4th year at CTN!Read More
Aria for a Cow has been making headlines with qualifying for Oscar nominations and Aria is still making her way around the world to sing her song. Her next big stop is at the International Short Film Festival in Berlin. For those of us who aren't in that vicinity, Aria will be making a very special and very big appearance at CTN this year!Read More
CTN is proud to bring you a CTN Scholarship Contest for CSU Summer Arts! Top prize is a $2000 scholarship to a Summer Arts Animation class in Monterey California and (1) 3-day pass to the 2014 CTN animation eXpo. Portfolios will be accepted until April 23 11:59pm PST. The winners will be announced Monday May 5. Follow these steps and APPLY NOW!
Step 1: For information and application for the classes being offered in the program:
A) Nickelodeon: An Overview from Development to Pitch (guest artists from Nickelodeon Animation)
B) Understanding your Character for Feature Animation (guest feature animation artists from Pixar and/or Disney)
Step 2: To apply for the CTN scholarship contest you have two options. You can sign in (if already registered for CTNrecruiting) and apply your basic portfolio or you can register and create a basic portfolio to apply by going to the Creative Talent Network recruiting and contest website at:
Step 3: Click on the “Sign In” link at the top of the page. Then click on the “Click Here” to register as a new member.
Step 4: Fill out the form, everything with a red * is required information.
Step 5: Once you have registered please give the CTN Recruiting team up to 24 hours to approve you.
Step 6: Once approved you will receive an email from our recruiting team letting you know you can log back in and upload your portfolio.
Step 7: After you get the approval email log back into http://ctnrecruiting.com/ and sign in with the email and password you used to sign up with.
Step 8: When you sign back in you will be taken to the “Edit Basic Portfolio” page. This is the page you will upload your images and/or demo reel on. Please be sure to follow the instructions on this page for uploading. If you do not upload as the page states your images and/or demo reel will not show up for the judges to see.
Portfolio Guidelines for each class are:
A) Nickelodeon: An Overview from Development to Pitch: Class Session – July 14 to July 27
Submit a 10-15-page portfolio. It is recommended that your portfolio display fundamental skills in art (e.g. gestural figure/animal drawings, painting, design, sculpture etc.). Your portfolio may also include a focus in a particular area of strength or samples of one or all of the following (character design, visual development, layout, background painting, storyboards.). You may also include organized pages from your sketchbook that show your ideas and process.
B) Understanding your Character for Feature Animation: Class Session – June 30 to July13
Submit your animation reel. The reel should be no more than 2 minutes long and should include your understanding of the 12 principles of animation. Advanced animators should show your understanding of an animated character that is believable and entertaining. Although it is not mandatory for this application, you may also include images on your reel that display your understanding of fundamental drawing, character design, layout, painting, etc.
Step 9: Once you have uploaded everything click on the “Contest” link at the top of the page.
Step 10: Click on the class you would like to apply for.
Step 11: You will be taken to a page with details about the class. Scroll to the bottom to where it says “Apply for the Contest” and select the “Use Basic Portfolio” option. Then hit the “Apply” button.
Step 12: A pop up will appear at the top of the screen will come up and let you know that you have “Applied Successfully”, if you would like to double check to make sure you have applied at the top of the screen you can click on the “My Contests” button. This will show all the contests you have applied for and you can look at and edit your portfolio here up until the last date to submit. In this case that will be April 23 11:59pm PST.
Step 13: Your work will be judged by industry professionals and one scholarship winner will be chosen for each class. The winners will be notified by email by May 5th.
