Toronto Animation Live

Oh Land - White Nights (Official Video)

2011-11-07T11:42:00.000-06:00

Animator Art Clokey passed away today

2010-01-09T20:20:00.003-06:00

Animator Art Clokey creator of Gumby died today.

http://www.cbc.ca/arts/tv/story/2010/01/09/gumby-creator-obit.html

Next Issue Coming Soon!

2009-07-21T12:39:00.002-05:00

The new release of the Possum Press is coming soon. It will launch at this years Canada FAN EXPO.

Ubisoft Game Studio Coming to Toronto

2009-07-07T12:42:00.004-05:00

Ubisoft gaming studio set to open new studio in Toronto later this year. After the a deal made with the province of Ontario Ubisoft will create 800 jobs .

D-BOX Coming to Canada

2009-07-03T12:57:00.003-05:00

D-Box Technologies will be coming to a theatre near you. 18 seats will be installed at the Cineplex Odeon Queensway in Etobicoke. These motion enhanced seats will move in sync with the films camera motion. Launching with the new Harry Potter flick.

SIGGRAPH2009

2009-06-25T10:17:00.003-05:00

The Computer Animation Festival is celebrating its 36th year as an internationally renowned forum for presentation of the world's most innovative and stimulating computer-generated animated films. The festival also offers a wide spectrum of genres: narrative animation, medical visualizations, video game and simulations demonstrated in real-time, music videos, promotional spots, and many others can be seen in one location over the course of five days. If you can only attend one animation festival this year, SIGGRAPH 2009 is the must-see event. For its second year in a row, the festival is open to the general public in addition to conference attendees.

Special Guest Speakers
Chris Landreth"The Spine" and Psychologically Driven AnimationThursday, 6 August 10:30 am - 12:15 pm, Auditorium B
Peter LudéSenior Vice President, Engineering, Sony ElectronicsExecutive Vice President, SMPTEBoard of Directors ITVSThe State of 3D for Entertainment for Theater and HomeThursday, 6 August 8:30 - 10:15 am, Rooms 260-262
For SIGGRAPH 2009, the Computer Animation Festival introduces two new sections: Real-Time Rendering, devoted to work produced interactively in real time; and Visual Music, which includes music visualizations and other artworks that combine music and images into a captivating multi-sensory experience.

2009-06-18T14:13:00.000-05:00

2009-06-01T16:07:00.000-05:00

Opening Gala: AWARD WINNERS FROM AROUND THE WORLD
The red carpet is ready, the bubbly is on ice, and the statuettes are polished and gleaming!

Come and enjoy the latest crop of award-winning shorts from across the globe.

BLOOR CINEMA TUESDAY, JUNE 16 7:00 PMROM SUNDAY, JUNE 21 9:30 PM76 MINUTES

JUMP START Hosted by CASO

2009-05-27T11:06:00.000-05:00

INDUSTRY NIGHT 09 PICTURES

2009-05-25T09:50:00.005-05:00

2009-05-25T09:48:00.000-05:00

2009-05-25T09:47:00.000-05:00

Walt Disney takes Torontonians up...up...and away

2009-05-25T09:11:00.002-05:00

Walt Disney Studios Motion Pictures Canada is taking Torontonians up and away with an outdoor campaign promoting the Friday release of Disney Pixar’s latest animated feature, Up.
Starcom Worldwide’s Toronto office is outfitting 10 transit shelters, owned by Astral Media Outdoor, with 72 helium-filled balloons.
Astral obtained a one-time approval from the City of Toronto to use actual balloons for the TSAs, which will appear in high-profile locations throughout the downtown core this week.
“It was critical to have the city on board, so we are thrilled that Astral was able to find a way to execute the balloon extension concept within the city’s bylaws,” said Jennifer Lewis, associate media director at Starcom Worldwide. “This execution will really bring the creative to life.”
The TSAs’ creative shows characters hanging from a garden hose attached to a house that is being carried away by hundreds of balloons.
“In the movie, there is a wonderful scene with thousands of balloons lifting [main character] Carl Fredricksen’s house, and this imagery just begs for a creative outdoor campaign,” said Greg Mason, vice-president of marketing for Walt Disney Studios Motion Pictures Canada, in a release.
Other out-of-home executions include a three-dimensional superboard featuring more multi-coloured balloons, with TSAs in suburban areas featuring standard movie creative, while other executions include GO station posters around Toronto and Astral street columns in Montreal.
Originally published in Marketing Magazine, May 2009

Test Pilot Takes Flight

2009-05-21T14:41:00.001-05:00

Toronto, Canada, May 21st, 2009: Test Pilot (www.testpilotspot.com) launches the first 3D CINEMATIC production company in Canada. Lead by Creative Director, Tony Cleave and Producer Alexis Victor, Test Pilot will provide agencies the ability to produce 3D animated test commercials for link testing and focus group surveys.

Test Pilot takes the agency script and creates tangible, 3D sequences that fly the creative team’s concept through the focus group session and into real live action production. Our virtual actors read the agency script as it was intended – with emotion. They achieve this because they are not flat 2D illustrations. Leveraging their expertise in 3D character animation and direction, Test Pilot’s virtual actors give their best performance on the first take.

We believe the test commercial market is under-served. Test Pilot aims to raise the production standard by providing a higher caliber of work. Our expertise in character animation and story telling allows us to effectively convey the agency script with 3D actors and environments says, Test Pilot’s Creative Director, Tony Cleave.

Test Pilot’s Producer, Alexis Victor further explains, “Our test commercials are revolutionary. Our actors are 3D living virtual characters. They express themselves with dialogue and body language. Our environments are immersive because they are 3D. There are no limitations in the virtual realm.”

