New multi-media hub in Melbourne

A new multi-media hub at the Victorian Arts Centre will offer students the chance to learn skills useful for jobs in game development, animation, film, music, web development and the performing arts.

Victorian Minister for the Arts Peter Batchelor says the facilities at the new Arts Centre Digital Learning Hub would ensure the centre moved with the times. “The Hub will enable students and young people to learn about sound recording, engineering and new digital frontiers that are impacting on the arts scene."

Mr Batchelor says the Arts Centre’s education team will use the new Hub "to guide participants through an amazing array of options including courses in animation, film techniques and the latest music and web technology".

“Most young people are tech-savvy. They own tools of modern technology, know the buttons to push and create their own content in ways other generations could never have imagined. What the Digital Learning Hub does is harness the enthusiasm and willingness of young minds to go further, to challenge technology and to create new and exciting projects.”

The new facilities include:

* Video production and editing equipment with green screen capability so that students can create digital video content for their projects
* A separate state-of-the-art recording studio with a world class vocal booth and a fully digital mixing system
* Video conferencing facilities which can link directly to over 1550 Victorian State schools.

Source: http://www.smh.com.au/

Arena launches animation academy

kolkata: arena multimedia launched the second in its series of animation academies here on saturday to tap the burgeoning domestic and export market of animation content production for television and film. "from films to short television format and the new requirements of the web, two- and three-dimensional animation production for digital entertainment is emerging as a huge market in china, korea and india," said head of arena multimedia, sudhir mathur. quoting a recent study by andersom consulting which projected that the $550-million indian animation industry would grow at 30 per cent per annum in the next three years, he said the business was expected to reach $15 billion by 2002. "while the global digital animation industry is poised to grow from the current $25 billion to a whopping $70 billion by 2005, india would receive more than $2 billion in animation businesses," he observed. with western giants ilm and disney planning to set shop in india to produce animation films and movies, the field would be one of the fastest-growing it segments, he said, adding arena's mission was to create a pool of multimedia professionals. the animation academy, second after mumbai in a series of 20, would offer three- to seven-month courses costing between rs 30,000 and rs 60,000 on 3d and animation, audio-video editing and special effects.

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Pixar Animation To Build Studio In Vancouver

Vancouver, British Columbia (AHN) - Pixar Animation is setting up a 20,000-square foot studio in Vancouver where it will produce popular short features. Pixar plans to hire about 100 people, most of them Canadians, who will make the studio's 3D, computer-animated short films which normally run for three to five minutes.

However, the theatrical features of the film will still be made at Pixar's main studio in Emeryville, California, where about 900 employees are located.

According to the Calgary Herald, Walt Disney Studios, which merged with Pixar in 2006, is looking for good locations in Vancouver, particularly downtown. Pixar's timetable is to have the studio in operation by fall.

Pixar's entry is considered timely since 600 jobs were shed at video game maker Black Box, following the cost cutting measures initiated by its parent firm Electronic Arts.

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Early 2009 Korea Animation and Comics News

Celebrating this year what is considered the official centennial of the birth of Korean comics, artists and public officials of South Korea have already kicked into high gear a year full of specialized festival and event appearances geared toward increasing the funds available for developing additional, new intellectual property for Korean audiences. With the animation business in the region inching in the direction of a market threatening stagnation and the comics realm still too small to matter for some, the 2009-year should serve as an optimal time for policy-makers and active artists to pursue smartly-partnered, long-term projects.

As a result of this limited opportunity, a few interesting news items have come on the radar concerning Korean animation and comics projects. From the recently announced call for entries for the widely accessible Korean International Cartoons & Animation Festival, to a recent influx of funs from the Ministry of Culture, Sports & Tourism, to a potential expansion of Korean comic artists in east and central European territories, there are some key industry-specific notes worth checking on at the moment.

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The Animated Scene: A New Journey

In his last "The Animated Scene" column, Joseph Gilland ruminates on the last year, his new book and some big changes.

Well, here I sit at my computer keyboard, truly at a crossroads in my life. This new year started with both triumph and tragedy for me, and there is something in the air that smells like massive change. Not only for me, but also for the whole world, and especially the United States of America. My small world still revolves almost entirely around the art of animation, but I am as touched by world events as anyone, and before I leave my column here at Animation World Network, I would like to weave a tapestry of animation and worldly events, as well as the profound personal journey that we all embark upon, simply by being alive at this time, on this planet.