The Annie Awards are awards for accomplishments in animation. Animation across both animated and live action feature film, television/broadcast, shorts, and games. The 41st Annie Awards happened last night, Saturday, February 1st, and for those of us who couldn't be there in person, the awards ceremony was streamed live on their website www.annieawards.org.Congratulations to all the winners! I really wish that I could have watched the entire ceremony but unfortunately it started while I was still at school working in the labs and I had to leave part way through as it was getting late and I wanted to go home, especially since I hadn't even eaten dinner yet. I left partway through Phil Tippett's acceptance speech and did not get home until the end where I saw Frozen winning the category for best animated feature. PRODUCTION CATEGORIES Best Animated Feature Frozen – Walt Disney Animation Studios Best Animated Special Production Chipotle Scarecrow – Moonbot Studios Best Animated Short Subject Get A Horse! – Walt Disney Animation Studios Best Animated TV/Broadcast Commercial Despicable Me 2 – Cinemark – Universal Pictures Best Animated TV/Broadcast Production For Preschool Children Disney Sofia the First – Disney Television Animation Best Animated TV/Broadcast Production For Children’s Audience Adventure Time – Cartoon Network Studios Best General Audience Animated TV/Broadcast Production Futurama – 20th Century Fox Television Best Animated Video Game The Last of Us – Naughty Dog Best Student Film Wedding Cake – Filmakademie Baden-Wuerttemberg
INDIVIDUAL ACHIEVEMENT CATEGORIES Animated Effects in an Animated Production Jeff Budsberg, Andre Le Blanc, Louis Flores, Jason Mayer – The Croods – DreamWorks Animation Animated Effects in a Live Action Production Michael Balog, Ryan Hopkins, Patrick Conran, Florian Witzel – Pacific Rim – Industrial Light & Magic Character Animation in an Animated Television/Broadcast Production Kureha Yokoo – Toy Story OF TERROR! – Pixar Animation Studios Character Character Animation in an Animated Feature Production Jakob Jensen – The Croods – DreamWorks Animation Character Animation in a Live Action Production Jeff Capogreco, Jedrzej Wojtowicz, Kevin Estey, Alessandro Bonora, Gino Acevedo – The Hobbit: An Unexpected Journey – Gollum – Weta Digital Character Design in an Animated TV/Broadcast Production Paul Rudish – Disney Mickey Mouse – Disney Television Animation Character Design in an Animated Feature Production Carter Goodrich, Takao Noguchi, Shane Prigmore – The Croods – DreamWorks Animation Directing in an Animated TV/Broadcast Production Angus MacLane – Toy Story OF TERROR! – Pixar Animation Studios Directing in an Animated Feature Production Chris Buck, Jennifer Lee – Frozen – Walt Disney Animation Studios Music in an Animated TV/Broadcast Production Christopher Willis – Disney Mickey Mouse – Disney Television Animation Music in an Animated Feature Production Kristen Anderson-Lopez, Robert Lopez, Christophe Beck – Frozen – Walt Disney Animation Studios Production Design in an Animated TV/Broadcast Production Angela Sung, William Niu, Christine Bian, Emily Tetri, Frederic Stewart – The Legend of Korra – Nickelodeon Animation Studio Production Design in an Animated Feature Production Michael Giaimo, Lisa Keene, David Womersley – Frozen – Walt Disney Animation Studios Storyboarding in an Animated TV/Broadcast Production Daniel Chong – Toy Story of TERROR! – Pixar Animation Studios Storyboarding in an Animated Feature Production Dean Kelly – Monsters University – Pixar Animation Studios Voice Acting in an Animated TV/Broadcast Production Tom Kenny as the voice of Ice King – Adventure Time – Cartoon Network Studios Voice Acting in an Animated Feature Production Josh Gad as the voice of Olaf – Frozen – Walt Disney Animation Studios Writing in an Animated TV/Broadcast Production Lewis Morton – Futurama – 20th Century Fox Television Writing in an Animated Feature Production Miyazaki Hayao – The Wind Rises – The Walt Disney Studios Editorial in an Animated TV/Broadcast Production Illya Owens – Disney Mickey Mouse – Disney Television Animation Editorial in an Animated Feature Production Greg Snyder, Gregory Amundson, Steve Bloom – Monsters University – Pixar Animation Studios
JURIED AWARDS Winsor McCay Award – Katsuhiro Otomo, Steven Spielberg, and Phil Tippett June Foray – Alice Davis Certificate of Merit – I Know That Voice Ub Iwerks —DZED Systems for Dragonframe stop-motion animation software Special Achievement Award — The CTN animation Expo
Since I had already worked all day on Thursday and Friday, I was told that I didn't have to work on Saturday if I didn't want to and can instead enjoy myself. My original scheduled time to work was Friday and Saturday evening so I decided that I will take the morning off on Saturday and still worked the afternoon. On Saturday I got to see the panel of Ted Thomas talking about his new documentary and Phil Tippett on the history of stop motion animation. On Sunday I saw Storytelling through Color by Jill Daniels and Lorelay Bove, a sneak peak of Mr. Peabody and Sherman, and an interview of Jim Blinn. MC'd by Andreas Deja, Ted Thomas talked about and showed his new documentary Growing up with Nine Old Men. Ted Thomas is the son of Frank Thomas, one of the nine legendary animators and author of one of the must have books in the industry, Animation Survival Guide. Ted goes on a journey all across America to find and interview the other children of Les Clark, Ollie Johnston, Milt Kahl, Ward Kimball, John Lounsbery, and Wolfgang Reitherman. While creativity was always nurtured and encouraged the children were never pressured to follow in their father's footsteps and only John Kimball actually went into animation while others split off to focus in other aspects and two went to become lawyers. Ted grew up knowing some of them well while others he have only just heard about but he describes the process of finding the others, interviewing them, and getting to know them and their childhood was like reestablishing a family.
