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By way of Short of the Week, here’s Jaime Maestro’s take on a wolf having to work in an office full of plump, delicious sheep.
By way of Short of the Week, here’s Jaime Maestro’s take on a wolf having to work in an office full of plump, delicious sheep.
Here’s a fun wee short by Danielle Dim that explores emotions.
Emotion Bulb By Danielle Dim Read More »
Via: Wikia
Having travelled the world, Australian animator Elliot Cowan is well-placed to offer advice, and his latest blog post is no exception. In it, he details no less than 19 things that graduating animation students should do now that their structured life of goofing off studying has come to an end.
There is next to nothing I can add to this excellent post that is more than worth your time reading, whether you’re a fresh graduate or not, but suffice to say, doing something is better than doing nothing.
What To Do After Graduating From Animation School Read More »
Over at the TAG Blog (which in turn got it from Comic Book.com) Steve Hulett offers 5 very good reasons why animated shorts are apparently coming back into fashion with major studios:
1) Shorts provide a continuity of work for employees who might otherwise be laid off and move on to the competition.
2) They are added value for the features to which they’re attached.
3) They provide valuable training for up-and coming board artists, directors, and writers.
4) They help keep well-loved franchises alive and viable between the ninety-minute tent poles.
5) They can be magnets for shiny gold statues that studios covet.
I wholeheartedly agree. Shorts accomplish all of those and more! Here’s a few reasons why shorts will soon reign supreme in terms of volume.
If the rise of the internet has proven anything, it’s that attention spans are getting ever shorter. Sure, people can still sit down for a full feature film, but on a day to day basis, media and entertainment is being delivered in ever smaller doses. The short is ideally positioned to take advantage of this. Taking a break to watch a quick 7-9 minute short is much easier as opposed to a half-hour TV show. Besides, small screens like phones and tablets, give shorter content an advantage when it comes to ability to watch.
Shorts (when done right) can quite literally be pumped out; Next Media Animation in Taiwan is proof of that. Sure, the quality is questionable, but they do take things to extremes by getting stories out literally within hours. For better quality stuff, 2-3 weeks was the standard back in the day and there’s little reason why that has changed since then. In any case, South Park has been known to cobble episodes together in under a week but then they focus much more on plot than actual animation.
On top of that, characters, scenes and layouts can be re-used ad naseum. By keeping things simpler, shorts derive most of their cost savings from not having to come up with new locations, characters, props, etc. In addition, what is created is used many more times than for a TV show and so the cost of creating something can be spread out over many more episodes, thus lowering the contribution cost to each short.
The inevitability of the internet as a distribution channel means that we’ll all have to get used to loading bars, in the short term. Bandwidth will eventually expand to allow for near-instantaneous streaming/downloading for the majority of consumers, but for now, short content will stand to benefit, as it can be downloaded much quicker. Expect to see this scenario continue for a few more years to come.
When cinema first got started, it seemed fairly obvious how people would make money, but it still took a bit of time before things like the states rights markets disappeared and the studio-distributor-theatre model developed to collect and transport revenue. Where we are right now is a similar situation. Making money from content on the internet is still being worked out, with many various models being tested. It’s much easier to test one with a short than with a TV show or film. Shorts dominated the animated cinema until Snow White in 1937 and it is highly likely that shorts will dominate the internet until someone turns a real profit with a feature film.
4 Reasons Animated Shorts Will Soon Reign Supreme Read More »
Bronies come in all shapes and forms, but one of the more niche categories has to be the ones that are also Linux nerds. While Linux is well-known for the devotedness of its fans (even more so than those in the cult of Apple) it’s still a bit of a surprise to see them interested in something as saccharine as My Little Pony.
Anyway, here’s what some of them get up to when they blend their favourite OS with their favourite show:
Linux is endlessly sutomizeable and the two main websites KDE Look and GNOME Look are more than happy to oblige with Pony themed items for your computer.
Don’t know what /dev/null is? You clearly aren’t be a Linux nerd.
Bash is a command line shell (read: text-based interface) for Linux. This purports to put the cutie mark above into the window.
You knew this one had to exist didn’t you.
A co-ordinated desktop is a pretty desktop.
Very important this one, spotted over on the My Little Pony subreddit, dedicated to Linux Bronies.