Toronto After Dark Film Festival

2009-05-14T09:05:00.000-05:00

Starz Recruiting Event - Thursday, May 14th

2009-05-12T10:31:00.002-05:00

Disney's Pixar to open Vancouver studio

2009-05-08T14:00:00.002-05:00

DAVID EBNER
Globe and Mail Update
May 8, 2009 at 1:56 PM EDT

VANCOUVER — The Hollywood studio behind landmark animated films such as Wall-E and Toy Story is setting up shop in Vancouver.
In its first expansion beyond California, Pixar Animation Studios, owned by Walt Disney Co. [DIS-N], plans to open a 20,000-square-foot studio in the fall in downtown Vancouver, hiring up to 100 people, to supplement the company's headquarters near San Francisco that employs about 900.
Feature film work remains in California. The Vancouver studio will focus on the short-form computer animation that first launched Pixar in the mid-1980s.
Pixar's Vancouver operation would serve as a springboard to San Francisco for young animators, most of whom are expected to be Vancouver locals, and will also handle work for theme parks, television and DVDs to keep alive such iconic characters such as Woody from Toy Story. The studio will produce material for Pixar and Disney.
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“We're all thrilled,” said Alan Phillips, president of Vancouver Institute of Media Arts in the city's downtown core, where about 150 full-time students study computer animation and related topics, and also has a twice-monthly seminar taught by Pixar animators.
“It is fabulous news. Vancouver's been in a bit of a slump with animation – this is definitely positive news,” Mr. Phillips said in an interview Friday.
The arrival of Pixar, the pioneer and world leader in computer animation, is a major endorsement for the city's industry, which is still reeling from this year's layoffs of 600 people at video game designer Black Box, which video game maker Electronic Arts Inc. bought in 2002.
Vancouver attracted Pixar because of provincial tax breaks for computer animation, which were introduced in 2003. Pixar also cited a strong local talent base, and proximity to company headquarters.
“Canada, and Vancouver specifically, has had terrific tax incentives for this type of work,” Pixar general manager Jim Morris told Reuters News. “I think they have a desire to grow this sort of business activity and get a critical mass. This will allow us to do more with the budgets that we have.”
Pixar has mulled its move north for some months and last fall met with British Columbia Finance Minister Colin Hansen to discuss the tax credit.
Beyond the bad news of Black Box/EA, the Vancouver animation industry has also watched Mainframe Entertainment wither. The studio once employed as many as 300 animators in the late 1990s and created the world's first 3-D animated television series, ReBoot. Mainframe was bought by Rainmaker Entertainment, a Vancouver rival, in 2006, and local animators say the company has pared back.
The Vancouver Pixar studio will focus on work that goes all the way back to Pixar's birth. In 1984, according to Pixar's website, John Lasseter–now chief creative officer–left his animation job at Disney to work for George Lucas's special-effects computer group. Two years later, that division was bought by Steve Jobs (of Apple Inc. fame) for $10-million (U.S.) and was christened Pixar. The same year, the Pixar short film Luxo Jr. made its premier and the next year received an Academy Award nomiation for best animated short film.
Pixar won its first Oscar in 1989 for the short Tin Toy. The company branched in to commercial work and it wasn't until in 1995 that the company made its major splash in the mainstream. Toy Story, a magical story of toys come to life, was the first-ever fully computer-animated feature film and became the biggest money-making film of the year, grossing close to $200-million. Pixar also went public in 1995 in an initial public offering that raised $140-million (which, the company website notes, beat out Netscape Communications as that year's biggest IPO).
Disney, which distributed Toy Story and subsequent films, bought Pixar for $7.4-billion in 2006.
The company's nine feature films also include Finding Nemo, Cars and Ratatouille. Pixar's 10th feature – a $175-million production entitled Up – is out this month.

Match Studio PRO Demo May 5th

2009-04-29T14:56:00.000-05:00

Thank you

2009-04-28T16:52:00.001-05:00

Thank you to everyone that came out for the 2nd annual Toronto Animation Industry Night. It was a huge success and we look forward to hearing your feeback for next years event. Picture, Video and the Ottawa Animation Pass Winners will be posted and announced this week so please stay posted for more info.

2009-04-21T15:48:00.002-05:00

Quality is King. Or so I've heard, at least in the production business. But like most things, it's not always so simple. Case in point: 'XMen Origins: Wolverine'. By now everyone is fully aware of the dramatic (if not terrifying to some) news that a working copy of the latest flick somehow found its way into circulation. I won't go into the various implications or indeed broader threats to the animation industry, but certainly there is a lot at stake. The reason I mention it though is that the people who may be seeking to acquire the movie by whatever means don't seem to care that in large part it is not yet complete! Unfinished or missing FX, uncorrected colour, placeholder music and sound - likely whole shots that have as yet not been added or may be removed in final edit. So why do it? Who knows for sure. To me it seems a little bit like a child peeking at a their presents before its time to open them (our first experience with spoilers). I am pulling for you Wolverine, but I suspect in spite of such information, lots of people would be content to view it regardless. Which raises an interesting question...

How much do people really care about quality. There are the "Blu-ray'er" types who you meet at parties who are always happy to describe the quality difference from regular DVD's with almost religious zeal, and there are plenty of other tech-minded aficionados that demand better color range or resoluiton in the material they watch (and are in large part prepared to pay for it ...imagine). However, these remind me of the old stereo/hi-fi buffs of yesteryear who would refuse to listen to an inferior version of good music or was played back on sub-standard equipment. In other words, a minority (though Glod bless them). So why care? Why spend all that time and money adding so much polish to content for the mass market? It still matters, and I think I can explain why.

Cheap almost always means a short life-span and lesser experience. You know it's throw-away or second best (I never knew what "white-metal" meant until I bought a cheap discount tool). I'm not talking about a genuine deal you might score for a good sale item of course, and nor am I referring to otherwise expensive products being sold out of trunks of cars in a parking lot. Actually, to be fair, there is something that adds to the quality of the experience when you save up to afford the genuine article and can't wait to get home and crack it open (unless it was something like 'The Day the Earth Stood Still' remake). ANYWAY, point is, cheap things tend not to last and often look or work like crap. So you don't get much out of them.

Lack of quality is also linked heavily to the perception that you don't care. Like it or not, the person with the ironed, stain-free outfit, fresh breath, buttons all done up and shoes polished will inevitably pull off a better interview. I know, I know - shouldn't matter, but it does. I am no fool, and I have interviewed plenty of artists and managers in my time. I know talent when I see it, but something in each of us can't quite ignore that the person who seems to have their personal life in order may just care more than others - and vis a vis are more likely to take better care in their work as well. It doesn't have to be fair to be real.

