeper won the top prize at the prestigious Hiroshima Animation Festival in 1992. He has gone on to be a member of Les Trois Ours (The Three Bears) Production Company as well as teaching at the Angouleme School of Animation.

Another member of Les Trois Ours, Olivier Catherin, is not only a noted producer but also an animation historian who is frequently invited to conduct interviews. During the master classes he kept the discussions flowing with his insightful questions and observations. His talent as an interviewer really showed through in his ability to let guests lead the conversation while making sure that it flowed smoothly.

I really enjoyed the Visual Design Focus Brunch which gave me an opportunity to hear five studio and independent artists talk about their work in the informal atmosphere of the Plaine Images while we dined on sandwiches and pastry. The session was led off by British animator Mikey Yes Please (and yes, he assured me that it really is his name) who screened his film The Eagleman Stag. The 9 minute film takes us from Petrer Eagleman’s childhood to old age as Peter grapples with his realization that the longer we live, the faster time passes.

Mikey showed us detailed pictures of the monochrome models and sets and told us about the creation of the thousands of hand-crafted models and 115 sets as well as the intricate lighting effects. I wish that he had brought a sample of his models so that I could have seen the fine details of his figures. It is easy to understand why The Eagleman Stag which premiered at Sundance in 2011, won a BAFTA (British Academy of Film and Television Arts), the British equivalent of the Oscar as well as being short listed for the Oscars. Mikey also gave us a preview of his new short film Marilyn Miller. He developed the script during his 3 month residence in Tokyo and from the short clip that he showed us it looks as if it will be very interesting.

Next up at the Visual Design session were Joris Oprins and Marieke Blaauw, 2 members of the Dutch studio Job, Joris, and Marieke. The studio specializes in illustration, animation, character and toy design as well as creating the music for their projects in house. The trio rose to prominence when they created the music video for well-known Dutch rapper Gers Pardoel‘s mega hit Ik neem me (I resolve). At the session they screened the video which has received over 14 million hits on You Tube.

On opening night we were treated to a selection of films from the best European schools. The film represented by France, The United Kingdom, Germany, the Benelux Countries, and Eastern Europe. The program assured me that short animation in Europe has a bright future. The impression was strengthened when I watched the individual school presentations over the next three days.

A film that stood out in my mind was Dipendenza (Dependance) by Panna Horvath-Molnar and Virag Zomboracz who study at Moholy-Nagy Muveszeti Egyetem (MOME) in Budapest, Hungary. The 13 minute film took the audience into the world of Buba, a sweet, very large but simple-minded worker at a fish factory and his beloved Angela, a fellow factory worker. Angela is fragile and has artistic ambitions. All is well in their happy home until a handsome stranger comes to work at the factory. The black and white line drawings, with small accents of color fits the story perfectly, the character design is charming, and the story of the eternal triangle is told with delightful twists.

I think that Anima Docs are a perfect way to tell personal stories. Ruben Monteiro’s master graduation project from AKA St. Joost in Breda, The Netherlands, O Meu Nome (My Name) certainly tells a compelling story. In an on stage interview Monteiro told the audience that Ruben is an unusual name for a Portuguese man and the film tells the story of how he got his name. His family’s history and the unfortunate events portrayed in his film had dramatically shaped who he is as a person. Later he told me that when he told his relatives that he was going to tell their story on film they strenuously objected and insisted that he leave out certain events. He respected their wishes but to audiences who don’t know all of the details it doesn’t interfere with the story. Ruben used stop-motion with rotoscoped footage and laser-cut silhouettes of each movement which gives the end result an even more personal feel.

The 4 day event brought together animation professionals and students for hands on projects such as the Animation Marathon. 20 teams of 3 students each were given 48 hours to create 10 seconds of animation. Each group started with an image created by noted Belgian animator Raoul Servais. At the end of the 2 days the films were edited together to form a 3 minute film. Each group of students from animation schools throughout Europe were accompanied by a professor from their academy who could advise them but the animation was all the students work.

Raoul’s drawing for the Animation Marathon

The closing night festivities started with the presentation of the student’s marathon film. Following the film the students were called to the stage and amid large applause Raoul Servais was brought to the stage for a group photo with the students. I was sitting next to Raoul when the finished film was screened at the closing ceremony and he told me he was very pleased with what the students had done to bring his hand-drawn image to life. You can see what the students created at: ww.Fete-Anima.com.