Late last summer, I began a new journey in my animation career, as I was working around the clock to finish my book about special effects animation. For the first time in almost 30 years, I found myself out of work, with no immediate prospects for a new job in plain sight. It was a perfect time to throw myself into the final difficult stages of finishing my book, an undertaking that proved to be far more complicated and challenging than I had ever imagined. I was completely strapped financially, and there was quite a bit of stress related to that, me being a single parent with a healthy and extremely active teenage boy to provide for. But I applied myself 100 percent to the task at hand. My book, Elemental Magic: The Art of Special Effects Animation, had been in the works for more than four years at that point. Lucky for me, I had a real deadline to meet this time, and that was just the incentive I needed. (My apologies to the editors at AWN for not quite making my column deadlines on multiple occasions) So the book got finished, right around the same time that I found a small independent animation studio in the Vancouver area, looking for a visual effects supervisor with the kind of experience I could bring to the table. Whew! It was a close call. I was still finishing the last touches of the book, working 'till the wee hours of the morning, when I first started designing and planning the special effects elements for the new Thomas the Tank Engine series being produced at Nitrogen Studios.

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Disney animation exhibit to open in New Orleans

NEW ORLEANS (AP) — A big show of animation art from the Walt Disney studio will open in November at the New Orleans Museum of Art, a month before the release of an animated movie set in New Orleans that features Disney's first African-American princess.

Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio will run through mid-March 2010.

"It was Disney animators who really led the way in the 20th century toward establishing animation as a serious art form," museum director John Bullard said.

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Creating Eye Catching Banners

Everyone with a web site should have at least one banner - for banner exchange programs, advertising on other sites, and targeted reciprocal banner exchanges. So, what do you do if you have no experience in creating an eye catching banner? Read on...

Banners are a mini advertisement with ONE purpose - To get the viewer to click on it! (Of course, you may use banners to brand your name, but ALL banner creators want the viewers to click it!)

Animated banners have proven to be clicked more often, but you have to be careful they don't drag a pages load time down too much, or surfers may be resentful. Some animation can be downright ugly, so be careful not to go overboard.

So, how to get people to click your banner, animated or not? Remember some of these key factors:

• A quick load time is imperative. People won't wait to see what you banner says, so make sure they don't have too. You can do this by limiting the colors you use in your banner, and by the size of the banner. ("Average" banners are either 400x40 pixels or 468x60 pixels.)
• As mentioned earlier, you want the viewer to CLICK the banner, not read your sales pitch, mission statement, etc. A short one liner with a great incentive for them to click may work best. Don't write:
  "FREE MONEY - Click Here!"
  if you're advertising your secretarial service, because such trickery usually only backfires. On the other hand, if you're promoting your expertise in finding lost money, that may not be a bad line.
  
• Some people are turned off if your business name or product name is not in the banner, and will not click through. But I think the majority of people click on banner that pique their curiosity, so you may or may not want to include this infomation.
  
• One thing you should include is your URL, especially one that is short and memorable, if you want to brand your web site address.
• Contrasing colors will help your banner stand out. As a firm believer in having all of your marketing materials work together, try to choose colors, and a 'look', that match your web sites own colors and look.
• Writing "Click Here" somewhere on the banner has helped countless banners by clicked a little more then others. By reminding readers that yes, this is a clickable graphic leading to something you're intested in, you'll get that many more hits to your site.
• A newer trend is to use things that look like the things we click on our computers everyday - windows to type in, drop-down screens, etc.
  

Having a nicely designed banner is very important - just as having nicely designed business cards, brochures, flyers, and web sites are of utmost importance. Remember, the key is to get them to click, and look good doing it.

Source : http://www.promotionworld.com/

Animation Tips & Tricks

Animation is all the rage on the web and is becoming more popular every day. But before you begin to create animations for your site, you need to consider some basic questions, such as: What is the purpose of the animation? What kind of audience do you want to draw? What are you trying to say/promote? Will the animation add interest to your site or detract from it? If you've decided that having an animation will add value and interest to your site, we now move onto other considerations. These include file formats and file size, along with design and execution.

