Archive for the ‘Festivals’ Category

BALKANIMA 2009

Wednesday, October 7th, 2009

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With our film winning the GRAND PRIX at BALKANIMA 2008, I had the honour of being invited to come to BALKANIMA 2009 as a jury member for the international competition program. The jury consists of 2 more members- one of them being mr.Priit Parn, who we all know and respect

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mr.Parn has been active as a caricaturist and illustrator since the end of the 1960’s. He has done more and more work as a freelance graphic artist since the early 1980’s. Pärn has had over 30 solo exhibitions over the past 12 years in various European countries and Canada.

Pärn has made 10 animated films of duration up to 30 minutes as well as a host of short films, commercials..

The third jury member being  mrs.Maja Volk- Serbian writer, singer, drama professor and play-writer, who delighted us all with the live performance of her Fado band at the opening ceremony.

To go straight to the opening night films, I would single out the brilliant MUTO, of whom i have spoken often on this blog, and an intriguing film malban_low

Malban- a french author Elodie Bouedec, portrayed a dream like world of distant memories with a distinctive stile and poetic sensibility.

Stay tuned for the next five days, where i will try and write a few words after every day of this fine balkan festival.


Pixar at FMX09

Saturday, May 9th, 2009

Hello!

It has been a busy day at FMX09 and TrickFilmFestival here in Stuttgart. Sad news…Unfortunately, we did not win the Bosch pitching forum prize. The “compot collective” and their “Father” animated documentary project took first prize. It looks like a very interesting project and i wish them all the best!

Moving on, I had a blast yesterday,watching a lot of cool conferences (“directing in the 21 century”, “plankton invasion”…),but  first i have to give a big thumbs up for the new film by Adam Elliot called “mary&max,a claymated feature film from the creators of the Academy Award winning short animation HARVIE KRUMPET.

At the FMX09 one film presentation caught my eye. This was the presentation of the upcoming feature film by toons´n´tales called Jasper the pinguin. Its and 8 million euro production based in Germany. The film is for small children so it is a bit slow, but the visuals are really great. They have managed to produce an innovative and unique 3d look.

Besides this, the Pixar presentation of the cinematography for Wall-e was very interesting. It was packed, everybody went- and i was there as well. Danielle Feinberg from pixar talked about the crazines of the pixar people:) What else can you say for people who track down directors from films they liked as reference for their new project, and ask them what lens they used in a film 10 years ago, so they can replicate this detail…The look they wanted was an 60’s and 70’s science fiction. Besides this they wanted to have a documentary feel for all the shots on earth. As Danielle sad, a “found film”- like something you stumbled up in one of the garbage towers. This they achieved with replicating the camera settings and feel of these movies- One of the things they noticed was the depth of field blurring. They felt it had something their computer replicated camera lacked. The tech guys said this was not true-their cg cameras had all the parameters of the real camera.So in true Pixar style, they went and build a set with a plastic Eve, shot some live footage and gave this to the tech guys.

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The difference was visible, so they went and fixed that.You will notice in the movie that the camera is not following the action perfectly. This was done to create a documentary feel to the camera movement. In this way you dont get a staged feel to the scene. Again, in true Pixar style the moved the classical cg camera pivot from the center of the camera to the bottom of the camera, to replicate how someone would hold a real camera- See if you can notice this:)

An interesting bit of information-In the first stages of the film making, Wall-e was thinner and more elegant, but they decided that he was too wimpy and would not survive 700 years alone, so they beefed him up in the final version.

What pixar changed in the way they approach film making in this movie, was in the animatic and rough layouts. Usually the animators would get rough layouts with no lightening. In Wall-e they would setup the light much earlier in the process in order to give the animators a better sense of how the scene will look in the end. In this photo the upper image is from the layout phase and the bottom image is from the finished movie.

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Well, hope you found this little overview interesting!

Today im flying back home, so this is my last post!

Pitching and FMX09

Friday, May 8th, 2009

Hi to all!

Well, this is my second day here in Stuttgart. Unfortunately I was not able to see many films today because I had engagements regarding the Pitching forum to which we were invited to. The idea is to present your work to producers in order to find German coproduction and present the film to the Robert Bosch Foundation. This foundation will award the best pitch with 70 000 Euros next year at the final pitching event. The winner of the Stuttgart pitch will directly go to the final of his pitching session which will be held in July next year.

The important note is that there are still 4 places left for the final pitch and for these anyone can apply, so send in your projects!

It has been great to hang out with the other animation teams, some of which you might know like Milen Vitanov, author af a great short  „my happy end”.

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Besides this, with Alexey Alexeev (KFJG n0.5) in the jury you know you will have a laugh.