Animation Marathon students with Raoul Servais

You didn’t have to be a child to enjoy playing at the Children’s Village in The Imaginarium located in a renovated textile factory building next to the festival office. The 2 floors were crammed full of animation related workshops and activities. From creating basic zoetropes to story boarding, stop-motion or an introduction to 3 D animation the Children’s Village was a bee hive of activity every time I visited. Each area had students and professionals to guide the young people through their animation adventures.

Future animator at work at the Children’s Village

Although the workshops and school presentations were primarily of interest to the animation community, 5 well known Pixar films were screened at The Fresnoy to attract the community. Hopefully between these screenings and the Children’s Village the local people will become curious about future festival screenings and events. There was a nice turn out of local adults with their children at Erick Oh’s Pixar masterclass.

The fun continued late into the night on Friday and Saturday. From 11 P.M. to 4 A.M. a wide array of techno pop and hip hop/electro dj’s and live musicians took to the stage in a cavernous building that is a former postal terminal in Lille. The space was so large that you could dance to the music in the front and still be able to hold a conversation in the bar area. Vibrant visual images were projected by Kiego Izzok (Glowing Bulb), a collective group that grew out of the thriving underground techno scene in Budapest, Hungary. Along with their creative projections in clubs and concerts the group has performed at outdoor festivals in numerous countries. The large crowd of party goers was a mixture of festival participants and local young people. It was a particularly welcome release for the marathon participants since the students had finished their 10 second animations earlier that evening.

The finale of the closing night festivities was 5 recent films produced in France. From Izu Train’s Ceux D’ En Haut (Those Above) based on a Guy du Maupasssant short story The Inn to Octobre Noir (Black October)the films covered a wide range of stories. Cartoonist Aurel and writer Florence Corre based their film on events that occurred on 17 October 1961 in Paris. A peaceful protest against a curfew imposed on Algerian residents by the Parisian Prefect of Police turned violent when the police attacked the predominately Algerian Muslim peaceful demonstrators beating and shooting them without any provocation from the crowd. The appalling slaughter has never been acknowledged by the French government.

Bruno Collet’s touching Son Indochine (It’s Indochina) recounts another dark period in French history. The film is centered around events at a family meal celebrating the grandfather’s birthday. He had served in the French army during the Indo China war. The unwelcome questions from his granddaughter trigger horrible memories, shown in flash backs of the terrible atrocities committed in Indochina during the war.

On a totally different note Czech animator Michaela Pavlatova’s Tram is a delightful look at female sexual desires and eroticism. I have already written about Tram which was produced by Sacrebleu Productions in France. At the party following the screenings I talk to producer Aubane Fillon who told me that Tram is the first part of their project Sexperiences, a collection of short animations about sexual fantiasies as seen through the eyes of different female animators.

The delight of the evening for me was Mademoiselle Kiki Et Les Montparnos (Miss Kiki of Montparnos). Amelie Harrault’s first film tells the story of Mademoiselle Kiki, the muse of many early 20^th Century avant-guarde artists. Her rise from being a mere artist’s model to designer, writer, singer, painter and finally the Queen of Montparnasse is told in vivid colors and 2D images that propels the viewer back in time to the heyday of Bohemian French art and café life.

The film’s enjoyable original music is by French composer and musician Oliver Daviaud which captures the feeling of the era. Daviaud also created the scores for The Rabbi’s Cat and Serge Elissaddi’s The Man in the Moon. The 14 ½ minute film was produced by Les Trois Ours and Olivier Catherin was on hand to represent the film. Mademoiselle Kiki is so rich in detail that I am looking forward to watching it again and again.

Nancy, Erick, Joanna, Olivier, Les and unknown person

I owe a big thank you to Sarah Seray who was in charge of guests for inviting me to the Fete De L’Anima and making sure that all of us were so well taken care of. Antoine Manier who is festival co-ordinator, Press Official Sarah Lemarie and all of the staff and volunteers also deserve much praise for making the entire four days flow beautifully. Running a festival in two cities that are 15 kilometers apart is not an easy job and the guest hotel was not within walking distance of the festival so all of this could not have run so smoothly without our tireless drivers who always seemed to be on call from morning until the wee hours.

I hope that I will have the opportunity to visit the Fete De L’Anima again. You can see photos of the festival and discover for yourself the vast array of event that took place at: www.fete-anim.com

This site is a member of Animation blogspot, part of the Animation World Network

CALL FOR ENTRIES - ReAnimania - 2 -8 November, 2013; Yerevan, Armenia

sprockets — Sun, 07 Apr 2013 15:07:34 +0000

ReAnimania is now heading to its 5-year jubilee and the call for applications is open!