When looking at the available image and animation formats, here are a few things to keep in mind. JPEG, (Joint Photographic Experts Group) is a 24-bit file format and is the best choice for compressing photographs, realistic artwork, gray-scale images, etc. As a JPEG file is compressed, it discarding data and referred to as a "lossy" format. Repeated saving discards more data and can cause "artifacts," where portions of the image begin to clump together.

GIF, (Graphic Interchange Format) is the format of choice to compress lettering, simple cartoons, and line drawings. GIF images are often made up of Vector graphics, such as lines and curves, which are mathematically defined, so they produce a high quality result, regardless of how much they are scaled. GIF files are often composed of few colors and compress well. Other common animation formats are AVI (Audio-Video Interleaved - a desktop video movie format from Microsoft), MPEG (Moving Picture Experts Group) Quicktime and SWF (the Flash Player format).

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Dr. Toon: 2D or Not 2D

With this year's arrival of The Princess and the Frog, Martin Goodman assesses the current CG landscape to ascertain the significance of Disney's highly anticipated 2D return.

The movies have been subject to as much advancement over the years as any other form of media. The first static efforts in the late 1890s gave way to ever-sophisticated changes in techniques such as cuts, fades, zooms and POV shots, devices that we now take for granted. There is a popular myth concerning the famed silent film The Great Train Robbery (1903); audiences allegedly fled the theaters in fear, believing that they were seeing an actual robbery and trains coming directly towards them. While this is untrue, there was a scene at the end of the film in which a nasty desperado fires a pistol directly into the camera. This always seemed to get at least a few patrons ducking cinematic bullets in their seats. After that, filmmakers vied to wow their audiences through the use of spectacular fx and fancy camerawork.

Animation first appeared in the late 1890s and amazed audiences with moving pictures that were drawn by hand. People saw popular comic strips come to life, as well as some original characters that made an indelible impact on the culture itself. Seminal animator Winsor McCay averred that audiences, upon seeing his short How a Mosquito Operates (1912) believed that McCay was manipulating puppets with wires. Although this is highly doubtful, moviegoers were eventually treated to genuine magic such as synchronized sound in 1928 and full Technicolor by 1933, raising the stakes for future artisans.

To be sure, there have been misfires. 3-D movies (aside from a few early experiments) existed at least since 1922, but it was not until the early 1950s that the technique made its way into American theaters in wide release. Observers in the local movie houses reported patrons shying away from objects "thrust" at them, ducking "flying" projectiles and attempting to grab or get their hands behind objects that seemed to float in the air before them. While 3D was a nifty perceptual trick, it did little or nothing to advance the actual art of filmmaking; it was a novelty rather than a progression in cinematic language and representation. In fact, 3D stilted films by purposely setting up shots that emphasized technique over narrative and acting performance.

Computer-generated imagery was a true advancement. By all accounts, CGI first appeared in a mainstream film in 1973 when raster effects were used in the film Westworld. Early wireframe techniques soon followed, but most of the general public was not overtly aware of CGI until the 1982 Disney film Tron. Roughly 15 minutes of full computer animation was featured, and everyone who attended the film realized at some level that a revolution was underway. It was merely a matter of time, training and technological advancement until CGI became a major component in world cinema. Technicians, software engineers, film studios and even some visionary critics secretly wondered how soon a film might be composed of nothing but computer-generated images.

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Movie review: Animated 'Waltz With Bashir'

Think of the most mind-boggling scene in a war film - say the one in "Apocalypse Now" where a shirtless Robert Duvall proclaims (as bombs fall and fires rage) "I love the smell of napalm in the morning"; or the one in "Black Hawk Down" where a U.S. soldier is pinned down in a deserted Somali street against overwhelming firepower - and recall the ominous feeling that overcame you. Recall the stench of conflict that seemed to permeate your stomach. Recall the edginess that engulfed your brain even as the action segued into less dramatic footage.

Now, ratchet that up 10 times, and that's what to expect from this juggernaut of a film. The best movie of 2008? The most revealing war film ever made? The greatest animated feature to come out of Israel? All these descriptions could apply to "Waltz With Bashir," a confessional account of Ari Folman's experience as a young soldier during Israel's 1982 invasion of Lebanon.