This is why when I see really really good work, especially in the film and games business, I can appreciate the quiet message that is being spoken behind it by the creators; that they honestly care and hope you notice and enjoy what you see. They care so much in fact that they want you to believe for the rest of your life that you experienced something that was unforgettable - that had "quality". That message is actually being delivered from the writers and directors on down to the last artist tweaking final shots late into the night. Again, that they actually give a crap, and we could all use much more of that in today's crazy, disposable-minded world. The message rings out loud to me every time the movie 'Jaws' plays that's for sure, and it almost killed a young Spielberg to make sure we heard it. Which is the reason why I would watch it again in higher def, wider screen, or restored color - so I could squeeze every last bit of quality out of it whenever I experience it again. And if there is a personal message for any artists and directors out there, it's that you should strive to be just as detail and quality minded. Remember that this sort of work is more of a craft than an assembly line job or free flowing art piece. You need to learn to be m-e-t-i-c-u-l-o-u-s. Do that, and you should be all set.

For the same reason I think the current interest in the Wolverine WIP (work in progress) cut is just a temporary thing. The finished stuff is what will really last and therefore be worth seeing/experiencing. Quality sticks with us and impresses. Something in us registers it, just like when you meet someone that has their act "wired-tight" as they say (in Platoon at least). You don't immediately notice why they made such a good impression. Often it's in the details that are felt as much as seen, and it makes you remember the person - or the artwork in this case - and want to see more.

I had an early career lesson from a friend and colleague when I was starting out. I was coming in more junior and had completed what I thought was a careful, professional job - a tedious build of some complex model - but it wouldn't render right for some mysterious reason. I was confident the work was sound, but he took a moment to sit down and started checking it out more closely. Remember, this is an important senior person taking time out to review my work. I noticed him zooming in on some geometry where the artifacting was happening. I recall that I blathered out (cuz, you know, I knew sooo damn much) that I had already done that, but he ignored me and kept zooming in. Zooming..., zooming... It felt like we were heading down some insane level of a mine shaft. I could feel the heat rise. An uncomfortable drip ran down to the small of my back, and beyond. And then...there it was - a set of points at some crazy, microscopic level that had not welded. All I got from him was a passing sympathetic look (if I read it right) and a shrug before he walked away. I NEVER forgot that moment. Precision is a skill. So be as thorough, careful, and polished as you can. It's takes patience and effort to train yourself to operate at that level; to strive to be impeccable. The speed can come later. Hell, it's what I call "smart-speed" anyways because this mindset often helps avoid bigger problems later, as I have experienced time and again. There are enough people out there creating mediocre or unpolished content, and making decent money doing it, sadly, but it is usually forgettable. It's missing the magic. People like to see or own things they can't dream of being able to create themselves because they can feel it's value. Which brings me back to Wolverine...

I have a feeling the official release and follow-up products will likely do well in the end. This is new ground for everyone, another test for the emerging digital world, so it will be interesting to witness the results. It is possible that the average Joe will have no desire (or opportunity) to see the unfinished bootleg version. They'll go see it when officially released. I know the Blu-ray types will want to wait to see it on the big screen, and/or will purchase the official disc release after that. And then there may be a whack of people that have perhaps seen the unfinished version and can't help wanting to see what the final version looks like in comparison - especially on the big screen - so they can feel the great sound hit them, see the true depth of color, quality of simulation, or subtle sound effects that all help to create a more imersive, believable experience. No. I don't have a sense it will be a disaster in the end, and if not it will all be due to good ol' dependable quality.

Doug Masters, Apr, 2009

2009-04-19T11:33:00.001-05:00

Everyone knows the early bird catches the worm, but at the 29th annual Summer Institute of Film and Television (SIFT), the early bird gets to save money. There's just over one week left to take advantage of the SIFT 2009 early bird rate - register and pay by Tuesday, April 28th to receive the discount!

Workshops are offered at various levels in screenwriting, directing, producing, documentary, acting and new media, and are all taught by top industry professionals.

Attn: STARZ IS RAMPING UP

2009-04-19T11:00:00.003-05:00

Employment Announcement

Starz Animation recently landed a special that will air on U.S. networks.

Starz is ramping up teams to produce this and we are looking for riggers, modelers, animators, TDs and a number of other positions to help produce this quickly. The team will be built with a mix of senior, intermediate and junior talent.

If you know someone that might be interested, have them contact Starz Animation by email at sat.jobs@starz.com or send a reel and resume "ATTN: Recruiting".

Live Artist Max Pope @ Industry Night

2009-04-15T15:18:00.004-05:00

Guru Looking for Intermediate and Senior Animators

2009-04-15T14:48:00.001-05:00

Guru Studio is looking for exceptional Intermediate and Senior Animators for an Emmy award winning children’s series, to start immediately. A background in art, showing a solid understanding of physical motion, dance, weight and balance would be an asset.
Job Summary

Various positions available, including full time contract positions with benefits until early 2010. You must be legally entitled to work in Canada and/or an Ontario Resident. No relocation will be provided.

For more info contact: hireme@gurustudio.com

2009-04-13T10:35:00.001-05:00

2009-04-07T07:50:00.003-05:00

ONTARIO MEDIA DEVELOPMENT CORPORATION
INDUSTRY INITIATIVES - BULLETIN

OMDC FILM FUND

INFORMATION SESSION: April 27, 2009 (REGISTRATION REQUIRED)

APPLICATION DEADLINE: June 1, 2009 (BY 5:00 PM)

OMDC has launched a call for applications for the OMDC Film Fund. This fund is intended to increase the level of indigenous feature film production in Ontario. This program provides support to Ontario producers for feature film projects in the final stages of development and production financing.

The OMDC Film Fund supports a range of projects with both cultural and industrial benefits. OMDC measures the results of the OMDC Film Fund primarily based on return on investment and jobs created in the Ontario film industry.

Eligibility criteria and program details are outlined in the program guidelines on the OMDC website (www.omdc.on.ca ) – under Programs / Content and Marketing Funds / OMDC Film Fund or by clicking here: Guidelines and Application Forms .

Information Session

An information session has been scheduled to provide interested applicants with the opportunity to learn more about this program.

Date: Monday, April 27, 2009
Time: 2:30 pm to 3:30 pm
Location: Conference Centre - 175 Bloor Street East, North Tower,
Third Floor, Toronto, ON

If you are interested in attending this session please sign up by clicking here . Registration will close at 5:00pm on Friday, April 24, 2009. Unregistered guests will only be accepted if space permits.

