2010

Animation Renaissance

I’m a wee bit behind on various updates from my stable of animation blogs and websites so here is a belated link to a post by Michael Sporn featuring a magazine article written by the one and only Mr. John Canemaker discussing the state of the animation industry in 1980 (a.k.a. 30 years ago). The article serves as a good reminder that although the industry is always in a state of change, it is never permanently resigned to an unfortunate fate. It’s well worth a read.

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An Early Goal for 2011

I had a nice post written all about the healthy state of TV animtion worldwide and then the computer went and lost it. Seeing as I am now late for work, it will have to wait for another day. In the meantime, here is the beginnings of my latest project. I have to juggle girlfriend, work, school and the dog in between everything else going on in my life so it may take a while (read: the better part of a year) to see some resutls. Nonetheless, I’m excited.

 

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Thoughts on the Tintin Movie

Via: Cartoon Brew

By now we’ve all seen the stills on Empire and read the comments on Cartoon Brew. I myself would have posted a lot earlier but the old PC is acting up (my motherboard is suffering from capacitor fatigue) and it got to the point this morning that I was halfway done writing this post before it shut off by itself.

But enough of my computer woes and onto some animation ones. The upcoming Tintin feature will be made in motion-capture, that much is certain. Now I am no fan of the technology. If something is considered animated, that means there are no humans involved in the actual movement process. When I say this, I do not mean to include rotoscoping. That process still relies on a degree of talent to draw the character. Motion-capture removes the vast majority of that skill and relies instead on a designer and set-builder.

Much of the hubbub around the film concerns the look of the characters and how much they differ from the comics. It’s nearly impossible to pass judgement on a film based off two still pictures, so a more complete opinion will have to wait until we see some actual footage.

It’s sadly becoming harder and harder to convince people that traditional animation is often much more appropriate for certain projects. Tintin is a prime example. The Nelvana TV series was very much true to the comics and was all the better for it. This film is likely to see a much greater departure from the books fans the world over know and love (myself included).

The final aspect to consider is what the overall plan is for the film. There were 21 Tintin books in total and unless the producers expect to make a James Bond-esque series, there are going to be some tough choices to be made.

The release date is still some time away so I will not be worrying about it too much until then and neither should you.

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All I Learned About American Politics I Learned From The Simpsons

Apologies for the lack of a post yesterday, you can collectively blame that deadline at work.

Today is Election Day here in the States and as a result, just about everything you see, hear and touch today will be tinged with politics and as you can imagine, trying not to post something political is really hard without showing off your colours.

Being Irish, my colours are green, so that doesn’t really matter and besides, they’re not having an election over there today.

Instead, I am going to encourage you to watch the one episode of the Simpsons that pretty much taught me everything I knew about US elections until I actually arrived here: Sideshow Bob Roberts

Via: Wikipedia

Being of the “classic” era, there are tons of jokes, references, one-liners and a plot that manages to tie them all together. In it, we see Sideshow Bob at perhaps his most menacing. He doesn’t murder anyone, but he does actually succeed in his plan until thwarted by Bart & Lisa.

The episode is as much a satire on the political system itself as it is on the politicians themselves and in a move that garners some praise, it manages to keep the leanings pretty much within the boundaries that the show has traditionally stayed in.

If you must watch anything today, watch this. I’m, not going to link to it because of the [ahem] temporary nature of the links but you should know where to look.

And before you go, here is the defining, hilarious quote from the episode:

Hmm…I don’t agree with his Bart-killing policy, but I do approve of his Selma-killing policy.

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Happy Birthday to Mr. Ralph Bakshi!

Thanks to Jeaux for reminding me that today is the birthday of the one and only Ralph Bakshi. The influence of this one guy are still being felt today and his impression on younger animators is undeniable (thanks to Mr. John K.)

It’s fair to say that although he never had any excessive commercial success, the animation world would be a heck of alot poorer it wasn’t for him. Happy birthday Ralph!

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International Animation Day and Disney Princesses

In case you hadn’t noticed, today is International Animation Day and thanks to the TAG Blog, here is the official animation by Simon Streatfeild:

[youtube=http://www.youtube.com/watch?v=lnjgKQAvvLw]

On a different note, below is a picture I came across while checking my Tumblr dashboard yesterday afternoon,

Via: The Disney Princess

Some-one out there has created pictures centring solely on the negative aspects of each princess’ tale. If you read them, you’ll see that most are taken way out of context and none take into account the personality of each character.