Linux Bronies? 6 Examples That They Do Exist Read More »
Often the scourge of the entertainment industry, so-called “pirates” are often singled out as the single greatest threat to its very survival. The usual brush used to tar them paints them as high-level criminal enterprises with highly sophisticated money-laundering operations and connections to real criminal activities such as drug running and prostitution. Back in the day, they mainly produced counterfeit DVDs and video tapes but have since moved into cyberspace and make use of zombie computers to support their networks.
All this ties into today’s post insofar that the decline of DVDs as a medium for content distribution has also meant a decline for these enterprises. Much can be said for the move into cyberspace but many a fan knows the difference between, say, The Pirate Bay and a dodgy website crammed with ads and a suspect video player requesting you download “special” codecs in order for it to run. This is a lesson I saw my brother learn the hard way with approximately 8 hours of his life that he’ll never get back spent cleaning up the resulting mess.
Yet people continue to buy DVDs. My theory is that streaming works fine for people who simply want to see something, but when it comes down to the stuff they really like, the concept of ownership is very hard to substitute. With that in mind, TV shows and films continue to come out on shiny plastic discs for people to watch at their leisure. Which leads us to the impetus for today’s post:
Yes, this is the entire series of Avatar: The Last Airbender available in a complete boxset. Now most American fans will have their suspicions immediately aroused because they know that the series never came out as a single boxset; only as three separate “books”. This is all before you notice the non-latin text adorning the back cover or the notable lack of a Nickelodeon logo.
This boxset retails for $30 on eBay (no, I won’t link) whereas the official season sets retail for about $30 each. That’s a huge difference in price. Where does that difference come from and why does that matter?
The first thing the studio will say is that these DVDs don’t include the cost of the show. That is true, but the way networks and media companies are structured, that’s only the half truth. The cost of the show is borne by the network itself, who then license it to their home video arms for DVD distribution. Those licensing costs aren’t cheap and make up a decent proportion of the official sale price. Second is the fact that this boxset is being sold direct from the far east, also the point of manufacture. There is no middlemen a la distributors or the distribution arm of Viacom, another source of expense as they take their cut. Lastly is the retailer themselves. Amazon knocks about $9 off the list price which in essence represents the extra efficiency they’ve managed to squeeze out through their distribution and sales systems. Anyone else (traditional retail outlets included) will absolutely stick to the $39.95 retail price because anything lower will eat into their profit margin.
Now you could argue that these knock-offs are missing the special features like making-of videos, commentaries etc etc. but they are simply the icing on the cake for most fans and die-hards. Would the average consumer be willing to trade off the loss of the extra features for a 66% discount? I’d hazard a guess that most would.
So in reality, these knock-off DVDs are less of a representation of criminal enterprise as they are an under-served market at the hands of inefficient interests. Nickelodeon could no doubt sell a series boxset for $30, if it wanted to. However with so many fingers in the pie from manufacturers to distributors to retailers, there are an awful lot of vested interests who would rather see high-priced individual boxsets that prop them up rather than a product in the consumers best interests. Much the same in how Maryland vineyards can’t sell their products online because distributors put up a political fight to keep their 35% take.
So where does that leave the above boxsets on sale today? In a gray area unfortunately. Yes they are for sale and do represent good value, but they are unofficial. Money generated from their sale (and you can guarantee that there are profits being made) are not flowing back to the rightful people or corporations, regardless of the political stance you take on content and copyright. That is clearly not right or fair, but then neither is the rigid, inflexible nature the DVD market and requisite distribution operations.
Animation could benefit greatly if superb series such as Avatar were allowed to be sold at the level that the market demands. A lot of free-wheeling economics I know, but if you thought the series was popular now, how much more popular would it be if a lot more people could own and experience the show that they love.
While it’s easy to dismiss all fans as freeloaders, you’ll be glad to know that on the reddit thread discussing the set, the original poster was actually admonished for buying the set, and fans went even further to severely downvote the post with a link to where they bought it. So it’s not simply a case of fans willing to break the rules for a cheap deal, they really do care about the show and do prefer to go through official channels. One post even pointed out that simply downloading bittorrent files caused less damage to the creators than buying actual, physical discs from shady overseas operations.