Phil Tippett's panel mainly revolved around him talking about the history of animation from the stop motion standpoint. It is unfortunate that stop motion is expensive and fell out of favor but recently there has been a resurgence of the art form. It was interesting to hear about Phil's view on the current animation industry, saying that he dislikes CG due to it all being too homogenized due to the commercial standpoint. I can see where Phil is coming from with this view and which is why I like going to the Animation Show of Shows where animation from all over the world is collected and screened as there are many different things out there that people are making. The panel was closed with a screening of part one of his film, Mad God, that he has been working on. It was crazy and it was interesting. Mad God will have a total of four parts. Part one is still a work in progress and parts two and three are going into development.
Storytelling Through The Use of Color, presented by Jill Daniels and Lorelay Bove, talked a lot about color theory. Color is important as it is emotional power and anybody of any age responds to color. The key to using color is to keep in mind of balance and unity to create a plausible yet still beautiful and story driven world. There are four main palettes that are typically used: saturated vs. desaturated, analogous, complimentary, and monochromatic. Going back to balance and unity, not all colors have to be pushed to their extremes but instead also consider the composition as a whole. It is also better to go with simpler and more organized palettes as it those would be easier for the audience to remember. While using palettes that are lacking in vibrant colors, that are more desaturated, interest can be given to the composition by using a lot of textures. There is never a true right or wrong with color. Color can be instinctual but also choose them with discernment; ask why and how the color helps the story. They can also mean anything you want them to mean; pink doesn't have to be soft and fluffy but can mean evil as long as the artistic interpretation is set up from the beginning.
Getting a sneak peek of Mr. Peabody and Sherman, presented by Philippe Denis (head of vfx) and Jason Schleifer (head of character animation), was exciting. I didn't grow up with Peabody and Sherman and I never saw the cartoon so I didn't know what to expect of this movie. Seeing the sneak peek has me really excited for the movie as the few clips that I saw were both hilarious, beautiful, and interesting. While the movie will be done in 3D, Dreamworks has kept very much in tune with the original 2D series. They achieve the same style but in 3D by keeping the shapes in their graphic nature and being very geometrical. A step further from the graphic nature is applying the "wonk". Wonk is the skewing of the design of objects so they're not just straight solid objects but rather have tilts and exaggerations. A issue that arose though with wonk is that if it is not applied correctly, it can look gimmicky and compromises the scale of objects. In order to solve this issue, large scale objects, such as building, will have no wonk while detail objects, such as door handles, will have a lot of wonk. For the color palette Dreamworks also kept this similar to the original series, the color scheme tends to be monochromatic with accent colors. The texturing of everything in the movie seek to be stylized but simple and then a naturalistic shading is applied. Since the characters stylized proportions with large heads and thin limbs, a creative rig was used to test animation to figure out what worked and didn't. This allowed them to quickly change proportions and the rig to figure out what does work. Through such tests, the production team found that Sherman looked too skinny and doesn't reflect his age as well in 3D as he did in 2D. Sherman got fattened up a little bit and made slightly cuter. In order to get a clean silhouette, the front cowlick of Sherman was animated to always point in front. Extra limbs would be added in to get that fast cartoony motion blur movements. What was really great is due to the graphic nature of everything in the film and shapes and silhouettes are important, there are full documents created for animators on how to shape the head of the characters for fluidity in animation.