We have already received many films from different countries and if you have missed the big news then you still have time to submit your film to ReAnimania 2013 which will take place from 2nd to 8th of November!
Deadline for all film entries (Short/Graduation/TV/Commissioned/Music) is August 15, 2013.

The closing date for FEATURE film submission is August 29, 2013.

IMPORTANT NOTE: As regards sending and returning the selection DVD, in case you declare ‘value’ the festival is not responsible if the film gets stuck at customs.
Entry forms are available at http://reanimania.com/participants
Please send your submissions to:
ReAnimania IAFFY
Argishti St. 7/4
0015 Yerevan, Armenia

Should you have questions, do not hesitate to contact us on applications@reanimania.com

You can also join us on FB http://www.facebook.com/ReAnimania
Best regards,
ReAnimania TEAM

This site is a member of Animation blogspot, part of the Animation World Network

CALL FOR ENTRY: ANIBAR 2013, 9 - 14 Aug, 2013

sprockets — Mon, 01 Apr 2013 12:31:47 +0000

I was invited to be a juror at 2012 Anibar and I am so happy to have discovered this wonderful festival. I urge everyone to send their films and you can read all about my trip to Peja on my blog.

Anibar International Animation Festival is pleased to announce its worldwide call for entries for its 2013 festival, taking place 09 to 14 August, in the city of Peja, Kosova.

Animation filmmakers are invited to submit their work to compete in three main categories:

The Eye for Best International Animation
The Eye for Best Balkan Animation
The Eye for Best Student Animation.

THE CALL IS OPEN UNTIL SATURDAY, MAY 23, 2013.

Animation criteria:

•Completed after August 01, 2011.
•Less than 30 minutes long (including credits)
•All films must be presented in Original Language, and must be subtitled in English.

Application:
A link to the online application form and regulations is available here. Additionally, films may be submitted using the online submission platform Reelport: http://www.reelport.com/

This site is a member of Animation blogspot, part of the Animation World Network

CALL FOR ENTRIES: FESA ‘13 31 Aug -1 Sept, 2013

sprockets — Mon, 01 Apr 2013 12:27:39 +0000

I was lucky enough to be invited to the first edition of this festival and it was a lovely event. I know that it will be even better this year. If you are an European animation students I urge you to send your work to the Festival of European Student Animation. You can also read my account of last years event on my blog.

ABOUT FESA ‘13
Initiated by the Public Enterprise “Belgrade Fortress”, FESA – Festival of European Student Animation, was established in 2012 under the auspices of the Serbian Ministry for Culture.
The main goal of the festival is to promote the art of animation from the European countries and to create conditions that will enable the younger generation to conquer new concepts and new technologies.
The Festival of European Student Animation will be held from August 31th to September 1st 2013.
The Festival comprises of Students Competition programme (film schools and single student authors)
This year’s competition themes are CHRISTIANITY and WISDOM in the widest sense of the terms.
ADMISSION CONDITIONS
Only animated films/works of European production not longer than 30 minutes will be accepted (using classical »frame by frame« or computer animation techniques or combining live action and animation (Animation being primary media).
Works completed in this Millenium will be considered eligible for this year’s festival.
Works coming from Non European Countries cannot be accepted for competition, but can be screened at the festival
if chosen by the Pre-Selection Committee.
One author can submit more than one film according to festival rules.
There is no entry fee.
ENTRIES AND REGISTRATION
For Pre-Selection films must be sent only in MP4, AVI or MOV format.
The ENTRY FORM – please download from the festival website
http://www.beogradskatvrdjava.co.rs/FESA-2013_4049-80_1983
should be sent by e-mail to – fesafestival@gmail.com
The Entry Form must be sent together with:
– digital copy of the film for Pre-Selection,
– two or more stills from the film (6 cm width, 300 dpi),
– film synopsis (maximum 500 characters)
– photo of the author,
– brief biography of the author and filmography.
Deadline for submission is August 5th 2013
Digital copies sent for selection and competition will be kept in the Festival’s archive.
PRE-SELECTION COMMITTEE AND THE JURY
The Pre-Selection Committee consists of two members from Serbia and the Artistic Director of the Festival.
The Official International Award Jury for the Student Competition consists of three members, professors, theorists or animation artists from the European countries:
The Participants will be informed about the results of Pre-Selection by e-mail before August 20th 2013.
AWARDS
The following official Festival Awards will be granted by the International Jury:
1. Prize of the festival for the Best Student Film
2. Special Jury Award
The International Jury is also free to award 3 special diplomas by their own choice.
All the awards must be granted.
SUBTITLING
All the films need to have English subtitles incorporated, except if the spoken language in the film is English.
ACCEPTING THE RULES
The participation (sending films for Pre-Selection and signing the Entry Form) in the FESA implies unconditional acceptance of the terms and conditions set forth in these Regulations. Films once applied for the festival cannot be withdrawn.
Festival confirms that all the authors’ rights, clearly indicated in the Entry Form, will be guaranteed.

