Professional and Artistic Development Workshops
and Panels

How to Set up your own Studio
That's right. You too can set up the next great small animation studio. Start from Ground Zero and work your way up. This workshop offers practical advice and, equally important, inspiration on how to do it yourself.
Thursday, October 21, 12:00pm

New Tools of the Trade
Participants:Alias Wavefront
This workshop will offer demonstrations of new technologies available to animators as well as the creative possibilities and applications of these technologies. A selection of demo reels of new technologies of animation will be shown, including new processes developed and used by leading animation companies. Alias Wavefront will be demonstrating their new Maya 2.5 software.
Thursday, October 21, 2:00pm

Preparing a Portfolio 1 Traditional
Participants :Dave Master (Warner Bros.) Back by popular demand! This workshop will offer advice on how best to assemble an impressive portfolio of your work. The presentation will cover areas such as life drawing, animal studies, sketch books, and animation reels. Advice will also be given on how to tailor your portfolio for the areas of background, layout, storyboard, animation, computer animation, and clean up. Hosted by Dave Master, Manager of Training and Development at Warner Bros. Feature Animation, this is a session which, we hope, will help you get a job.
Thursday, October 21, 4:00pm

Budgeting for the Future
While individual animated productions vary enormously in length or style, preparing and presenting feasible, comprehensible budget plans is a common step in the production process. But is there a consistent model available to animators and producers? Would a common approach help? Is a consistent budget template desirable to facilitate production funding and operations? If so, which one would work best? Whether you are an independent animator seeking funding support, or a large studio in search of investment, presenting a clear budget plan is essential. This special industry panel will address these and other questions about the seemingly ad hoc and fragmented budgeting process for animation productions.

The panel will include representation from private companies and government agencies. Frank Taylor of Funbag Animation Studios, Joelle Levie of Telefilm Canada, Beverley Bettens of the CFT License Fee programme, have been invited to participate in the panel, as well as a representative of a high-tech company involved in developing software budgeting packages for the animation industry.
Friday, October 22, 10:00am

Animation and the Law
Participants: Steve Reynolds, Jeremy Dolgin A special focused discussion of the legal implications of creative work, with attention given to issues of copyright, artistic control over creative production, and intellectual property. This is especially relevant to independent producers and animators with regard to how you can legally protect your work.
Friday, October 22, 12:00pm

Storytelling in Animation (Original Ideas)

Participant: George Griffin
Developing original ideas into animation. Leading American independent animator, George Griffin, will take you through the steps of writing, storyboarding and animating.
Friday, October 22, 2:00pm

Getting your Film Shown: Alternative Forms of Distribution

After months of work you have finally completed your film. You would like people outside your family and friends to see it. Where do you start? Representatives from all sectors of distribution and exhibition will discuss how to get your films shown.
Friday, October 22, 4:00pm

Preservation of Animation
Participants: Representatives from the National Archives of Canada You have spent your life making your animated works. You may expire but your films do not have to. Archives throughout the world preserve and maintain film as well as restore prints. Learn about the archival process as well as how to enter your works into the archives.

'La Gravure Sur Pellicule Comme Pensee'
Norman McLaren wanted the relation between artist and technique to be as close as that between a musician and a violin or between a painter and a painting. The prescription appears to be so simple: it expresses the will to create 'film with an artistic position'. Yet the problem with the relationship between art and technology is always present and, in my opinion, this poses the most relevant challenge on art of our times. The prerequisite for 'Art and Technology'. In this respect, animation engraved directly onto film is the most radical approach that one can take. It illustrates the difference as directly and anachronistically as possible. In my lecture I will attempt to explain why and how I choose to use this technique (or how it chose me), how I have remained true to it for thirty-five years, whether this choice was technical or aesthetic or more a kind of philisophical decision, a way to experience the form in its extremes, on the edge of chaos. Paradoxically, this is a path towards other disciplines-and towards art.
Sunday, October 24, 10:00am

What is the role of Animation Schools ? Are the needs of students being met?
You get into an animation school. You may find your self incredibly frustrated by the direction of the courses. Let them know the obstacles facing students in animation school. What needs to change what does not. Come and participate in an open discussion on these and other issues facing students. Instructors and students will lead the panel.
Sunday, October 24, 12:00pm

Q&A :Your Worst Fears about animation May Be True.
Participants: Linda Simensky , Eric Darnell Linda Simensky, vice president at Carton Network and Eric Darnell, director of Antz, will answer any questions you may have about the art and commerce of animation. Ask anything, there is nothing they will not answer. This will be an open forum, so do not be timid and just ask.
Sunday, October 24, 2:00pm

Storytelling in Animation (Adaptation): Cracking the Classics, Mach 3: Pinocchio
The Blue Fairy could bring Pinocchio to life with one wave of her wand, but she left the realchallenge for Disney's animators to solve: how to show the audience- through movement- that Pinocchio was now thinking for himself. Join Ellen Besen in discovering the elegant solution to this and other prolems presented by the making of Pinocchio, as we gleefully take apart another animated classic.

Participant: Ellen Besen - Ellen manages to squeeze some filmmaking into her schedule but is otherwise occupied by her teaching duties at Sheridan College which include strorytelling for animaton and co-ordinating post-graduate animation filmmaking.
Sunday, October 24, 4:00pm

Animation Workshop
Located in Room 156 in the National Archives of Canada , the workshop and panel discussions will take place between 10 am to 6 pm, between Thursday, October 21 and Sunday, October 24. The Workshops will last between 1.5 hours and 2 hours.

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