Jim Blinn. This was the big panel that I was so excited for. I initially didn't even notice this panel when going through the schedule. It was later on while on my way down to CTN that I saw the word "teapot" my thought was "oh, like the one that they always show with Renderman?" Then I saw the name Jim Blinn and thought "Blinn...that's an interesting name, sound familiar..." Then it all clicked together in my mind and I became extremely excited. This is the person who made the Blinn material and is one of the people who helped paved the way to make it possible to do what I do in CG. MC'd by Tad Guilo, the panel was an interview where I got to learn about Jim's past. Jim loved astronomy, inspired by Disney's Man in Space, and wanted that as his first career goal. He went to University of Michigan to study physics but quickly became entrapped by computers which led him to get a job programming for theses of graduate students. By doing so he got to play with the computer for the next four years while at UM and began experimenting with animation created from line drawing. After receiving both an undergraduate and graduate degree plus two years, Jim went to Utah, which was the technology mecca at the time, and got to experiment with the famous Martin Newell's Teapot. Through his experimentation and the Phong material, Jim made the first render with texture mapping and presented his Blinn material which is based off the torrance illumination model at SIGGRAPH. Further developing, Jim wanted more textural quality as everything previous was flatly painted on to the model. This led to the creation of the bump map! Since then Jim has created a CG Jupiter and moons for NASA's Voyager 2 fly-through, DNA replication animation for Cosmos, made the 50 episode series Mechanical Universe, and the series Project Mathematics. He is currently working for Microsoft calculating algebraic geometries. I wanted to personally thank him for his contribution to the industry and enabling me to do what I do today but unfortunately the panels were all running behind and so I had to leave the area before I got a chance to.
CTN, the Creative Talent Network Animation Expo, has finally come and gone. Unfortunately this year I wasn't able to do daily posts from the convention center as their wifi isn't working as usual and I had unfortunately used up my entire data plan already. For the next couple of days I will be posting my experience at the convention this year. It will be most likely a two or three part post so stay tuned!
I left for CTN on Wednesday evening in order to be there with adequate amount of time on Thursday as this year I am a volunteer and on Thursday night we have the volunteer orientation. Arriving Thursday morning I was put right to work where I helped exhibitors check in. It was a pretty hectic process as the badges had a very strange ordering system that made them very hard to sort through and find at times for people when they arrived. There were also many issues where we couldn't find the correct badge for the exhibitor so we had to make a badge on the spot. While hectic and most likely frustrating for the exhibitors to see us all in disarray, things went well enough and we got people what they needed. I didn't really expect being able to go, it would be nice if I was able to, but I grabbed a ticket for a screening of Turbo at the Dreamworks studio. I was too busy helping people check in to go. Not too entirely disappointed in missing the movie. I mainly wanted to go in order to see the Dreamworks studio as I had never been there yet.
Friday, day one of CTN. Unfortunately I did not have much to say here. I worked the entire day at the help desk where I answered questions, gave directions, and attempted to resolve the many many many issues and displeasures that cropped up. There was really one main panel that I had wanted to go to and was quite saddened that I didn't get to go and it was a behind the scenes of Frozen panel, "The Making of Frozen: The Filmmakers of Frozen Moderated by Darrin Butters". I was hoping to slip away for forty-five minutes to see the panel but quite literally at that time I had so many people come up to the desk with questions and issues that I could not get out. While being able to see some behind the scenes things of creating a shot in Frozen, what I really wanted to see and learn about was apparently the panel briefly showed/talked about how Disney created a whole new snow system, called Matterhorn, for the movie.
After working the entire day, starting since 8am, I finally left the desk to get some food and to quickly walk around the exhibit hall a bit before things close down for the day. This was probably the best part of being a volunteer. Since I helped check-in people the day before and was at the help desk all day there were people who knew me by face. I'm typically a somewhat shy person but this let me be able to easily strike up a conversation with them. I wasn't so much networking but really just making friends and that in itself felt very rewarding. I would like to thank Rudy Waldstein for driving me and others down to CTN and getting me connected, Aileen Acayan for being an amazing volunteer coordinator, Margarita Sweet, the exhibit floor manager, for putting up with me and all my questions as I had no idea what was going on amidst the chaos of the first day.