The great thing about Stuttgart film festival is the partnership with MFX09, the 14th international  conference on Animation,Effects, Games and digital media

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I personally really enjoyed the presentations I had the opportunity to visit. I will single out The Art Direction and
Lighting of “Bolt” byPaul Felix and Adolph Lusinsky, the art director of Bolt who talked about the idea behind the visual style of this latest Disney animated film.This is a short brakedown of the presentation:

The main inspiration for the look of the film was the Ashcan school of painting. Their approach to depicting the details of real life and their use of light to create the atmosphere and mood of the painting.

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This basicaly meant a look based on loose visible brush strokes and massing of detail. What this means is that the blades of grass melt into a single green color as they move away from the camera. Besides this they wanted softer less defined edges on the foreground elements.

They invented rendering techniques to achieve this and from the tests they shown it worked perfectly, creating a real paintery effect and  the loose brush stroke. The plug-in and rendering techniques would drop details from the parts of the image that were in shadows and from the background textures and elements.These ideas combined created a wonderful render. I was impressed:)

Unfortunately they have toned down this visual for the final film and in my opinion lost a lot of the unique visual style shown in the test renders.

What blow my mind is that allot of the models that ended up into he film were low poly game like models (especially for the buildings).This had sufficient details for the background elements which the art director wanted simplified and consisting of broad strokes of color. Off course this meant that you would have low poly models for the set dressing and high poly models for the main elements.

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Sorry for the poor image quality but the iphone is not blessed with a better lens..

Allot of the influence for the visuals in Bolt came, as they said, from the American movies of the 1970es, from authors such as Gordon Willis.

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you decide for your self but, in my opinion they had a great concept that got watered down in order to make the film appealing to a broather audience. I can only hope someone from Disney will take the idea and make a cool short film



Opening night spiked with contraversy

Wednesday, May 6th, 2009

Hi to all!

Here i am in Stuttgart for the Festival of animated film.The festival just started yesterday but from the opening night i can see that i will enjoy these few days. We have been invited to this festival for the pitching forum where we will present our new project “An old woman and a dog”. I will talk more on this later on.

The first international selection shown just how strong the competition will be. I would single out This way up (this years Oscar nominee), which was my first chance to watch the film. I loved it:) and apart from a few films i have already mentioned from previous festivals i would have to say that ORGESTICULANISMUS is a must see for all animators. As far as i know there is no rotoscope in this film (im sure you will agree with me on this one)

Usually this is where i would end, perhaps with a few photos from the party afterwards, but this time there is something more. The strange thing with this opening night was the fact that there was no trailer…Through the funny and hardly understandable translations of German into English i managed to find out that they indeed had a trailer but this will not be shown because it promotes violence…I have to say that i have seen the trailer and this is a bunch of bullocks… I have not been able to find the link to the trailer but here are two stills from it- Basically its a bunch of kids shooting paint guns in vibrant live colors all over Stuttgart. I found the trailer to be fun, innocent and well made, and can only give a big thumbs down for this move of the festival organization…

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Paulina Majda on “Peter and the wolf”

Wednesday, April 29th, 2009

I had the pleasure to meet up with Paulina Majda recently on the Lille film festival.

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If you dont know this talented lady was the art director on the Oscar winning short “Peter and the wolf” and was in Lille to present the works of Se-ma-for film production studio. She was kind enough to write up something about the Peter and the wolf production, as well as give us some rather cool photos form the set. Thank you very much Paulina!

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Here is what she wrote:

Paulina:

<!–P {margin:0px}–>

I was wondering about some anecdotes from Peter and the Wolf, that you asked,

Honestly it hard to choose something funny  and interesting after few years, already.

I remember the people.

Hugh Gordon was a leading cinematographer, about 70 ( on the photos he is with white beard) , but he never want to tell me exactly his age. Every day he rode a bike to the film set from his home. He put cycle helmet on his head,  for hands and knees, jump on the bike and ride through the city. Is not often in Poland, in a quite big city, during the winter also. When he reached to the film set he jump out from the bike, and jump on the film set and work till the night. Amazing. Great, warm man with great condition. I miss him till now.

It is quite funny when you see the people about the 60, 70 and they are so much involved in the puppet production, they are so serious about everything what they do with the puppets. I am not laughing of course, but this is cute, that even old man can play puppets, and they are important for him.

It was a real boy, who inspired Suzie for the Peter. She met him, as I good remember, in Russia.

And she got a picture of him. During preparing the sculpture he was changed a little, but not so much.

For made a forest, we use a real trees from the forest’ s school (place where trees are growing up), actually we bought all the trees from the school and we changed them a little, make smaller, not so bushy, and so on… (some you can see on the photos from the top)

The balloons. Director want to be a real balloons, animated traditional, not computer, so the tests of balloon were looks like: balloon from the glass, plastic balloon, condom balloon, small real balloon, but always goes wrong with animation so, in the end, we decided to make it in computer and this is the best idea ,I think.