For further information on this or any other OMDC programs, please contact the Coordinator, Industry Initiatives at:

175 Bloor Street East, South Tower, Suite 501
Toronto, Ontario M4W 3R8
Direct Phone: 416-642-6695
Main Phone: 416-314-6858
Fax: 416-314-6876
Email: programs@omdc.on.ca

2009-04-04T13:33:00.003-05:00

Playback Independent Production Company Listing Extended

2009-04-03T08:23:00.003-05:00

Deadline Extended to Thursday, April 16 Playback is accepting submissions for the 2009 Independent Production Company List.

Chris Landreth Speaks May 1st at Veritas

2009-04-02T17:11:00.000-05:00

Toronto Film and Animation User Group

2009-04-02T16:34:00.002-05:00

Please join us April 7th @ 6:30 for the Toronto Animation Film and Animation User Group.

Eaton Lecture Theatre

Ryerson University Rogers Communication Centre

80 Gould St. Toronto, Ont.

Experience Counts by Doug Masters

2009-03-11T14:11:00.003-05:00

COLUMNIST -- Doug Masters has been a CG artist, director, and senior manager in the CG/animation business over the last 20 years, working in software development, games, commercial production, VFX, and most recently TV animation. He is active within the Toronto animation community and is currently focusing on next generation content development and production.
Contact: masters.doug@gmail.com

Experience counts. This is not just a plug for myself, or anyone else who may have done their time in the business for as many years. Experience is the great underlying thread that companies and managers look for and respect. Its also that line on a job ad that causes new artists to gnash their teeth. "Professional experience required", "5+ years experience as a senior artist or director", "experience on one or more features", and on. An old story - how to get that experience if no one will hire you without it?! Its like some esoteric, Star Trek time-parallax trap. An impossible sort of logical problem Kirk might throw at the ship's computer to cause it to go into an infinite loop and start having fits - which is I guess exactly the sort of feeling the new artists who are trying to enter the business must experience. If there is not an official word for the that trap (like the "Von Neumann Bottleneck" in CPUs) there should be (I believe "Graveyard Spin" is already taken by the airline industry).

Anyhow I know it sucks, but you have to look at it as a test - as much as successfully graduating from a course or solving a problem on the job. The rest of us can't (won't) help if you can't get past the first of those guarded gates on your career path. It's one of those Scout badges you need to earn. But I am not here to go into detail about that process. Just... get good - and be prepared to offer some services for free if you have to (sorry, no angry mail please). Experience counts on a lot of levels. It helps us learn and adapt and, most importantly, avoid disaster. In my last entry, I mentioned the importance of fundamentals. Those are the things you need when you don't necessarily have experience. They'll help you survive. But to really do well, without the same risk, scrambling, sheer luck. or shameless charm, you need experience.

I remember when I first started in the business, I got a REAL PAYING gig working nights and weekends doing 2D CG work. Actually thinking back, after driving two hours each way in an old Honda civic that liked to drop it's transmission and other stray parts along the way, I am not sure I made any money at all. Some companies today would accept such a loss as helpful cash flow. Which is again why you should note ignore the prospect of working for free if it will help! Anyhow, I had previously been frustrated with the cursor locking up on the system in question (I can't even recall it now; Genigraphics??), but some very good training helped me recall that a simple tap of the escape key would release the cursor. On the day when I showed up for my first shift, there were four people in suits struggling and swearing in front of the system trying to get a correction completed on an image. I could see of course that the cursor was locked and so glided past coolly to hit the escape key without asking any questions or introducing myself. A little dramatic I know but it can sell. The people there saw the system unlock and a guy (one of those execs with some experience of his own) said, "well, what say we get the hell out of here and let the expert take over". Ahh, small glories. The real success however was all the energy and frustration that was avoided by my action had value. Now flash-forward, and multiply that by a hundred, or a thousand. What does it save a project or company to have someone coolly walk in and demonstrate an alternative solution that will avoid the loss of serious time and money -and potentially a pissed off client who may never come back?

People like that are not always the smartest ones in the room. I'm not that big a fan of clever; I'm always more impressed with experience and wisdom. I know that when experienced people offer solutions, its not because they just figured it out in a flash of genius. But they still deserve credit for having been through "the shit" in the past and have earned their own set of shoulder stripes. So never begrudge someone older and possibly slower than you who might be senior to you. You may be missing an important point, and believe me there will come a day when you will understand it.

Which brings me to another dilemma in the animation industry (or any other for that matter) - that beats the inexperience death-loop I mentioned earlier hands-down. It's one that increases with seniority and responsibility. Mainly, that people won't always listen. That you become what's known as "a voice in the wilderness". Those are those old coots or yahoos who sit there saying mad things like the credit market is poised to crash, that viewers will increasingly abandon standard sources of media and entertainment, or that people will use Apple platforms more for games. Sadly, they are often the first to be ignored during the heady days of success or when the big challenges arise. And it particularly sucks when you find yourself in such a position and you happen to be on the same ship as everyone else cruising through dangerous reef-filled waters. But I can see their point - that the experience and wisdom has to be demonstrated first, then they will listen. I guess it's really not all that different from the experience trap that you bump into at the beginning, except that's it's like try to passing through the "9th Gate".

So in the end, the process never really ends, which you have to admit is kinda cool. As I often say, the entertainment business is a lot of things, but it is rarely boring. Especially true for the animation side of the same business with its constant demands, young talent, and technical evolutions. If you want boring, stable, and predictable, you may want to look elsewhere. But as long as you stick to some strong fundamentals, and listen more than you talk, and try to avoid burning bridges (it happens, but it is rarely worth it), and put in a string of solid days, you will naturally accumulate knowledge and experience. And so you will be worth more. And people will want to hire you to help them avoid costly mistakes. Just be sure not to act like you know something when you are not totally positive; that you have made it work before. Like using dynamics on a quick turn-around job instead of just animating hair or something. That's what we call clever, and when it goes wrong, it can cost a lot of money and sleep - and gnashing of teeth. So as you tread through all the guarded gates, try to remember: there's never any harm in saying "I don't know" or "I'm not sure". The rest will come later.

© Doug Masters, Mar 2009

Astral Media wants you to SHOW YOUR COLOURS.

2009-03-02T12:05:00.004-06:00

Astral Media has launched an online art competition. The winners of the contest will have their work featured on astral medias outdoor network.