The image above on the other hand, displays some very strong and encouraging traits (the exception being spoiled). Some of them (such as brave, artistic, defiant, independent, adventurous) are certainly traits that I would expect any female to have.

The important contrast between the opposing images is that one side heavily reinforces a point of view that completely removes the story and setting from the equation. The other focuses strictly on the personality trait that best describes the character.

I know I may be comparing apples to oranges (in fact, I probably am) but I would much rather consider the characters in the positive light. How about you?

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The Mythical Banned Episode

Via: The Golem Universe

During a quick perusal of my favourite bookmarks this morning before I began typing this, I read a remarkable post over on Fred Seibert’s Blog concerning a “banned” episode of the hit show Dexter’s Laboratory. Apparently even Fred didn’t know about it, so he called up the one and only Genndy Tartakovsky (someday maybe I too will have a famous person in my phonebook [sigh]).

As it turns out, it does exist and wasn’t broadcast because of the amount of (bleeped) swearing. Now what the swear words were, I do not know. I doubt they were the really serious kind although they probably weren’t suitable for a an audience of children.

Which leads us to the whole mystery of so-called banned episodes of shows. Why would an episode be “banned”? Why would the creators even be allowed to make the episode in the first place, if there is even a slight chance that it wouldn’t make it to air?

It’s hard to tell. Sometimes a script will appear OK but once it is finished, it might seem worse. A more likely culprit is that the people directly supervising the show are fine with it but once someone higher up sees it, they might use their superior executive powers to veto its broadcast.

Some people wonder how a company can afford to lock-up these episodes, especially considering that animation is not the cheapest form of production. The reality is that one episode does not a series make and the company will often take the hit because if the episode were broadcast, it could face untold fines from the FCC. Remember the whole Janet Jackson SuperBowl™ incident? Yeah, we all had a good laugh at that in Europe; the lawsuits are still ongoing over here. That pretty much speaks for itself.

The rumour-mill also seems to have this ability of elevate such episodes to near mythological status among fans. Titbits of information here and there is often interpolated to mean that it is the most awesome episode ever in a holy grail kind of way. Of course once these episodes eventually make their way onto the airways or internets, they are of no better quality than the ones that were broadcast.

The interesting thing is that when people call a show or episode “banned” today, they really mean that it simply wasn’t broadcast by the network. This is not the same as being banned. In the past (and especially for those poor folks in a non-free country) a banned piece of property or information meant that you were not supposed to have it under any circumstances and you were likely facing some jail time if you were caught.

Ditto for many old cartoons considered “banned” today. A few examples come to mind in the form of Coal Black and De Seben Swarfs, which is due for potential release next year, Song of the South, which is not really considered “banned” but is widely known to be a regrettable reminder of the past for the Walt Disney Co. Contemporary examples include the aforementioned Dexter episode as well as numerous South Parks and Family Guys.

Another aspect to consider is that all of these were withdrawn by their respective studios/parent corporations. None were deemed by the government to be offensive (although during the war years, the government did air concerns about the vulgarity of some of the shorts emanating from Hollywood and Termite Terrace).

In the grand scheme of things, “banned” episodes of TV shows are rareity, although they are far more prevalent in the US as a result of the diversity of the population and the relatively strict nature of broadcast regulations. Sometimes they really are worth trying to see, but it is good to remember that they are often over-rated and have often hidden away for good reason. Having said that, I kind of would like to see Dexter cursing now 🙂

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It’s (Almost) International Animation Day

Via: ASIFA

Yes, it’s ,today,  October 26th!

EDIT: I got confused this morning (easy to do at 6am), ASIFA-East is holding their event tonight, the day itself is on Thursday, October 28th.

So, what exactly is International Animation Day? Well, it’s organised by ASIFA and its aim is to celebrate the anniversary of the first public performance of Emile Reynaud’s Theatre Optique in Paris in 1892. The reason for such an occasion is as follows (from ASIFA’s website):

Such a celebration is an outstanding opportunity to put the animated film in the limelight and make this art more accessible to the public.

As part of the festivities, ASIFA-East is holding a screening of Prescott Wright films this evening at SVA in Manhattan starting at 7pm.