This site is a member of Animation blogspot, part of the Animation World Network

CALL FOR ENTRY: Rozafa AniFest 2013

sprockets — Sat, 30 Mar 2013 14:30:30 +0000

The organizers would like to announce the opening of the International Festive film for Children and Young Audience Rozafa AniFest 2013, which will be held in the city of Shkodra, Albania from September 23- 28, 2013.

DOWNLOAD THE CALL FOR ENTRY FORM - on our website www.anifestrozafa.org & www.rozafaanifilm.com

Registration is open for everyone, and free of charge,

Before you fill in an online Entry Form, please read the regulation of the “ROZAFA AniFest2013″

The maximum of film screening is 30 minutes.

There are no limitations as to the number of films you can register, and we welcome films from any country of the world.

ALSO, PLEASE PRINT, FILL OUT AND SEND THE FOLLOWING RECOMMENDATION:

RECOMMENDATION

The right to decide for each applicant:

Each authorized person who applies for film registration “………………………………………………….” at the International Film Festival “ROZAFA AniFest 2013″ after reading this paragraph

“ The applicant films for the Festival are going to be programmed to pass the first phase of the competition by subjecting the general thoughts of the public by voting and engaging in the competitive program on TV.

The film is going to be accompanied with a letter from the special authority for the authorized person regarding the right of film screening.”

Being authorized over the rights of the film, I decide :

a) I agree ………..

b) I do not agree …………

( This film will pass all the procedures of the first phase as usual. )

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“ROZAFA- AniFest 2013″
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Best regards
Artan Maku
Festival director

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ANIMA BRUSSELS – The Brussels Animation Festival February 8 – 17, 2013; Brussels, Belgium

sprockets — Tue, 19 Mar 2013 21:12:30 +0000

Each year I look forward to Anima Brussels because it is my first festival of the year and an opportunity to see a large number of new Belgian animated films. Over the ten days of ANIMA there are also many noted guests and old friends.

Nancy and Estonian animator Kasper Jancis doing what they do well

The festivities got off to a start opening night with the much anticipated Italian/Belgian/Luxemburg animated feature co-production Pinocchio by Italian director Enzo D’Alo.

The first half of the animated feature seemed to drag along slowly, it comes to life in the second half, when Pinocchio reaches Donkey Island. Suddenly the screen lit up with characters that looked straight out of the American/German artist Richard Lindner’s paintings, bursting into song and dance as the wayward boys get lured into the dungeon where they are slowly turned into donkeys. Lorenzo Mattotti’s brilliant talents as a noted comic book artist and graphic designer are shown to their fullest in this sequence.

Unfortunately this was an all too short interlude. The sequence of Gepetto and Pinocchio in the belly of the whale lacked the beauty and poetry of the Disney classic and seemed to go on too long. On a positive note, this film adhered very closely to Carlo Collodri’ 1890’s The Adventures of Pinocchio, but for sheer magic and visual beauty this version falls short of Disney’s 1940 classic.

One of the special features of ANIMA is the three This Is Belgium screenings which showcase what’s new in Belgian animation. In the last couple of years I have done voiceover work on several Belgian films, but I only see the sections of the films that I am working on. Last fall I did some work on director Remi Vandenitte’s Betty’s Blues and it was really nice to see the film on the big screen.

Vandenitte showed a real understanding of the Southern United States and segregation in his portrayal of New Orleans in the 1920’s. The story of a young black musician and his girlfriend who are attacked by the KKK is deftly told in song. The musician is blinded and his girlfriend killed in the encounter, but from the horror of the attack the musician learns the power his music has to move everyone regardless of the colour of their skin.

The Belgian jury seemed impressed by the 2D/puppet animation film because they awarded it the RTBF –LaTrois Award, which insures the purchase of broadcast rights for Betty’s Blues. The film was also awarded a Special Mention as the Best Belgian Student Short Film.

I first saw One for the Road (Eentje voor Onderweg) at a preview screening several months ago and I thought that it was very humorous. Watching director Lander Ceuppens’ tale of a broken hearted fellow who tries to commit suicide without any success because the grim reaper doesn’t arrive on time made me laugh just as much at the second viewing.

The simple line drawings and minimal use of color lends itself perfectly to the story of the unlikely duo’s all night drinking bout and the climax of the film when the man and the reaper both sober up the next morning.