Check it out at: http://www.yourcolours.ca/

Kingston Canadian Film Festival

2009-02-26T15:10:00.004-06:00

The Kingston Canadian Film Festival is an annual celebration of the very best in Canadian cinema. The Festival is the largest single showcase of Canadian feature films from across the country. Each year the Kingston Canadian Film Festival showcases 15-25 feature length films, as well as numerous locally produced short films. The 2008 Festival represented the most successful to date with increased attendance and a strong guest line-up. Between February 28th and March 5th, 2008 Kingston once again took the national spotlight and played host to the largest stand-alone showcase of feature films from across the country. Attracting 5,000 attendees, last year's event featuring multiple screenings of over 20 feature films, a professional shorts package, and over 15 locally produced short films, as well as numerous workshops, seminars and special receptions.The Kingston Canadian Film Festival is a registered not-for-profit organization.

OSCAR Nominated Feature Films

2009-02-21T16:37:00.001-06:00

OSCAR Nominated Animated Shorts

2009-02-21T16:11:00.011-06:00

Title: This way up
Production Country: United Kingdom
Director: Alan Smith, Adam Foulkes

Title: Lavatory Lovestory
Production Country: Russia
Director: Konstantin Bronzit
Producer: Alexander Boyarsky, Sergey Selyakov
Production Company: Melnitsa Animation Studio

Title: La Maison en Petits Cubes
Production Country: Japan
Director: Kunio Kato
Producer: Kusakabe Masanori, Yuko Shin
Production Company: Robot Communications, Inc.

Title: Presto
Production Country: US
Director: Doug Sweetland
Producer: Richard Holla
Production Company: Pixar

Title: Oktapodi
Production Country: France
Director: Julien Bocabeille, Francois Xavier Chanioux, Olivier Delabarre, Thierry Marchand, Quentin Marmier, Emud Mokhberi

Canadians: Sign Up Now for Your Free Listing!

2009-02-20T19:37:00.003-06:00

Canadians: Sign Up Now for Your Free Listing!

The Canadian Animation Directory is here again! If you're an individual or part of a company involved in the Canadian animation industry, get yourself listed in the 2009-2010 print edition, FOR FREE! Want to get noticed? Purchase add-ons to customize your listing to really stand out! PLUS: Sign up now and any add-ons you purchase will be included in the upcoming online edition of the Canadian Animation Directory at no additional cost!

Click the link for more information.

Win a free pass to the Ottawa Animation Festival at the Toronto Animation Industry Night.

2009-02-20T19:33:00.001-06:00

2009-02-19T09:14:00.005-06:00

General Post is a new talent management company that specializes in representing Editors, Producers, Reaserchers, Illustrators & Storyboard Artists, 2D & 3D Artists, Broadcast Designers, Animators and Sound Engineers. Professionals with the skills to edit and video finish TV Commercials, Documentaries, Music Video's, Drama's, Series, Corporate Videos, AV's, Launch Presentations etc.

2009-02-17T18:05:00.006-06:00

--
Doug Masters has been a CG artist, director, and senior manager in the CG/animation business over the last 20 years, working in software development, games, commercial production, VFX, and most recently TV animation. He is active within the Toronto animation community and is currently focusing on next generation content development and production.

Things can turn on a dime. You live long enough you'll have to agree; markets change, fashions change, people change (evidently more in Hollywood then elsewhere). And not many things change faster than technology, which is why I have told people in the past that if you went to school to learn a single package to make a career out of it then you picked the wrong business! Honestly, I've heard it said that some people have gone to school to be Maya Animators or Photoshop Artists, which makes me wince a little since I know how often I had to learn new packages over the years - again, because things are always evolving. Which is why I'd rather hear that people are going to school to learn to simply be animators or artists first, then worry about which tools they want to focus on after that.

But they got one thing right, they are smart enough to know about industry standards. Boy, even the best of them can get that part wrong but I can see why. It may not seem like it but the CG business is a relatively very young one. It can't compare to the history of the film business, or the auto business or even the computer business itself. The first "mice" peripherals for computers only made their first appearance about 20 years ago - along with some very rudimentary GUI (graphic user interface) technology to go along with them. People saw a 3D wire-frame box rotate in REAL-TIME (!) on very expensive new workstations about the same time. SGI, Wavefront, and a host of other earlier packages and hardware equipment ruled the day (how many of you know Pixar manufactured rendering machines once upon a time?). Anyway point being, things change - none of these things are standard anymore. But the qualities and requirements have remained.

Case in point: "Tron". Nerd Alert? Now now, I know a thing or two about cool so bear with me. I picked up an old '67 Camaro SS when I was younger because I thought those cars had some sweet looking lines and a subtle mean look - and it always made an impact on me to see old images of design teams at GM with such... normal... looking guys wearing thin ties and suits. Any one of them could have been my dad but somehow they knew cool. So I get it, age has nothing to do with it. And same for the movie Tron. Sure it featured some of the earliest CG Animation with few bells and whistles, but what makes those shots and sequences really hold up is because the technology had so little to do with it. Sure, it offered a unique look and production approach in its day, but when you watch those shots over and over it dawns on you that the senior people directing the camera angles and pacing probably didn't have a clue how to do CG, but they sure as hell recognized a camera view when they saw it and could instruct the artists how to make it do what real cameras should. Worth checking it out again if you have not for that reason, and it illustrates my point - that the tools did not ensure the quality. The knowledge and talent did.

These are important things to remember. They call them "fundamentals". Today's financial markets lost the critical importance of that term and we are now all sweating because of it. And over and over I see people with great skills and systems knowledge who side-stepped the fundamentals and struggle later. It's for that reason I like it when I see schools offer "Art Fundamentals" courses that introduce people to the wide spectrum of art and design. It gives students such a head start without focusing on one particular tool or job. Same for animation of course, or any media art, or acting, sport, ...or relationships for that matter. Fundamentals are timeless and essential. Don't rush a nice shot, don't linger on boring ones, don't start with too many lights, and don't talk about yourself too much on a date. An old VFX colleague of mine was always quick to point out how often he met new CG artists who wanted to be lighters, yet how rarely it had occurred to them to take a basic studio set-lighting class, or read a live-action film and television industry manual on the subject! It all relates back.