Just a quick reminder to all those who want to go to CTN Animation Expo this year, November 15-17, to buy your ticket before August 31st as after that there will be a price increase! For students, the 3-day pass is currently $135 and there is a 10% discount. I am currently contemplating whether or not I want to go this year. Sad face. It was an amazing experience and so much fun when I went last year but unfortunately it mainly consists of animators and concept artists/illustrators. There was one little booth where modelers where showing off some zBrush features but most importantly there was nothing in the terms of lighting and texturing. For that I'd have to go to SIGGRAPH but that would be way out of my budget at over $1000 for a ticket. Granted, CTN is quite a new event, it only just started back in 2009 so I would love to see the expo expand further to include other areas of the industry.
Definitely get the 3 day passport as it is an amazing 3-day packed expo. You get access to all the panels and events. The VIP passport gets you into a special VIP room and you get to cut in front of even fast pass holders for panels. I would say to reserve buying a VIP passport for those who are actively looking for a job as that VIP room is apparently to mingle and get close to industry professionals. Later on, CTN will release some special panels that people can pay extra for but unless there is something very specific that you find yourself just having to go see, I would suggest not buying them as there are a lot of panels to go to already and even if you have some downtime there are a lot of booths by artists that you can go around to, watch some workshops, or just mingle with all the other people there.
I would additionally suggest going a day or two early and expecting to leave either late Sunday or not until Monday as there are special events where studios invite a certain amount of people to tour the studio or special screenings of movies. There's also the choice that since you're down in Burbank to hop on over and enjoy Disneyland!
I've applied for the student volunteer at CTN but I haven't heard anything about it yet. Apparently applicants won't know until October 1st which is unfortunately quite late. Being a volunteer at an event such as this looks great on resumes and such. I have heard some horror stories from friends about unless you're an AV person in the panel room who gets to directly interact with the speakers the volunteering can be very dull with just directing crowds and that you miss out on events CTN has to offer and thus you don't get to enjoy yourself as much. I don't think that I would mind that much since I didn't really go to all the more technical panels of animation and drawing but more of the ones where it was more about showcasing what the studio has done and is upcoming.
CTN is ending the last day of the expo with a lot of Disney events. Time has gone by so quickly but at the same time I felt like I spent a lifetime being re-inspired. The fun's not over yet so here's is what I have for day three.
First up was the panel on Frankenweenie. Particularly fun about the panel was that not only were the producers, Don Hahn and Allison Abbate, and the art director Rick Heinrichs, present but the voice actor of Edgar, Atticus Schaefer, and the actual puppet of Sparky used in the film also joined in. What's great about the panel is how they talked a lot about the beauty of puppet animation in a world that is currently so invested in CG. There is a tactile quality to stop motion that people really respond to and love. Also, puppet animation is something that anyone can easily get into with something as simple as Legos and not have to worry about all the expensive software. One thing that was really great about Atticus was that he really loved being a voice actor. It has been said that there is a disjunction between animators and actors due to deciding who is really driving the performance of the character on screen; is it the motion or the voice and emotion portrayed. Atticus loved that being a voice actor and working with the various people on the film allowed for him to really try different variations out and to take on a new different persona to become the character instead of where in live action where not a lot of takes are allowed and directors may want something specific.
Paperman was amazing. Again. Even though I've seen the making of Paperman before, at the panel additional clips were seen. There was a shot breakdown of the process they went through to create a shot. First an animation pass, then the 2D lines animated over, a beautiful light render, and then shaded shadows and highlights to give the shot a more drawn textured quality. It was also shown an animator working in the Meander software to get a sense of how things are done. The panel that consisted of John Kars, director, Jeff Turley, art director, Patrick Osbourne, animation supervisor, and Sarah Airriess, final line supervisor talked a lot about the lighting and composition of the shot. It was really interesting of how things were setup in that the shots that George was in were darker while Meg's shots were lighter. George was primarily on screen left while Meg was on screen right, which is additionally the same direction that the light comes from. Beautiful. I should have seen this from the beginning but I was so enamored by the art and story that I haven't broken the film down and analyzed it per shot.
Dreamworks was doing an animation panel but unfortunately I was not able to attend as I was standing in line waiting for the next panel, Wreck-it-Ralph. From the line I did get to see shots from Rise of the Guardians and that was neat and has me hyped up for the movie to come out even more. What was really cool about the Wreck-it-Ralph panel was the push for 2D animation as still an integral part of Disney and used along with 3D animation. As Glen Keane says that we all have a lifetime of learning and we owe it to each other to teach and pass it on. 2D animation still has so much to teach 3D animation with its fluidity. As in a pipeline for a 3D animated film there is a large process that has to be passed through with concept, modeling, and rigging, before animators get their hands on something to work with. Animation tests are really important though in that starting from there acting is created and personalities of the characters becomes established. The great thing about having 2D animators at Disney was that they were able to start the development of character personalities a lot quicker with 2D animation tests. Among the many tests that were showed, one amazing one came up and everyone wanted to watch it over and over again even though we were short on time. It was Eric Goldberg's animation test on King Candy. Hilarious and amazing.