As a curiosity, on the premier in Royal Albert Hall in London, there wasn’t any balloon in some scenes,

I can’t remember if some one seen it, maybe I shouldn’t tell it?

Sometimes after parties some of the people slept in the film forest. It was enough big to hide in there for real people. It was funny.

Some international romances during the production and some children; friendships of course

And huge sadness after the end. It was hard to say good bye.)

I send you some photos with puppets, how the puppets were made, for example the chair of the Peter,

and wolf surgery,  animators in their thoughts, under the tree, in Peter’s house, a bottle of Russian vodka from 50-60 ties, and the Russian cucumbers. The woman with the long hair it is Suzie , the director ,and I work with her with a big, real pleasure.

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Thank you again Paulina, and here are the photos

all images are copyright “Se-ma-for” and “Break ThruFilms Studio”. please respect this

“She who measures” Honourable Award

Tuesday, April 28th, 2009

We are happy to say that our short film She Who Measures has won Honourable Award at ReAnimacija animation festival in Lodz!

this is our 13th award so far!:)

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here is the transcript of the jury award announcement

> The Official Jury verdict:
> Sadly this festival only allows one prize and two special mentions.
> This made our job very tough.
> So before we announce those special mentions and the prize, we&#8217;d
> like to mention just a few of the other films that we thoroughly enjoyed.
> These were: ‘The City Sails’ on by Balbina Bruszewska, ‘Employment’ by
> Santiago &#8216;BOU&#8217; Grasso, ‘Hot Dog’ by Bill Plympton and
> Crocodile by Kaspar Jancis.
> Now to the official mentions and the grand prix &#8211; all are films
> that we wanted to view over and over again:
> The first special mention goes to a film which deals with a contemporary
> problem and suggests a future for our consumer society.  The choice of
> images complements the theme perfectly and creates a palpable
> atmosphere.  This special mention goes to ‘She Who Measures’ by Veljko
> Popovic.
> The second goes to a film with a completely original concept and
> structure, a film which subverts a revered musical tradition to create a
> very funny animated musical.  This special mention goes to ‘Chicken
> Stew’ by Joana Toste.


Lille animation festival

Saturday, April 18th, 2009

I am writing this post form Lille, France, where the 5th edition of the Lille animation festival is unfolding. I have traveled here with Simon from BONOBOSTUDIO to present our film “She who measures” in the KENGES retrospective program that will take place tonight(18.04) at 10 in the evening. The festival it self is not what one would expect. It does not have an official selection, nore, as far as i can gather, does it have a jury or winners. It is more an animation event, focusing on eastern europian animation (hence our envolvment) and japanese animation. This is not officially stated in the festival documentation but this is the feeling i got so far. Parallel with the film screenings there is an anime convention of some sort with a lot of strange events, such as karaoke featuring anime cartoon themes

we were at the rehearsels:)

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to  strangely dressed people playing funny looking games

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what caught my eye was a video wall of a strange forest. As you walk across this forest, strange new plants appear, while other existing plants disappear. how interesting:)

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At the end of the day, it all boils down to good friends, good eating and a few laughs. We had no shortage of this, specially while hanging out with  Alexei Alexiev, the author of the famous KFJG NO.5

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I hear from Alexei that a whole series was made out of these characters, so watch out for that…there will be around 15 episodes as i can remember. He also talked about making a series out of his HUHU cartoon, but since he was a bit drunk you never can take him seriously:)

Wednesday, April 15th, 2009

ANIMATED EYE AWARD FOR “SHE WHO MEASURES”!!

The Aspen Shortsfest 2009 International Competition Jury selected SHE WHO MEASURES as Winner of the ANIMATED EYE (Best Animation) Award! As they tell us from Aspen Shortsfest: “as winner of one of Shortsfest’s top awards, SHE WHO MEASURES may be eligible for Academy Award Oscar consideration in the Best Animated Short Film category!”
An Oscar? Why not! :)
They continue:”This Award also comes with a $2,500 USD cash prize, awarded to the director, Veljko Popovich.
We were honored to present SHE WHO MEASURES at  Aspen Shortsfest 2009 and were delighted that it received such an enthusiastic reception from our audiences and jury.”
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And the Oscar goes to… ah, sorry, my mind wondered for a moment there! :)
We would like to thank all the people from Aspen Shortfest2009 and are hoping that we will be able to be there personally next time to enjoy their beautiful festival!