Let me offer a little story (I can't resist analogies). When I was in LA years ago I wanted to say I learned to surf. I knew a girl who was raised there and insisted she could show me how and did. There were some key things to focus on like learning to read the waves and see the "sets" coming in; how to catch one at the right time, and how to maintain a balanced posture from kneeling through to a full surfing stance. She also told me what to do when things go wrong and you wipe out. Mainly, don't let the board get you. She mentioned a kid from her school who hadn't respected that and ended up with the board's back fin up his ass. Right up there apparently - a serious injury. She said there is a plaque mounted somewhere in his memory. I suspect the story had amplified over time, but believe me it stuck in my mind and I took it very seriously. When I eventually wiped out I made sure to tackle and hug that surf-board in front of me like it was a living thing trying to mount me! In all that time on the water, and even in the midst of wipe-out panic, the brand of the board or the label of my clothes did not matter, but the fundamentals sure did.

So whether you are an artist or studio manager I encourage you to keep looking for emerging tools, changes, and innovative solutions, but at the same time keep going back to the principles of your craft when you can - through the animation community, or schools, or through senior artists you work with. It can serve you well in a pinch when you find yourself facing a deadline, or after someone has handed you the reins to lead a project. On a related note, be sure to check out Pixar's Ed Catmull's lectures on-line, as well as an excellent article in September's Harvard Business Review (How Pixar Fosters Collective Creativity). In one lecture, he clarifies a point about Pixar's reputation for extensive in-house software development. Namely, that they only resorted to it so often because back in the day, good industry standard packages and tools didn't exist yet. If they did, Pixar would have happily embraced them. But he is quick to point out that good talent, creativity, and management remained the essential backbone. Opportunities to innovate within that will always present themselves (its a technical industry after all).

You learn something cool from each package or piece of hardware you work on - Your value and adaptability climbs every time you learn another - but always remember that they are all just tools, and as obviously important as they are, it's the underlying fundamentals which will make each one of them work best for you. That awareness will protect you as much as anything else when you find yourself surfing on the wrong side of a wave.

Become a Doritos Guru

2009-02-13T16:07:00.000-06:00

Announcing Industry Night 2009 April 23 @ Century Room

2009-02-05T16:45:00.000-06:00

Stuttgart International Festival of Animated Film

2009-02-05T09:13:00.002-06:00

Stuttgart International Festival of Animated Film - Trickfilm-Festival Stuttgart 5.-10.05.2009

50,000 visitors, 1,500 accredited professionals and 500 films! Together with the fmx -Conference on Animation, Effects, Games and Digital Media, the Stuttgart International Festival of Animated Film is developing into the biggest and most important meeting in the world of animated film. Founded in 1982, the Festival of Animated Film has always promoted artistic animated films, young talented artists and the entire animated film sector. The accompanying events and programmes range from presentations by schools and studios, showcases of famous animation artists and the popular “Best Of Animation” series, right up to screenplay writer workshops with well-known animated film professionals. At the festival’s open air programme on the Schlossplatz in Stuttgart, the people of Stuttgart celebrate the art of animated film together with guests from all over the world.

Visit http://www.itfs.de/ for more information.

Become a Member of Toronto Animation Live

2009-02-04T14:23:00.020-06:00

Become a member or Toronto Animation Live by joining the following at the bottom of this page. Follow Toronto Animation Industry Festival, News + Events, stay up to date with our new network initiatives and help us serve you better by joining, commenting and sending your suggestions.

Please feel free to contact me directly if you have any questions, concerns or suggestions.

We appreciate your support and participation.

Sincerely,

Alexis Victor

Directions:

Scroll to the bottom of the screen and click on follow this blog.

Click follow Toronto Animation Live

Robot Chicken Wins at The Annies

2009-02-01T01:21:00.014-06:00

Congrats Matt & Seth on the Annie Award wins for Robot Chicken.
The 36th Annual Annie Awards were hosted this past Friday, January 30, 2009, at UCLA's Royce Hall in Los Angeles, California.
For more information about the Annie Awards visit:
http://annieawards.org/index.html

ROBOT CHICKEN WINS:
Best Animated Television Production
Robot Chicken: Star Wars Episode II - ShadowMachine

Character Animation in a Television Production or Short Form
Joshua A. Jennings, Robot Chicken: Star Wars Episode II - ShadowMachine

Voice Acting in an Animated Television Production or Short Form
Ahmed Best – Voice of Jar Jar Binks – Robot Chicken: Star Wars Episode II - ShadowMachine

Writing in an Animated Television Production or Short Form
Tom Root, Douglas Goldstein, Hugh Davidson, Mike Fasolo, Seth Green, Dan Milano, Matthew Senreich, Kevin Shinick, Zeb Wells, Breckin Meyer – Robot Chicken: Star Wars Episode II – ShadowMachine

visit AFG for a list of all the 2009 Annie award winners.
http://www.altfg.com/blog/awards/annie-awards-2009/

KidScreen Summit FEB 11-13 NY 2009

2009-01-30T14:42:00.002-06:00

KidScreen Summit is one of the largest and most important event of the year for kids entertainment executives. In 2008, the conference set a new attendance record, welcoming 1500+ delegates from 43 countries.
Decision and deal makers in the kids business attend to engage in critical dialogue on issues that affect the industry; take advantage of some of the industry's best networking opportunities; recognize and understand current market needs, opportunities and challenges; learn more about key innovators and their vision; and find and share ideas that will drive their businesses forward.

Toronto Animation + Entertainment User Group Launch Party.

2009-01-28T12:31:00.010-06:00

Thank you for coming out to the first Toronto Animation + Entertainment User Group last night.
I hope that everyone had a great time and learned a lot. We are very interested in hearing your feedback so please feel free to email me at alexis@torontoanimationlive.com

I'd also like to thank Louis Marcoux from AutoDesk for a wonderful presentation. If you are interested in seeing more of Louis' tutorials please check out his site at http://area.autodesk.com/louis

Check out Toronto's newest Animation Studio Rubber Pixels

2009-01-16T15:48:00.003-06:00

Nickelodeon Fellowship Program

2009-01-12T09:22:00.003-06:00

SUBMISSION PERIOD & NOTIFICATION DATES
For consideration in the '09 - '10 fellowship, materials must be submitted together between January 2, 2009 and February 28, 2009. Please review the Submission Guidelines for additional requirements.
You are not required to send in your submission through registered or overnight mail. However, to ensure proof of mailing, you may wish to use these services since we will not confirm receipt of your application package.