It was obvious that Oh Willy, Emma de Swaef and Marc Roels’ amazing puppet animation, was the best film in the Belgian Competition. The film has won numerous awards at festivals worldwide including the prestigious Cartoon d’ Or. Unfortunately the top Belgian award at ANIMA, Le Grand Prix de la Federation Wallonie-Brussels is sponsored by the French (Wallonie) speaking half of Belgium and as a result only films made by French speaking Belgians are eligible. Oh Willy was awarded the SACD (a Belgian author’s rights organization) Award.

For anyone not familiar with Belgian politics, I’m afraid that I cannot quickly explain the situation here. There have been countless articles written about the complicated situation and there is still no solution in site. I do hope that in the future some Flemish organization will step forward and give an award so there can be two separate but equal Best Belgian films.

Deux Iles (Two Islands) walked off with not only the Wallonie Grand Prix but the Best Belgian Student Short as well. The five minute film was the co-operative work of eight students for Laboratories Images and produced by Cargo Film and Canal+.

The Laboratories Images challenge was for the group to bring the work of an illustrator to life. They selected the well known author and Belgian comic illustrator Eric Lambe. All of Lambe’s illustrations are created from frames of blue and black overlapping pen drawings. The catalogue synopsis says “In a curious field of blue ink, vibrant scratches, and electric opacity, two people meet, intersect, bind, untie, merge, and intermingle without ever meeting”. That is as clear a description as I can give.

I had already seen and written about most of the short films in competition that I considered top notch but there are always new treats to see and a few films that I had not paid enough attention to before. A new delight for me was Russian animator Sonya Kendel’s graduation film from Moscow’s School-Studio “Shar”. Pishto uyeszhayet (Pishto Goes Away) is a tale of Pishto, the cat, who becomes fed up with his life and sets off to discover a better world. Before he can go very far he meets an adorable puppy who is lonely and suddenly everything changes for Pishto. The simple line drawings in muted shades of brown and grey lend themselves perfectly to the story and I can see Pishto as the “hero” of a series of adventures.

I am sure that I have seen Night of the Loving Dead before, but this time Anna Humphries’ quirky zombie silhouette animation caught my eye. Anna’s graduation film from the UK National Film and Television School is the story of a love sick teenager who lives with his wicked sex-obsessed step mother. When he accidently brings his dead girlfriend back to life he gets much more than he bargained for. Anna told me that she has always been fascinated by silhouette animation and made this film as a tongue in cheek homage to the great pioneer of this style, Lotte Reiniger.

I have seen Feral several times and I have always been left with an unsettled feeling. The combination of 2-D graphically animated characters and hand painted frames gives Daniel Sousa’s film a dark, brooding quality that adds to the eerie tale of a wild boy found in the woods by a hunter. The story is based on historical accounts of children who have been abandoned and the attempts to re-introduce them into society. American animator Sousa blends mythology, fairy tales, and reality to portray the usually disastrous results of these attempts. The jury was also intrigued by the film and awarded the Grand Prix to Feral.

Feature films have to be really good to hold my interest for an hour and a half to two hours. Far too often I find myself thinking “How much longer until this is over?” but ANIMA Brussels had several full length films that I thoroughly enjoyed.

Unlike so many animated features, the Northern Spanish 3-D stop motion El Apostal (The Apostal) is definitely an adult film. Based on a story rooted in folklore, tradition, and Northern Spanish history, director Fernando Cortizo weaves terror, humor, and fantasy to tell a tale that held my interest until the very end. The film’s main theme composed by Phillip Glass sets a perfect tone for the story of an escaped convict who returns to a remote village to retrieve his loot. What should be a simple thing to do turns into a real life nightmare for the convict, involving a strange priest, wandering spirits, and odd disappearances. El Apostal is slated for commercial release in Spain, Latin and South America, but unfortunately so far there is no US distributor which doesn’t surprise me since there seems to be almost no market for intelligent adult oriented animation there.

I was totally charmed by Mamoru Hosoda’s Okami Kodomo no Ame to Yuki (Ame and Yuki, Wolf Children). The Japanese animator weaves fantasy and realistic settings to tell the story of the two children, Ame and Yuki, and their mother, Hana. The three of them live a simple, happy life in a quiet corner of a big city until it becomes harder and harder to conceal the dark family secret that their dead father was a werewolf. Hana and her children move to the countryside by a beautiful forest where the children are free to express both sides of their true nature.

Wolf Childen is a film that can be enjoyed by children and adults alike with a lovely message for both. Children should not be forced to conform to their elders’ expectations, and parents must allow their children to be who they really are and give them wings to fly free.