Dennis Tupicoff interview

Thursday, February 5th, 2009

For the last few days me and Dennis kind of made it a daily thing to sit down for coffee before the busy day kicks in. I had the nerve to turn one of our talks into an interview and Dennis kindly agreed to have it recorded.Thank you for that. Just to start off with a bit of an introduction, Dennis is a long time film maker and lecturer. He has made both animated and live-action independent films as writer, director, producer, and animator. His filmography includes

Please Don’t Bury Me (1976, 4 mins, 16mm)

My Big Chance (1977, 1 min 30 secs, 16mm)

Dance of Death (1983, 7 mins 30 secs, 16mm)

The Bear (1990, 30 mins, 16mm)

The Darra Dogs (1993, 10 mins, 35mm)

His Mother’s Voice (1997, 14 mins 30 secs, 35mm)

The Heat, The Humidity (1999, 4 mins, 16mm)

Into the Dark (2001, 6 mins, 35mm)

Taringa (2002, 26 mins, Betacam)

Chainsaw (2007, 25 mins, 35mm)

Make shure to see his movie if you get the chance.

First off, we talked about the animation techniques used in Chainsaw. It is a very interesting movie, balancing, like Dennis, between documentary, live action and animation.In this case, i feel the combination worked well for him. Dennis talks about combining various techniques for Chainsaw- 3d animation (for the cars, chainsaw, particles..), 2d animation (for all the animals) and rotoscopy from live action and documentary footage. He points out that even in the rotoscopy they traced only the key frames while animating by hand the inbetween keys.

Dennis talks about his passion for writing and how in chainsaw the process of the script writing took a few years in between projects. He feels this gave the film its final storyline which differs a lot from the original idea which was an 8 minute film, first created 8 years ago. Once he had the final script things progressed really quickly and the production was a straight forward one. He remembers how they had to get in a rig for the sex scene, which would allow the actors/acrobats to play out the sex scene in mid air. This allowed interesting camera positions which gave the sex scene an underlying quality.

For the software, they used TOONBOOM for the 2d, training students to use the software and then animating for the film. Dennis was involved in the animation process and the design of the film, aswell as the editing.

Besides this he remembers the grueling meetings with financiers, and the difficulties getting the funds for the film, which he openly says were about 250 000 dollars . He also talks about how the success of previous 20 minutes Australian films paved the way for him to get the funds (like Harvie Krumpet).

For the end I asked him about some of his favourites from this festival season. He sets apart SKHIZEIN, and MUTO

I would like to thank Dennis for his time and for his kindness-

Interview with Jeremy, SKHIZEIN

Wednesday, February 4th, 2009

I had an opportunity to sit down this morning with Jeremy Clapin, the author of SKHIZEIN, short animated movie which has shown over 50 festivals and won a great deal of awards including a Cezar nomination-Hopefully he will win it!

I asked Jeremy about his film, the festival circuit, the Oscars…

Lets start from the top:)

We opened up the discussion with a curious fact that, SKHIZEIN was not shown in many American festivals. Quickly Jeremy replies that the fact that most of the American festivals require an entrance fee turned him off the American scene, as is the case with many other authors.  Jeremy talks freely of the film budget which in his case was around 100 000 euros.He also pointed out that this was enough for the film production but they had to find alternative sources for the transfer to film and festival money. This meant that spending a lot of money on entrance fees was not an option.

When talking about production, then next important aspect is the crew, and Jeremy blow me away when he said the movie was made by him self and a friend- He admits a few people would come and go, but the core team stayed the same.  On top of this he “mentioned” that his friend lives and works in Lyon while he works in Paris. The key was in the fact that they knew each other from a while back and managed to keep the work flow simple and effective, says Jeremy. The production time for the film was just under a year. Well, all this left me speachles- my hat goes off to you my friend.

As for the tools, they used 3D studio MAX for the 3d stuff, but Jeremy is quick to point out that he also mixed in stop motion and video to give the film its look an feel. As he says it, he is not much into a naked 3d look, and always tries to give his films a more poetic, artistic and human feel to it.

When asked about any big problems in the production, Jeremy answers that there were no big problems but a lot of small ones, and he feels that this is the way of the modern animation production.

When asked about the Oscar nominees, Jeremy admits that he was sad not to see his film in the final nominations. He reveals that his film was in the final 8 and was told it would get the nomination. Now, looking on the nominees, he realized that his film has a different quality and understands why it would not fit in, with the rest of the nominated films. He puts an interesting point on the table, drawing a parallel between the nominate movies and the hollywood film production. Jeremy points out how in the nominated films you can see the academy rewarding films that are based on the same principles as the commercial Hollywood production, in this way validating their own efforts and stile of animated movie making.

For the end of the talk i asked him if he had a favourite film, from the ones he saw on the festival circuit. His recommendations are “camera obscura”

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and “she who measures”, allthough i would venture to guess the last one was added to please the author of this text:) Never the less, i will take the compliment and thank Jeremy for the time and for such a nice end to a nice conversation.