Less is more here. Violence permeates the movie, but Folman's feature is festooned with long stretches of introspection. In fact, it's the introspection - as much as the brilliant animation, and the unimaginable horrors of warfare - that pushes "Waltz With Bashir" into the category of unforgettable filmmaking. It's not just Folman (or, at least, the animated Folman) who tries to reconcile his time in Lebanon, it's his fellow ex-Israeli soldiers - all middle-aged, all out of the military - who look back and cringe or cry or laugh with nervousness.

"Waltz With Bashir" dramatizes sequences, but the basic facts reflect the hell that enveloped Folman, his fellow soldiers and Lebanon's civilian population, particularly the Palestinians who were massacred by Christian Phalangist forces in Beirut's Sabra and Shatila refugee camps. As a soldier, Folman was on the outskirts of that 1982 massacre - or was he? In the beginning of "Waltz With Bashir," Folman doesn't know what to think. When a friend - also a veteran - describes his nightmares about menacing dogs from Lebanon, Folman's repression comes undone, and he begins to remember faint outlines of the bloodletting that took place 20 years earlier. Interviews with other veterans - and flashbacks (some of them funny) to their time in Lebanon and their pre-war years - propel the film at a nonstop pace.

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Animation films fail to rock the box-office

MUMBAI: All's not well in animation land. Despite corporates doing all they can to ensure that India's animation industry gets its place in Bollywood, there's still time before your favourite toon can rock the box-office.

Rumour has it that Percept Picture Company's Jumbo was bought cheap (it's originally a Thai animation film) but they paid Akshay Kumar a whopping Rs 9 crore as dubbing fee. They also shot a promotional video, allegedly had a large marketing budget (Rs 8 crore) and gave the Christmas offering great visibility on both hoardings as well as the airwaves. "However, Jumbo was swept away in the Ghajini wave,'' says trade analyst Taran Adarsh, who personally felt the film was probably Bollywood's best bet at animation in 2008.

Trade sources confirm that Bollywood has had a bad run with animation this year. Between Hanuman Returns, Krishna, Roadside Romeo, Dashavatar, Ghatotkach and My Friend Ganesha parts 1 and 2, insiders estimate animation losses will total up to about Rs 70 crore. "Indian animation has suffered quite a few hiccups,'' says a trade source. "What's worse is that many animation films that are complete and awaiting release have no takers.''

Barely a year ago when Walt Disney tied up with Yashraj Films to commission their first joint venture Roadside Romeo (Saif Ali Khan and Kareena Kapoor dubbed for the lead pair), Bollywood pundits went to town claiming that animation as a genre had `arrived'. In fact, at least 25 animation films were announced by various corporations, and an estimated Rs 4,000 crore was to be kept aside for the animation studios that were being planned across India. "Everything is on hold now,'' says trade guru Amod Mehra. "Film corporations are shaken with the blow-hot, blow-cold response to this genre.''

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Computer animation breathes life into learning

Kindergartners at Seminole Springs Elementary used software to create a book and learn about adjectives.

A first-grade class at Cypress Ridge Elementary created a Claymation movie to study endangered creatures.

And Astatula Elementary kindergartners made a computerized alphabet book.

The youngest students at these three Lake County elementary schools learned old concepts in a new way. And they did it with the help of some new computer software designed to help children bring clay to life and draw on the computer screen, among other things.

Last year, a few Lake County schools piloted the innovative computer programs to help the district's youngest pupils. This year, they're being rolled into more elementary schools.

The programs come from the California-based Tech4Learning. Lake's school district has been implementing the company's multimedia-publishing program called Pixie and its Clay Animation Kit, among other products.

"We have seen some incredible results," said Kathy Halbig, the district's manager of innovative learning.

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Using Animation to Explore the Nanoworld

Tiny self-assembling metal cubes dance across the screen in a video posted on the Web site of the Johns Hopkins Institute for NanoBioTechnology. You could read a book — or at least several chapters — on the principles behind how these microcubes build themselves up from microscopic metallic sheets cut by lasers. Or you could watch a one-minute animated video that tells their fantastic story.

The INBT video of the self-assembling cubes is the result of the independent study course Animation in Nanotechnology and Medicine and was produced under the guidance of INBT animation/Web director Martin Rietveld, who shares his skills and experience in 2-D/3-D animation with students from throughout Johns Hopkins who want to learn to use this lively medium.