All in all, a tough case to analyse and an even tougher one to rationalise. Fans should be catered to, and clearly barring the unnecessary costs imposed by the network and distribution channels, someone has found a way to profitably sell DVDs for far less. Fans would benefit and clearly Nickelodeon would benefit too, however in this case, they receive not even a penny. Sure it’s breaking the rules, but it’s a lost sale in the real sense, and any businessman worth his salt hates to see money pass him by because of his own actions.
Criminal Enterprise or Under-served DVD Market? Read More »
Over at Daily Disruption is an interesting interview with DreamWorks’ head of enterprise technology, Kate Swanborg, in which she discusses the role of technology within the company and how it affects their relationship with consumers. All in all an interesting read but what is truly worth taking away from it is a quote from right at the very end:
I think that one of the most exciting things that we’re seeing is the idea that, as a consumer, I can actually create. I can go and start creating characters and imagery. Now, of course, at DreamWorks Animation we go and identify the best artists and engineers on the planet, and that talent is still critically important. But mobile technologies are really allowing the consumers to take those wonderful assets that are created and bring them into their whole lives and actually become producers in their own right.
Now that got the cogs in my head turning. Does she mean that the advances in technology mean that consumers will soon be creating content on a par with the studio, or as I believe, she wants us to use their characters in our own creations?
The reason I’m guessing the latter is because she talks about the narrowing gap between content producers and consumers. The idea is a novel one, but it does completely ignore one aspect of content: copyright! Of course plenty of people simply ignore copyright and gleefully create content independent of DW, but it’s hard to take the effort on their end seriously when studios and networks continually go after fans.
Such collaboration will come about in the end, as studios stand to gain too much from being intricately involved with the fans who provide them with revenue.
Dreamworks Want Us To Be Producers Read More »
So I feel like a bit of a doofus for missing this last week when I posted the Matches short, but thanks to great animation website On Animation who posted them earlier this week, you can see the entire series of Irish-themed Annecy 2012 films!
As I mentioned in the original post, the films play on both the cultural and political spheres of Ireland and they do so with comedy for the former and logic for the latter, pointing out that even though there are two sides to the island, they are still one island and one people.
Very well done and highly polished by the students of Gebelins, these siren films are a series to remember.
Now that you’ve watched all of those great shorts, here’s one of the actual competition films, the hilarious 80s cartoon spoof, Space Stallions!
Even More Irish-Themed Annecy Films! Read More »
Seth MacFarlane is a talented chap. That is a fact that is very hard to deny. From his roots working on Cartoon Network shows to his meteoric rise to superstardom, he’s worked hard at what he’s done and he at least deserves credit for what he’s achieved thus far.
Having said that, a recent post over on ToonBarn espouses how he’s lost his integrity as of late by way of debasing the original nature of his shows and by making much more overt his political and philosophical leanings in his shows. While the nature of his leanings isn’t necessarily in question in the ToonBarn post, the fact that MacFarlane is doing it to existing, beloved shows is.
That’s a tough claim to make, especially in light of the fact that they are his shows and he is free to take them in any direction he wishes. However, it does speak volumes about how he is allowed to run his shows.
Two examples can be used as a comparison. The first is The Simpsons and the second is Ren & Stimpy.
Looking at the first, it is tough to argue that Matt Groening has lost his integrity when it comes to the Simpsons. After all, he is still the nerdy underground comic artist he was then, the only difference is that he also created and is still involved with, two hit TV shows. All the same, it is impossible to win the argument that says the Simpsons as it currently stands is the same as it was in the mid-90s. Can Groening be blamed for this? Hardly, he was only a small piece in the larger puzzle that is the Simpsons organization.
How about Ren & Stimpy creator John K.? He stuck to his artistic guns and was eventually fired by Nickelodeon because of it. His integrity wasn’t in question then; a position that hasn’t changed since.
So where does that leave MacFarlane? He is undoubtedly the same person now as he was when Family Guy was first broadcast so it’s hard to say whether that is the case. His shows are all the same basic structure (family-based with two characters who shouldn’t talk but do anyway) and have stayed surprisingly close to their original premise compared to other hit shows.
Nope, MacFarlane as a person still has his integrity intact. What’s changed is the network he deals with, FOX.