As today was a shorter day and I had lined up the three main panels that I wanted to see I got to wander around a bit more in the exhibit hall. Early in the morning I stopped by the booth that was selling all the art books. The booth finally wasn't overly crowded and I could browse through and look. I found an amazing giant book of Art of Mulan. It was so beautiful but so expensive. As I walked away with longing eyes I passed by a booth that was selling prints and saw and bought the Facial Expressions print from Lackadaisy by Tracy Butler. Unfortunately it wasn't Tracy herself at the booth nor do I know if she was actually at CTN but it would have been amazing to have it signed. Later in the afternoon as I was headed from the main building back towards the exhibit hall, I suddenly see Nick Pitera walking towards me and I nearly freaked out. I kept my cool though and was able to greet him, introduce myself, chat for a bit, and as we were both heading off in opposite directions for something, wish him a good day and to enjoy the expo. It was amazing and it was great that he stopped to talk. As Pixar didn't have a booth, much to my disappointment and surprise, I wasn't expecting to meet anyone that I may know other than Mike Makarwicz so when I met Nick it was such a wonderful surprise.
For the past few days I've seen a couple people walking around with drawings on canvas stretchers and I had no idea what they were. After the Wreck-it-Ralph panel and as everyone from AAU was getting together and getting ready for the ride home on the shuttle, one of my friends had one of those drawings and I asked him what it was. Those drawings on canvas stretchers were drawings for sale done by Ryan Woodward, the creator of Thought of You. Why did I not know this and why do I not have one! The shuttle had already arrived and would be leaving soon so after I got my luggage I ran over to buy the last one that they currently had. I was happy. My friends called it the pooping pose. Rude. If I had options it may have not been the first one that I would pick to buy as I saw some other works that are a lot more gestural and uses more basic shapes that are really interesting, the one I had was still very nice in the line quality, form, weight, and perspective exaggeration. As people were still waiting around and not on the bus yet, I again ran back inside the exhibit hall for one last look and soak-up of talent and inspiration. So glad that I did for I was able to meet Ryan and got him to even autograph the drawing that I just bought. Now my friends are all jealous.
CTN was amazing. The panels were great; the talent were great. I got to see Glen Keane and Andreas Deja and I got to actually meet Bobby Chiu and Nick Pitera. The shuttle ride to and back from CTN wasn't fun and standing in the cold and rain waiting for the Glen Keane talk left quite a bit to be desired. CTN was a great experience where I got to soak up see so much talent and soak up so much inspiration I can't wait to go again next year!
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The big day of CTN with so many exciting panels and demos to attend! I woke up at 6am to get ready so that I could stand in line for a fastpass, hoping to be able to get one for the Glen Keane talk. I was so close! I was 10 feet from the table when it was announced that the Glen Keane tickets were all out. So sad. People were apparently lining up since 5am for them. I instead got the fast pass for the Dreamworks talk on Rise of the Guardians.
The first panel to start off this second day was the talent behind Hotel Transylvania. One thing that I loved about the movie, and a topic that the director, Genndy Tartakovsky made a point of is the animation and the application of 2D and 3D. What Genndy wanted was a 2D animation style that really pushed poses with stretch and squash and talking with the riggers and animators, the answer wasn't "no" but rather "we'll try" and they did it. The style was achieved and really pushed the animation of the movie and made it really interesting. 2D is not dead, it is still applicable in the creation of stories that captures people.
I was unable to attend the animation lectures with Mike Makarwicz as I was at the demo with Bobby Chiu. On one side Andreas Deja was doing a demo of 2D animation with Lion King while Bobby Chiu was showing character design. While I love Lion King, the character design is what I came to see. It was amazing. I have read his various tutorials in the magazine ImagineFX but it was a whole new experience and I learned so much from watching him work.