INBT's animation studio and the independent study course have attracted students from the basic sciences, engineering, the School of Medicine's Department of Art as Applied to Medicine and the Krieger School's Writing Seminars, to name a few. Some students understand the science; others are skilled in illustration or other types of visualization. "My job is to try to guide these forces into something that actually produces a movie," Rietveld says.

Students who sign up for the course should be aware of the time commitment involved in order to produce a film as well executed as the current productions, Rietveld says. Presently, there are two animated movies on the INBT Web site demonstrating the research of INBT-affiliated faculty members. One explains the self-assembling cubes used in the research of David Gracias, assistant professor of chemical and biomolecular engineering in the Whiting School of Engineering, and the other shows the interaction between a protein and a lipid bilayer, based on the work of Blake Hill, associate professor of biology in the Krieger School of Arts and Sciences.

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Cheenti Cheenti Bang Bang: Movie Review

Voices of: Anjan Srivastava, Mahesh Manjrekar, Ashish Vidyarthi, Asrani

Rating: * ½

Cheenti Cheenti Bang Bang derives its title from an English flick but nothing else about this film appears international. For how long will we give sympathy votes to Indian films for attempting animation? Agreed that the art is still evolving in India, but if nothing from the form or format appeals, I ain't patriotic enough to approve of the effort only because it's experimental. Moreover with access to advanced animation movies across the globe, one simply can't excuse this muddled endeavour. Rather overlook it in entirety!

The story is about two rival groups of ants and you obviously don't expect the animation to be as enhanced as decade-old Hollywood flicks like Antz or A Bug's Life. But what bugs you off is that the storytelling doesn't show much innovation either. The black ants and red ants are at war and one mediator named Ghunn (seemingly a termite) double-crosses both kingdoms for his personal gains. The river-separated rival setting is as age-old as Subhash Ghai's Saudagar and what's more - the kids of the combating kingdoms are also in love.

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When animators get horny

The American science-fiction author Harlan Ellison tells a cautionary tale about how not to sex up a Hollywood movie. Hired as a writer by the Disney studio, Ellison was in the studio cafeteria on his first day, regaling amused co-workers with ideas for an X-rated Disney cartoon. He was even acting out the parts of Disney characters in pornographic situations. Unluckily for Ellison, several studio executives were sitting nearby, watching his routine. Returning to work, Ellison found a pink slip on his desk: he was fired.

Moral: don't mess with the Mouse. And yet in Japan, an artist and animator as nationally beloved as Uncle Walt took time out from creating adorable family characters to make X-rated cartoons. His name was Osamu Tezuka, and his work is now having a rare English-language screening at the Barbican. And it's not just kids' stuff.

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Houdini 3D animation software comes to the Mac

When Side Effects software first began its public beta of Houdini last month, the company added Mac OS X support. Now the 3D animation software has gone gold and is available for purchase.

According to the company, Houdini was built from the ground up to look and feel like a Mac application. It supports 64-bit Intel Macs running OS X Leopard and has all of the interface features Mac users would expect from an application including drag and drop support and Quicktime support.

“More and more artists are embracing Houdini’s node-based workflow for their animation and visual effects projects,” said Kim Davidson, President and CEO, Side Effects Software. “Houdini for Mac is an important step in bringing Houdini’s renowned power and flexibility to the wider creative community.”

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Pixar's 'Wall-E' robot rolls into first place

Wall-E," the trash collecting robot abandoned by humans, found plenty of company over the weekend.

The animated movie produced by Walt Disney Co.'s Pixar studio was the No. 1 movie with $62.5 million in ticket sales, the third-best opening for a Pixar film and the biggest ever June premiere for a Disney film.

The G-rated movie, which was produced for an estimated $180 million, is the ninth consecutive commercial and critical hit for Pixar Animation Studios, creator of "Cars," the "Toy Story" films and "The Incredibles," the 2004 movie that had the biggest opening of all Pixar entries with $70.5 million.

All nine have bested the competition in their opening weekends.

"Wall-E" and 11 other top-grossing movies brought in $179.2 million in ticket sales over the weekend, up 22% from the same time last year, according to box-office tracker Media by Numbers, underscoring Hollywood's resilience even as the economy sputters and gas prices soar.