Although it was well established when Family Guy was conceived, the FOX network was still only about 10 years old at the time and still a relative upstart compared to the same network of today. The spirit of underdog was still prevalent when Family Guy and cousin Futurama were ordered but the business conservationism that defined the other three networks was slowly creeping in, thus even though the shows were new and edgy, they didn’t really push that many boundaries.
Fast forward to today, and Family Guy has gone through a re-incarnation after fans rightfully demanded that it be brought back. The difference this time is that it’s now been on the air for over 10 years, a time frame that puts it in very rarefied company indeed, and will need to be replaced someday soon.
The only problem is that networks hate having to replace moneymaking shows because it means rolling the dice and potentially losing a lot of dough. Cue the cheaper solution of letting shows run as necessary but by giving the creators significant leeway to experiment. Thus we have Family Guy descend to a lower levels of audience intelligence in the never-ending pursuit of eyeballs.
FOX could step in at any time and stop the rot, but they haven’t, and it is on this fact that they are the ones who can be said to have lost their integrity. MacFarlane was always going to make the show that he saw fit and how Family Guy has progressed is simply evidence of that. In stark contrast, Nickelodeon saw falling standards and they did not hesitate to act. As a result both John K. and the show suffered in the short term but have ultimately gained in the long term as the high standards have stood the test of time
Seth MacFarlane: Integrity Lost? Read More »
Coming by way of British magazine, Creative Review, is the work of Matthew DiVito, a motion graphics designer in Boston. In his free time he puts together some truly extraordinary animated GIFs that manage to push the boundaries when it comes to using the file format as a visual medium.
He has a tumblelog so you won’t miss the awesomeness ever again. As a bonus, check out some of his true animation work, check out his excellent reel below:
Re-Aniamted GIFs by Matthew DiVito Read More »
Image (naturally) yoinked from The Dead Homer Society
A couple of years ago (and the exact circumstances escape me), I stumbled across the Dead Homer Society and have bee a loyal reader ever since. It’s not uncommon for websites and blogs to sprout up to save a beloved series, but it’s quite rare to see one dedicated to completely and totally ending a current, beloved, popular and iconic TV show. That however, is the stated purpose of the DHS, whose manifesto proclaims:
Dead Homer Society was formed for two reasons:
1) To create an on-line home for Simpsons fans who outright despise most, if not all, of the double-digit seasons but revere the old ones the way religious types do their stupid books.
2) To create a central place for people who want to see the show finally taken off the air.
So no beating about the bush there. Although the site continues to dissect episodes both old and new, it has also been a great source of analysis as to how and why the show went downhill. Cue the latest piece of literature from the DHS: Zombie Simpsons: How the Best Show Ever Became the Broadcasting Undead.
Although it’s not of biblical length, Charlie Sweatpants has managed to squeeze in a ton of information and analysis into this pseudo post series/ebook. Personally, I always laid the blame for the show’s decline on their move into more outlandish and cartoonish plots without regard for the characters. After reading Zombie Simpsons though, I can safely say that there was much, much more to the decline than that.
Broken down into chapters for your convenience, Zombie Simpsons begins with a look at why it’s a topic that needs to be discussed and why the fall from grace is so gut-wrenching to behold. From the deathly bland nature of the three major networks in the 1980s that gave the upstart FOX network an excuse to be different to the frustration of the viewing audience, we see that The Simpsons was not so much a product of insane brilliance as it was in the right place at the right time.
Moving on, we delve into the inner forces at work behind the TV screen. Deaths, writer changes and ultimately the shift within the FOX network itself from scrappy young fighter to established player have all played a part in how The Simpsons have changed over the years. Zombie Simpsons does a fine job of spelling out how the slide was gradual and ultimately, inevitable.
On top of that, there’s a comprehensive appendix that deals with such trivial things like production and broadcast numbers and some not-so-trivial things such as the often misplaced blame on Mike Scully.
A fine text in itself, it is well worth taking the time to read and ruminate on. It is highly likely that we will never see something the likes of the Simpsons again so as horrible as it is to read about the fall of an icon, it is essential if we are to appreciate the golden years even more.
A Review of Zombie Simpsons by The Dead Homer Society Read More »