~ Semi-finalists will be notified by the end of August, 2009

~ Finalists will be notified by the beginning of September 2009

~ Chosen Fellows will be notified by the end of September 2009

~ All others will be notified, by mail, by the end of October 2009

Drinks at the Rivoli!

2008-12-04T16:38:00.001-06:00

COME OUT FOR DRINKS AND NETWORKING AT THE RIVOLI TOMORROW NIGHT.

ToonBoom 'Animate' Launch Party

2008-11-28T16:03:00.012-06:00

The digital animator’s natural companion

Thursday, November 25th 2008 ToonBoom hosted an event to launch the new software 'Animate'.

Toon Boom Animate is a unique end-to-end vector based animation software that includes content creation, compositing and delivery to audiences across media. Ideal for professional animators, boutique studios, students and educators, it’s a complete digital animation application.

Paul Mota / Animation Director

http://www.thecartoonacademy.com/index.php?p=Home

Frank Falcone / Creative Director http://www.gurustudio.com/reel.php

Mark Bartkowiak / CEO Founder http://www.pwned.com/

10th Anniversary Boards Awards

2008-11-26T15:13:00.000-06:00

ToonBoom Product Launch!

2008-11-21T08:31:00.002-06:00

Come out to celebrate and learn more about ToonBooms new software Animate.

Animate Launch in TorontoMonday, November 24, 2008 7 pm - 9 pm MOD Club 722 College Street Toronto ON CA

2008-11-14T15:46:00.000-06:00

Peace

2008-11-12T11:59:00.002-06:00

Emru Townsend, founder of frames per second magazine passed away last night just before 10pm surrounded by his family. Emru was an inspiring, vibrant and ambtious young man. Tamu and family our thoughts are with you.

Robot Chicken Star Wars Episode 2 Sunday, Nov 16th on Cartoon Network Adult Swim

2008-11-10T09:01:00.003-06:00

2008-11-06T10:44:00.002-06:00

Ellen Besen – Animation Unleashed : 100 Principles Every Animator, Comic Book Writer, Filmmaker, Video Artist, and Game Developer Should Know.

How can we use animation as a communication tool? At the launch of Animation Unleashed: 100 Principles Every Animator, Comic Book Writer, Filmmaker, Video Artist, and Game Developer Should Know (Michael Wiese Productions), veteran animator Ellen Besen will show clips from her extensive body of work to punctuate her discussion of what to do (and what to avoid). Also on the bill is a special demonstration of various animation techniques by Bryce Hallett, courtesy of Frog Feet productions. — A This Is Not A Reading Series event presented by Pages Books & Magazines, Michael Wiese Productions, EYE WEEKLY and Take Five on CIUT.

Gladstone Hotel Ballroom, 1214 Queen St W, Toronto
Tues, Nov 4; 7:30pm (doors 7pm) free

ANIMATION UNLEASHED: 100 PRINCIPLES EVERY ANIMATOR, COMIC BOOK WRITER, FILMMAKER, VIDEO ARTIST, AND GAME DEVELOPER SHOULD KNOW: Animation continues to make earth-shattering leaps and breakthroughs – from the flat world of Mickey Mouse to the 3D universe of WALL-E. The possibilities are endless. Animation’s potential as a powerful communication tool in all kinds of media — from TV series to feature film, web animation to computer games — is undeniable. Veteran animator Ellen Besen’s mind-expanding text/reference guide, Animation Unleashed, reveals key principles that can immediately be put to use by both animation professionals and beginners. At last, here’s a resource that puts the full power of this medium at your fingertips. Fasten your seat belt and get ready for a wild ride through the amazing world of animation.

“Animation Unleashed does a beautiful job tying in so many aspects of animation that often get forgotten, yet are so important to understanding the whole process. This book is a great find for anyone trying to understand the big picture of how animation comes together.” - Mike Belzer, Animator, Walt Disney Animation Studios

“A fascinating and intelligent approach to a fun and boundless art form.” - Linda Simensky, PBS, Head of Children’s Programming

ELLEN BESEN has been working in animation for over 35 years. A former faculty member of Sheridan Institute, highlights of her career include directing award-winning films for the National Film Board of Canada, broadcast work on the topic of animation for CBC Radio and film curating for the Art Gallery of Ontario.

BRYCE HALLETT is an independent Canadian animator/cartoonist. His many cartoons can been seen across North America, in TV shows such as The Red Green Show (CBC/PBS), and History Bites (History Television/Comedy Network), advertisements and music videos. Hallet teaches occasional workshops on various animation techniques at the Toronto Animated Image Society, where he also serves on the board of directors.

Visit: http://www.pagesbooks.ca/ and join the This is Not A Reading Series Facebook Group

MEDIA CONTACT
Chris Reed, tinars@pagesbooks.ca, (416) 598-1447 ext 221

2008-11-04T13:11:00.000-06:00

OCTOBER 28th World Animation Day!...who knew?

2008-10-24T16:37:00.000-05:00

U PARTY COMING SOON!

2008-09-30T20:08:00.001-05:00

Ottawa International Animation Festival Photos

2008-09-30T19:22:00.001-05:00

Picture from the CASO event!

2008-09-30T19:19:00.001-05:00

Paul Mota's "When Lightning Strikes" Screening Coming Soon!

2008-08-01T12:52:00.002-05:00

Adam Battlestar and Penny Lane team up to uncover the mystery behind thefts happening across the city. But an old enemy of Adam's resurfaces and threatens to expose his secrets.

Stay Posted for the Launch Party and Screening this September.

Check out the Website...

2008-08-01T12:49:00.002-05:00

Well that website is almost there. I'm really looking forward to having the first episode of Toronto Animation Live posted. I'm also in the process of putting together some short commercials to promote the show.

Ottawa Animation Festival is quickly approaching...September 17-21

2008-06-23T10:41:00.001-05:00

Toronto Animation Live will be hosting several events at the Ottawa Animation Festival. Stay posted for details.

Eggpant Wins Emmy for Outstanding Origional Title Theme for "The Tudors"

2008-06-23T10:36:00.001-05:00

Starz Event

2008-05-26T14:26:00.000-05:00

Join Starz Head of Studio David Steinberg Book Signing and Launch Party!