Although not as visually lovely as Wolf Children, Momo E No Tegami (A Letter to Momo) by Hiroyuki Okiura also blends fantasy and reality. The film centers on eleven year old Momo who is finding it difficult to cope with all of the sudden changes in her life following her beloved father’s death. Momo and her mother go to live at her mother’s childhood home on a remote island where she finds it difficult to fit in.

Momo’s father had left her a letter with only two words “Dear Momo” written on it. She struggles to understand what her father wanted to say to her and to make her mother believe that she is hearing strange sounds coming from the attic. When Momo finally meets three imps in the attic, she discovers that her father’s two word letter is connected to her arrival on the islands and the strange events that began to occur there.

Because ANIMA Brussels takes place during Belgium’s Carnival school holiday, mornings and afternoons were devoted to programs for younger audiences. New episodes of the very popular Spanish series The Adventures of Capelito had the the audience of three and four year olds laughing gleefully. The eight new stop-motion animations about a little mushroom named Capelito with a magic hat once again finds him getting into all sorts of silly situations as he tries to catch fish, woo his lady friend, and go on a visit to a tropical rain forest. The forty minute program was the perfect way for parents to introduce small children to their first cinema adventure.

There were numerous short film programs for young people of all ages. My favorite was a selection of four short beautifully animated tales from Russia’s renowned Pilot Studio. The films were created by some of the greatest names in Russian animation such as the late, grate guiding light of Pilot Alexander Tatarsky’s Le Rossignol, Histoires d’ours by Mikhail Aldashin, Zhiharka from Oleg Uzhinov, and Eduard Nazarov and Marina Karpova’s Le Maison des biquettes. I had seen all four of the films before but they were just as charming and captivating as the first time that I saw them.

There were also numerous feature films for young people of all ages and it was very encouraging to see that the morning and afternoon programs were well attended. My favourite feature for young audiences, The Day of the Crows, turned out to be a very pleasant surprise for me because I hadn’t expected to really enjoy it.

The hand drawn film is based on a novel by Canadian writer Jean-Francois Beauchemin and directed by French director Jean-Christophe Dessaint. The story revolves around a boy growing up deep in the forest with his father where they lead a tough, wild life with only the forest ghosts as companions. The boy’s accidental discovery of love in an unexpected place leads him on a search for why his gruff father is hiding his love for his son.

From the moment the opening credits appeared I was captivated by the beautiful forest ghosts and backgrounds, but the character design of the father and especially the son just didn’t seem to fit the overall design of the film. As the plot unfolded and I began to understand the complexities of the story the forms of the two main characters slowly began to make perfect sense. The film moves at a leisurely pace but when all is revealed at the end it turns out to be an excellent story with characters that I cared about.

Young people also had the opportunity to learn about animation at a hands on level at the stop-motion workshop put together by Zorobabel and Kidscam. Every time I visited it the room was alive with small groups moving objects and filming them to create their own short animations.

Each evening the festival café staff prepared delicious meals for the festival guests. Often at festivals everyone is so busy that it is hard to find time for informal chats so dinner proved the perfect opportunity to meet everyone in one place. The highlight of the ten day festival for me was the two long dinners I enjoyed with animation legend Børge Ring, his wife, daughter and son-in-law. I had become a friend of Børge’s delightful daughter Anne-Mieke Bovelett-Ring at Annecy in 2012 where she introduced a retrospective of her father’s work. You can read a full account of that screening in my July 2012 Annecy article at

http://sprockets.animationblogspot.com/

Børge and his wife Janika who live in Overiangel in the Netherlands seldom travel to animation festivals so their visit to ANIMA was a real treat for me. Janika, who is a sculptor and writer, showed me pictures of their thatched roof home which was tragically destroyed by fire in February of last year. She told me that they plan to rebuild their home on the same site exactly as it was. It’s sad to think of all of the treasures that were lost in the disaster, including Børge’s Oscar which he received in 1984 for Anna and Bella, but he has already started collecting new awards to decorate their home, beginning with the 2012 Winsor McCay Award presented to him and accepted by his daughter at the 2012 Annie Awards for his outstanding life long contribution to animation.

Børge Ring

Børge, who is 92 years young, may not move as fast as he once did but his mind is as sharp as a tack and the mischievous twinkle in his eyes and quick wit have not aged a bit. I thoroughly enjoyed listening to his wonderful stories.