Box-office revenue climbed for the fifth consecutive weekend and is up 6% for the summer season compared with last year, said Media by Numbers President Paul Dergarabedian.

"The box office is incredibly robust right now," Dergarabedian said Sunday, noting that sales have surpassed last year's record levels. "Historically, films do well when times are tough, when going to the movies is an inexpensive way to forget about your troubles. This is a perfect example of that."

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It's that animated magic

COMPETITION between the Pixar and DreamWorks animation studios has brought them huge success.

Their run of critically acclaimed hits in the realm of three-dimensional, computer-animated movies is unprecedented in any genre.

Think of Pixar's Toy Story, Finding Nemo, The Incredibles and Ratatouille, and DreamWorks' Shrek, Shark Tale and Bee Movie.

Both studios, it seems, have cracked the formula for fun, visually stunning family entertainment. But the latest DreamWorks Animation film, Kung Fu Panda, could have been otherwise.

Not because it's a bad film; it's arguably DreamWorks' most visually captivating since Shrek 2. But Kung Fu Panda, co-director John Stevenson says, could have been a mess of clever but ultimately incoherent ideas. The animator and department head had asked DreamWorks founder and chief Jeffrey Katzenberg if he could direct a feature film. After directing the animated television series Father of the Pride and "not screwing it up horribly", Stevenson was given Kung Fu Panda. "I can safely say it was the least attractive movie option available at the studio," Stevenson says with a laugh. "I was not being given a plum film, I was being given a slightly leaky ship."

He says there was the shell of an idea, that something funny could be made of kung fu and pandas. Beyond some story outlines and scripts, however, the project was in disarray.

It took some work to arrive at the result, a cute family comedy with Jack Black lending his voice to Po the Panda, a clumsy, wannabe kung fu warrior who becomes the chosen one, a warrior selected to protect the Valley of Peace from snow leopard Tai Lung (Ian McShane). Indeed, the magnitude of the film's change in fortunes was clear before it earned more than $US60 million ($63million) in its first weekend at the North American box office this month.

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Create Special Effects in PowerPoint

Liven up those PowerPoint presentations with a few simple animation tricks.

Adding animations to your PowerPoint slide show can perk up your presentation, not to mention your audience members. Here are a few quick and easy tricks for jazzing up those slides.

Right on Target

Here's an idea for a simple and effective slide animation: Have an arrow move in from the left side of the slide to strike a target at the right side. To draw a target (if you can't find one you like in ClipArt), draw a series of ovals, each one larger than the other. You don't have to draw them concentrically; you can take care of that later. In fact, it will probably be easier to draw them side by side. For each oval, select a fill color (the Fill Color button is the one that resembles a bucket of paint being poured out).

Now press Ctrl-A to select all the ovals. Next, choose Draw, Align or Distribute, Align Center and then choose Draw, Align or Distribute, Align Middle. This should create an object resembling a target. You'll need to click the largest oval and choose Draw, Order, Send to Back. You'll also have to click each oval and choose an order for it to make the target look right. This procedure may be a bit tedious, but don't give up--it can be done. When you're finished with this, choose Draw, Group to turn the group of ovals into a single drawing.

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The "Secrets" to Writing for Animation

Creative Screenwriting, a widely read and highly referenced magazine publication for those in-the-know of Hollywood screenwriting and direction trends, has announced the sale of a DVD release dedicated to animation. Hoping to serve as a sort of catch-all guide for curious writers to lend their hand to the film or television spheres of entertainment, the DVD release "Secrets of Animated Movies & TV Shows" by Ken Rotcop (Richie Rich, Superfriends, Charlotte's Web) claims to tackle everything from graphic novel adaptations to Disney-Pixar styled scripts.

Currently on sale as a part of Creative Screenwriting's collection of the Craft and Business of Screenwriting, "Secrets of Animated Movies & TV Shows" -- for $19.95 -- aims to open up the mind of the writer and delegate what one should and shouldn't do when writing for animation. Noted as the former Creative Head of Hanna-Barbera Studios, Ken Rotcop, the instructor for the "Secrets of Animated Movies & TV Shows" DVD, is also the author of the screenwriting-based book publication The Perfect Pitch. In this home video release, Rotcop introduces "the art and business of writing for animation," using his experience and knowledge of the industry to teach viewers the important points in writing for the medium.

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