2008-05-12T10:46:00.004-05:00

Join Head of Starz Studio Toronto, David Steinberg for his book release this Thursday!

The Adventures of Daniel Boom and Loud Boy Book Signing and Launch Party.
This Thursday, May 15th at 7pm, INDIGO, Manulife 55 Bloor St. W. (Bay & Bloor)

Indigo @ Yorkdale Mall, Sunday, May 18 2pm

Author David Steinberg
Illustrator Brian Smith

Starz Recruitment Event May 21, 6 - 9

2008-05-09T11:11:00.003-05:00

JOIN THE STARZ ANIMATION TEAM!

Bring your resume and demo reel

For more information please contact info@torontoanimationlive.com

Teletoon Animation Scholarship

2008-05-09T10:35:00.000-05:00

Toronto After Dark Film Festival

2008-05-06T11:11:00.004-05:00

for more information on film submissions please visit: http://www.torontoafterdark.com/

Check out the New Ottawa Animation Festival Website!

2008-04-28T08:07:00.000-05:00

Telefilm Call for Entries

2008-04-25T08:04:00.002-05:00

Actra seeks support for Canadian Film

2008-04-22T10:56:00.001-05:00

For more information visit:
http://www.actratoronto.com/ccp/weneedmore1.html

2008-04-13T11:55:00.002-05:00

THE OFFICIAL SITE LAUNCH COMING April 26

2008-04-13T11:20:00.002-05:00

The Bulletins Downtown Seen

2008-04-08T13:51:00.002-05:00

Toronto's New Online TV Show Toronto Animation Live Coming Soon.

2008-04-04T15:05:00.007-05:00

Stay in touch, with what's going on it your industry. See upcoming projects from various studios, meet people, attend events and tour Toronto animation studios all from your own computer on Toronto Animation Live Online TV Show coming soon.

You'll know who's who and what's going on in your industry!

Starz Aniamtion Now Hiring!

2008-04-01T14:19:00.004-05:00

Starz Animation is now looking for the following positions.
for more info please contact Alexis Victor at info@torontoanimationlive.com
or visit the Starz website.

Fx Artists – preferably with “water” experience’
Lighters (technically strong)
Surfacing Artists
Character Finaler
Layout Finaler

The Hollywood Press Announces Radiohead seeks Animated Videos

2008-03-19T09:15:00.003-05:00

Industry Night Live 2D Animation

2008-03-15T15:44:00.004-05:00

Animation Produced by Evan Bonifacio @ Industry Night

THE TORONTO ANIMATION INDUSTRY

2008-03-15T15:27:00.003-05:00

2008-03-15T14:59:00.003-05:00

2008-03-15T14:51:00.003-05:00

2008-03-15T14:45:00.002-05:00

Winners of the Ottawa Animation Passes

2008-03-10T18:55:00.002-05:00

Toronto Animation Live TV Coming Soon!

2008-03-08T13:43:00.002-06:00

2008-03-07T14:05:00.001-06:00

Thank you for attending the first Animation Industry Night

2008-03-07T08:54:00.003-06:00

Thank you for coming out to the first Toronto Animation Industry night. Stay posted for names of the Ottawa Animation Festival draw winners, more pictures and the official launch of the Toronto Animation Live Website.

You could win a free pass to the Ottawa International Aniamton Festival...

2008-02-21T22:17:00.003-06:00

COME ON OUT FOR INDUSTRY NIGHT

2008-02-21T21:33:00.004-06:00

Industry Night Feature "The Long Journey Home"

2008-02-12T08:15:00.000-06:00

In a village that never know sickness a boy is sent into the wilderness to find the cure to his illness. He returns from his great journey to a village that does not recognize him for the changes he has endured.

They have no way to cope with his transformation or understand the message he brings back from his great journey. The boy is expelled from the village and forced to the lead the rest of his life in a secluded wilderness.

To hear more about this story please visit: http://www.billiemintz.com/thelongjourneyhome.html

2008-02-03T14:41:00.000-06:00

The Toronto Animation Industry Night
Thursday, March 6th . 7 - 11pm
Veritas 234 King St. E. Toronto
Open Bar 7 - 9pm
Live Animation Jam, Event Screening, Networking

Industry Night Feature Short 'BLUE'

2008-02-01T10:37:00.001-06:00

Aaron Webster
In his last year of high school in 1997, Aaron Webster launched his computer graphics career in video games as a modeler/texture artist, sometimes picking up assignments from Ratloop Inc. At Ratloop, he worked on titles such as Malice (a Total Conversion for Quake); Hab-12 ; and In The Line of Duty, Firefighter (Activision). Aaron began production of Blue independently in 2000 with friend Christopher Mullins and completed the project in 2003. Blue was picked up by Alias for the Learning Maya 7 Fountadion tutorial book and DVD. Aaron now works at Starz Animation in Toronto,Canada as a Surfacing Technical Lead on the Tim Burton Feature ‘Nine’.

Join the 90 members on facebook!

2008-01-29T20:24:00.000-06:00

Join the 90 members on facebook for even more information on Toronto's biggest animation industry event of the year.

Talk on the wall and stay in the loop on upcoming grants, festivals and events.

Sponsorship Opportunities

2008-01-24T19:11:00.001-06:00

Please click image for details

Blair Kitchen

2008-01-04T19:13:00.000-06:00

Blair Kitchen is a classical Toronto Animator who has worked several animation Studios in Toronto including Chuck Gammage Animation, Yowza and Nelvana. Blair has directed and animated on a variety of animated commercials and feature animation projects including Curiuos George and an award winning PSA in 2006 for the United Nations of Canada campaign sport in a box spot "Lion and Zebra". Blair now spends much of his time developing and producing his comic The Possum Press which can now be found at several distribution locations around Toronto.

Toronto Animation Industry Night

2007-12-31T10:32:00.000-06:00

The goal of the Toronto Animation Industry Night is to provide a platform for animation talent and offer the opportunity to network with industry leaders and professionals. The evening will showcase independent content and artistic diversity by some of Toronto's 2D and 3D artists.

The Toronto animation community is amongst the most creative and successful in the world. This event will build a stronger foundation for commercial, feature and series animation development and production in Toronto.

Veritas . 234 King St. E. Toronto . ON . March 6th . 7pm