My Czech friend Michaela Pavlatova is not only a brilliant animator but an entertaining speaker. She gave one of the most insteresting master classes that I have attended in a long time. Instead of primarily talking about her own work she showed examples of films that have inspired her and how they have influenced her own approach to animation. It was a rare opportunity to get a peak into how a very creative mind developed into a top notch animator. In 1993 Michaela’s film Words, Words, Words was nominated for an Academy Award and her current film Tram has been garnering awards at festivals world wide. In 2012 Tram took home the coveted Annecy Crystal and was short listed for an Oscar this year.

Michaela Pavlatova and Nancy

ANIMA Brussels is such a wonderful festival because of the quality of the screenings but even better, each year it gives me an opportunity to informally meet the top names in the animation world. I have seen French animator Franck Dion’s Edmond Was a Donkey several times and the tale about an office worker who refuses to be like everyone else and slowly discovers his true nature never fails to touch me. I finally had the opportunity to meet Franck at the festival party for all of the guests and he is as delightful as his film.

Hisko Hulsing (Junkyard), Franck Dion (Edmond Was a Donkey) and Nancy

It was good to talk to Raoul Servais at the party also. As well as creating such critically acclaimed work as Taxandria and Harpya which won the Palme d’ Or for Best Short Film at the Cannes Film Festival he is the founder of the first European department of animation, KASK, as part of the Academie at what is now Hogeschool Gent (University College) in Gent, Belgium in 1966. At 82 Raoul is still quite charming and still takes an active interest in the animation community, attending festivals and the yearly film finals at KASK.

Sekhar Mukherjee with Raoul Servais

I was delighted to see my friend Sekhar Mukherjee from India who was on the International Competition Jury. Sekhar is a comic book artist, illustrator, graphic designer, animator and he supervises the animation department of the National Institute of Design (NID) in Ahmedabad, India. Most of the Indian animation that I have seen has not been very good, with poor animation and content. Sekhar told me that most of the animation created in India is for outsourcing, especially for American studios, which has greatly influenced what students are taught in animation schools. A few schools such as NID are fighting hard to create original, locally based film. His impressive Indian Animation Today screening provided a good overview of the creative work that is being done not just in some schools but also by independent animators in such areas as commercials, ethnic, and satirical animation.

Journey to Nagaland which took Aditi Chitre two and a half years to complete is a beautifully drawn animation that tells a personal story. The film is about a young girl from Bombay who is haunted by the ghost of a woman in a red shawl. Searching for her families’ roots she is guided by an eagle, carrier of the dead woman’s spirit, to Nagaland where the mystery of the apparition is revealed to her. Woven into the story are Naga folk songs, customs, and beliefs which have continued even after the tribe adopted Christianity.

Nagaland is in the remote mountainous North-Eastern corner of India. The natives were known as the fiercest headhunters in the world and Sekhar told me that it is difficult even for Indian residents to visit there.

A very important part of Anima is the annual Pecha Kucha project pitching session. Pecha Kucha literally means blah-blah in Japan where the concept originated. The thirteen participates were allowed twenty slides each which were projected on the big screen for twenty seconds each while the participant talks about their project. I find Pecha Kucha a good opportunity to get an advance look at what might just be the next hit film.

I have seen Oh Willy countless times but The Magic of Stop-Motion Animation exhibition gave me my first opportunity to see the actual beautifully crafted puppets firsthand. The puppets and sets, down to the smallest detail like the toilet seat, were meticulously created out of felt. In honor of the recent Belgian/Luxemburg stop-motion films Par les fenetres (Through the Windows) by Christophe Gautry and Arnaud Demuynck, Olivier Pesch’s Emille, and the Cartoon d’Or winning Oh Willy by Emma De Swaef and Marc Roels the extensive exhibition gave film fans a behind the scenes glimpse at how puppets are constructed and brought to life. The Behind the Scenes of Stop Motion session gave the audience a chance to hear film makers analyse their films from the actual creation of the puppets to building the sets, compositing and special effects.

Oh Willy puppet

Willy

Oh Willy

Set for Emille

Animated Night is exactly what it says. From 9:30 PM until about 3 AM the main screening room of the Flagey brightened the long, cold winter night with 50 short films, music videos, and commercials. The selection ranged from the sublime to films so bad that they were good silly fun to watch. Every couple of hours there was a break to visit the bar and listen to music by DJ The Wild and The Wild Boar and Bull Brass Band.

Costumed Cosplayers

After each session the audience could vote for their favourite film. My favourite of the evening was Oh Sheep! Gottfried Mentor’s diploma film at the Filmacademy Baden-Wuerttemberg in Ludwigsburg, Germany. His tale of two flocks of lonely sheep looking for companionship and their two feuding shepherds who try to keep them apart with dire consequences is equally part tragedy and humor. The rest of the audience agreed with me and voted Oh Sheep! the Animated Nights Audience Award for Best Short Film.