The purpose of the day is to help foster awareness of animation as much more than just cartoons but as an expressive artform comparable to its live-action counterpart. It’s sad to say, but there are many, many people who thin that animation stops at Mickey Mouse or Pixar. Little do they now what kind of wonders can lurk underneath the surface.

In addition to celebrating animation, the day also offers an opportunity for anyone to learn about animation and its techniques. ASIFA actively encourages organizations to help promote the artform and to teach about the more technical aspects of animation production.

So what are you waiting for? Sit back, relax and enjoy your favourite animated film today or go out there and teach someone all about it!

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Working From Home or In A Studio: Which is Better?

Being in the civil engineering profession, I am blessed/cursed in that I generally must conduct my affairs in the office. Our use of CAD software, large files and the overall collaborative nature of the work often necessitates working closely with co-workers. There is, however, the rare opportunity for working outside the office, such as a visit to a project, or making a delivery/pickup of plans. There is also the rare-as-hens-teeth days when I am able to telecommute.

Now granted, I only live 10 minutes from the office (5 if I hit every traffic light just right and ignore the speed limit on the Beltway) so its not that big of a deal for me to travel to work every day. Last week (and by extension, this week) have been one of those high-pressure, “I need it yesterday” kind of fortnights, and as a result, I had to do some work on Saturday morning.

Through the magic of Netflix Citrix, I was able to do everything from my computer at home. I could have stayed in my pyjamas but I opted for the more mature choice of tracksuit bottoms.

Long story short, the whole experience got me wondering as to which is better: working at home or in an office environment. For studios (and companies in general) there are certainly many advantages to having employees work off-premises. Money can be saved from rent, equipment, electric, heat (if a smaller office is used), coffee, etc. For the employee, there is the option of working in your pyjamas, getting a cup of tea whenever you feel like it, and (if it is available) of working hours that suit them.

Freelancers have known about the many benefits for years now. In fact, a large minority of artists whose blogs I follow tend to be freelancers who work at home, and they all enjoy it!

That is not to say that working from home is for everyone, it does come with its own set of disadvantages after all. For example, in the modern digital age, if your computer decides it just can’t take it any more and gives up when the deadline is tomorrow, you have to be your own IT department or its your neck on the chopping block.

A studio offers the social atmosphere that makes an office and enjoyable place to work. There is the comradery, collaborative element and the ability to collectively inspire each other. At the same time, there is also office politics to consider and if your boss is a bit of an eejit, being as far away from them as possible is preferable. Yes, sadly there are people out there who have absolutely no business being in management and yet they do exist.

At the end of the day, it will come down to personal taste as much as the willingness of the project manager to let you work remotely. For some projects (such as The Secret of Kells) it worked wonders as everyone was talented and experienced enough to simply get on with the job with the direction given from Ireland.

With the increase in internet speeds and the proliferation of cloud computing and so forth, it is more likely that companies (especially smaller outfits) will seek to lower overhead costs by allowing employees to work at home, thus shifting heating, electric and plant costs to them. Ideally, everyone should be given a choice as to which they prefer.

So, the real answer is: neither. Both systems play to equal strengths and weaknesses and both have their champions. Personally, I like the interaction with co-workers. Your mileage may vary.

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Why Laugh Tracks Are Unnecessary in Cartoons

Via: Connexions

So last night I sat down to listen to a CD called Bugs Bunny at the Symphony. Which, as you might expect contains various orchestral music from Bugs’ Looney Tunes shorts in much the same style as Bugs Bunny on Broadway. All I can say is that it’s great to hear the scores being played by an orchestra, especially with all the modern digital mastering an all that.

As I was listening to the music (which I was also simultaneously playing in my head), everything started to fall apart when I realised there was a laugh track included. Now, its my understanding that the CD is supposed to be a live recording of Bugs Bunny on Broadway and as a result, audience reactions are included because, well, the audience reacts to the shorts as you would expect them to. What bothers me is that, well, its a CD! I can’t see anything and its really difficult to laugh when your only cue is the music.

I recommend you check out the CD if you like the music of the old shorts (and who doesn’t), which is nothing short of sheer brilliance.

But enough of that, today’s topic is about laugh tracks and why cartoons in general don’t need them. two things first though: being European and therefore cultured (I kid, I kid) I must say that the whole idea of a laugh track is rather ugly. I once watched Everybody Loves Raymond and I could’ve sworn the laugh track came from a different show as I didn’t hear a single joke the entire episode.