I am so excited for next week when Rise of the Guardians come out. First, I've always liked Jack Frost but getting to hear about movie from a development perspective from the talent behind the movie has me hyped even more. Hamish Grieve, head of story, Gabe Hordos, head of character animation, and Takao Noguchi, character designer, talked.about the creation of each character and really developing the specificity for each so that they're unique in their own way, has a soul that is portrayed, and a core that could be grasped.
There was a sneak peek of Dreamworks' next new film, The Croods. I've been hesitant about this movie for awhile due to the trailers that I've seen portray a bunch of dirty, grimy people living in a cave located in a desolate world. It didn't look very appealing. However, that trailer does the movie no justice. There is a huge.additional part of the movie that takes place in a whole different set that is just fantastical, beautiful, and absolutely amazing.
Glen Keane. The line was ridiculous. People were waiting outside for at least two hours. It did not help that it started raining. Even worse was that about a hundred more VIPs than expected showed up so us people in the general line weren't even sure if we would get in. A lot of us didn't get inside the room but they were able to clear out the lobby and let us watch on the TVs outside. A bit of a disappointment but at least I got to see and hear the talk. The main point of Glen Keane's talk was to think like a child for children have the transparent innocence and imagination that drives each of us to be artists and do what we love.
During a bit of downtime earlier in the afternoon that I had in-between panels I finally broke down and bought a book. It was the wordless comic LOVE - le tigre by Federico Bertolucci and Frederic Brremaud. I've seen posters of the cover up around before and I love it with the tiger but I never seen the actual book until now. Finally getting my hands on the book I had to buy it. Not only is there a tiger but there are also many amazing drawings of other animals. Unfortunately I don't think they are at CTN or else I would have loved to have it autographed.
Coming tomorrow are the panels for Frankenweenie, Paperman, and Wreck-it-Ralph!
CTN is finally here and it is amazing being surrounded with so many awesome people with such great talent. I tried to go to bed at 11ish as I had to wake up at 1:30am to get ready and then head downtown to catch a bus at 4am. The ride was rough but we got here to the event location.
I started off the day with a kick off event lecture by Brenda Chapman, co-director of Brave. It was a great way to start off as her theme was passion, finding passion, applying passion, and just loving what you do.
Wandering around the artist panels I got to see a lot of amazing art, among those are Disney, Laika, and Riot, but the best part was that I was able to meet Bobby Chiu. Bobby Chou is a huge inspiration to me as it can be said that it was his work that got me started rolling down this path towards animation. His work was among those that made me love digital painting and creature design and made me think that I would like to go into visual development. While I have shifted towards texture painting and lighting, visual development and design is still something that I would like to develop a skillset for.
Next up on my amazing day was the appearance of Glen Keane doing a demo. Everyone was excited and when he came in it was this amazing sense of awe and respect. He animated Ariel swimming and drew and talked about designing Tarzan, Pocohontas, and the Beast. Glen Keane was awesome and hilarious. He started off saying that he hasn't done 2D animation in a long time and wasn't sure if was still able to do it. Clearly he can. He mentioned that Ariel's face and Tarzan's feet were based off his wife! Aoparently there was a lack of consensus on the size of Ariel's chest so Glen was able to tell who did what shots based on the size of the seashells. When asked what was the hardest character that he has to work on, Glen answered Pocohontas due to that she had a non-caucasian face, it was structured to be the opposite of the classic Disney face like Ariel, and that there were a lot of subtleties that would also be difficult to convey to other animators. I was so close to getting an autograph from him but unfortunately the crowd was too large and there was a character design lecture that I wanted to attend next.
Not to be outdone by Glen Keane, Andreas Deja gave a lecture on "the elements of charm and wonder". Andreas Deja is known for his villians such as Jafar and Scar. Even though the characters are the antagonists and you want to hate them, they have a charm that keeps you attracted and Andreas attributed a lot of this to the design and presence of the characters. A big surprise was hidden in the lecture that a surprise guest showed up. It was Lisa Davis, the voice actress of Anita from 101 Dalmations. She came and talked about her experience and afterwards I got a chance to talk to her and get an autograph! She is an awesome person who is extremely warm, kind, and approachable.
Things that I am looking forward to tomorrow include the talent behind Translyvania, creature design with Bobby Chiu, animation lecture with Mike Makarwicz, talent behind Rise of the Guardians, and the Glen Keane lecture. Big day tomorrow!
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