I had the opportunity to talk to Gottfried about his film and he told me that his big challenge in making it was to create sheep that were original looking so that his film would not be compared to Nick Park’s very clever film Shaun the Sheep about a flock of sheep, Bouser the trusty dog, and the farmer. There were no pink hair curlers, cute baby lamb, or pesky pigs and Mentor succeeded because his sheep did have their own unique look.

Days just flew by and all too soon it was time for the closing ceremony. After the vast army of volunteers were called to the stage and their hard work acknowledged with a loud round of applause, Stephanie Coerten got down to business of the awards. A full list of the juries and awards is at the end of the article.

Once again this year festival coordinators Doris Cleven and Phillippe Moins put together wonderful competition screenings, special programs, and exciting events. I owe a warm thank you to Karin Vandenrydt and Noémie Meert who were always on hand to answer my questions and help me with anything that I needed. The numerous volunteers were always happy to go out of their way to help visitors and guests alike.

I am already looking forward the treats Anima Brussels 2014 will hold for us. You can see find out about ANIMA Brussels, see more photos and check out The Best of Anima 8 DVD on the festival web site:

www.animafestival.be

International Jury members Sekhar Mukherjee, Kim Keukeleire and Benjamin Renner

INTERNATIONAL COMPETITION JURY:

Kim Keukeleire, Belgium; Sekhar Mukherjee, India; Benjamin Renner, France

NATIONAL COMPETITION JURY:

Kim Duchateau, Belgium; William Henne, Belgium; Andrea Martignoni, Italy

Nik blows the big horn

International Competition
JURY AWARDS
Grand Prix Anima 2013 offered by the Brussels-Capital Region

Feral by Daniel Sousa

Anima 2013 Award for Best Professional Short Film

Palmipedarium by Jérémy Clapin

Special Mention: The People Who Never Stop by Florian Piento

Anima 2013 Award for Best Student Short Film

Pripad by Martin Zivocky

Special Mention: Soeur et frère by Marie Vieillevie

Best Music Video Award

Converse “Doyathing” by Jamie Hewlett

Best Advertising Award

Russian Railways “175 years of Russian Railways” by Alexander Petrov and Dima Petrov

Anima 2013 Award for Best Children’s Short Film (Radio Bobo-jury)

The Fantastic Flying Books of Mr Morris Lessmore by William Joyce and Brandon Oldenburg

Special Mention: L’Automne de Pougne by Pierre-Luc Granjon and Antoine Lanciaux
AUDIENCE AWARDS
Fluxys Award for Best Short Film

Fear of Flying by Conor Finnegan

Audience Award for Best Children’s Short Film

L’Automne de Pougne by Pierre-Luc Granjon and Antoine Lanciaux

Animation Night Audience Award for Best Short Film

Oh Sheep! by Gottfried Mentor

Audience Award for Best Animated Feature , sponsored by FedEx

Crulic - Drumul Spre Dincolo / Crulic - The Path To Beyond by Anca Damian

Audience Award for Best Children’s Animated Feature

Tadeo Jones, El Tablero / Tad l’Explorateur. A la recherche de la cité perdue by Enrique Gato

PARTNER AWARDS
BeTV Award for Best Animated Feature

Crulic - Drumul Spre Dincolo / Crulic - The Path To Beyond by Anca Damian

Format Court Award for Best Student Short Film

I am Tom Moody by Ainslie Henderson

National Competition

JURY AWARDS

Grand Prix of the Fédération Wallonie - Bruxelles

Deux Îles by Eric Lambé, Adrien Cellieres, Nicolas Debruyn, Florian Guillaume, Guillaume Franck, Sarah Heinrich, Lucile Martineau, Gilles Pirenne, Valery Vasteels

SACD Award

Oh Willy… by Emma De Swaef and Marc James Roels

SABAM Award

De Wake by Pieter Coudyzer

TVPaint Award for Best Belgian Student Short Film

Deux Îles by Eric Lambé, Adrien Cellieres, Nicolas Debruyn, Florian Guillaume, Guillaume Franck, Sarah Heinrich, Lucile Martineau, Gilles Pirenne, Valery Vasteels

Special Mention : Betty’s Blues by Rémi Vandenitte

PARTNER AWARDS

BeTV Award

Maintenant il faut grandir by Bruno Tondeur

Betty’s Blues by Rémi Vandenitte

Cinergie Award

Oh Willy… by Emma De Swaef and Marc James Roels

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