Secondly, there is the good kind of laugh track, which is one where the reactions are those of a real audience who is watching the show. As far as I know, this type is rare in the US but is commonly used by the BBC for their sitcoms. It’s a much superior version in my mind and produces much more realistic results.

So why is it that you don’t really see cartoons with a laugh track (any more)? Well for one, cartoons are inherently more visual than live-action shows. Sure, there are some wordy puns and one-liners, but for the most part, we get a laugh from seeing characters get hit over the head. That signal replaces the need for an audio prompt.

Cartoons, especially those aimed at a younger audience, employ this to great effect and have done so for many years. Although the humour in those does tend to be a little bit more direct so that even kids can understand what’s going on.

Shows for older folks have also escaped mainly as a result of creator’s insistence (The Simpsons) or just because it was felt to be unnecessary. Live-action shows include a laugh track because they were (originally) broadcast live in front of a studio audience. Animation has never had that luxury (as pointed out to Homer, live cartoons place a terrible strain on the animator’s wrists).

My theory that because we know animation cannot be conducted “live” we therefore don’t expect to have a studio audience participating in the broadcast. An exception was The Cleveland Show’s recent “live” broadcast, although in that instance, it is clear that the show’s setting has been changed in order to be reminiscent of the old prime-time shows of yore.

The Flintstones is a lone exception as it does contain a laugh track (although from my own viewing experience, only some episodes/seasons do). I’m sure the reason it is included is so that the show felt more in-line with the live-action shows it attempted to copy and back in the 60s, that meant including a laugh track. As you may have noticed, this makes the show seem somewhat more dated than it should be.

I like to believe that the main reason cartoons and animation don’t usually have laugh tracks is that they contain a higher standard of comedy than their live-action counterparts. The lead-in time for animation means that everything must be planned out in advance, writing an animated show requires a different set of skills, the ability to drop an anvil on a charcter and have him walk away and the ability to design your show to fit your needs al combine to collectively result in an altogether different and higher brand of comedy. One that can safely and reliably dispense with the need to tell its audience when they heard a joke.

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What Makes Film Festivals Cool

Via: Azrael’s Merryland

This coming Wednesday sees the start of arguably the most important festivals for animation lovers in North America. Every year, Chris Robinson and Co. put together the Ottawa International Animation Festival and if you’ve ever read The Animation Pimp (either online or by the book) you’ll have an idea of how much effort goes into making everything run like clockwork.

There are tons of reasons why festivals such as Ottawa are such fun to attend. For starters, you are exposed to lots of new and interesting films that you’ll probably never see down in your local cinema. If you’re artistically inclined, that may pay off handsomely in the form of inspiration. If you can’t draw a straight line, well, you saw some really neat films that will hopefully inspire you in other ways.

Besides the actual content, festivals offer a rare opportunity for animation professionals to socialise. Now I am aware that animators do socialise outside of festivals (for some reason I always seem to meet them at a pub) but never en masse. While this can certainly have its disadvantages, it is safe to say that the ability to meet a wide range of friends, both old and new, far outweigh the brevity of the event.

Meeting fellow animators is enjoyable in itself and I’d be lying if I said that it was all purely for fun. The animation industry (especially outside of Burbank) is heavily reliant on word of mouth. In other words, its more who you know than what you know. Although this may seem frustrating at times, its only as difficult as you make it for yourself. Festivals are a great opportunity to go out and meet some other professionals. Heck, its the same for any industry, plumbers seem to have conventions all the time. Why? So they can build relationships in an industry where a lot of guys work independently.

Larger festivals such as Ottawa (and Annecy in France) may also have a studio presence. This development in recent years is beneficial to both camps. Animators want a job and studios want to find good talent. Putting the two in the same place is a match made in heaven. However, you should not discount smaller ones, such as the ASIFA-East festival simply because a major studio is not present.

So far, I’ve never heard anyone say they went to a festival and had a horrible time. They’ve often been tired, hungover, sick or incapacitated in some way, but they have never said they regretted going. Plenty of people (myself included) regret not going for all the reasons above and more.

If you don’t attend, you can make up all the excuses you want, but at the end of the day, the buck stops with you. Festivals are guaranteed to bring rewards and can often accelerate your progression up the career ladder, if you play your cards right. With that in mind, you don’t have much to lose now, do you?

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