Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
fps
frames per second magazine
feature story
4 Open House
9 Flipping Pages
11 Growing Pains
festival watch
12 Immersed in Domes, Falling
Bodies and Stereo Vision:
Where's the Gravity?
spotlight
18 Wilkosz and the Bear
30 Closing Credits
30 Where to Get It
Page 23 Page 25
2 / september 2005 / www.fpsmagazine.com
lip sync»
fps
The Best of the Fests frames per second
the magazine of animation
Emru Townsend makes the case for festival coverage
As I write this, I’m in that bizarre networking. “Play” means lunches and Then I read something like Janeann EDITORIAL
psychological space that I sometimes get dinners with new or old friends, events like Dill’s report on this year’s SIGGRAPH,
Editor Emru Townsend
into: part of my brain is still in the unreality the SIGGRAPH reception or the Ottawa and I remember why I like reading festival Copyeditor Tamu Townsend
that was five days at SIGGRAPH, and animator’s picnic, and the parties that reviews. I’ve been curious about full-dome Contributors Armen Boudjikanian, Aaron
another part is in the unreality that will peter out late at night (or early in the animation since I was first introduced to H. Bynum, Janeann Dill, Noell Wolfgram
be five days at the Ottawa International morning, as the case may be). You’ll notice the concept a few years ago, but I’ve never Evans, Marc Hairston, Mark Mayerson,
Animation Festival. that “play” involves a lot of socializing; had a chance to experience it. I planned Jason Vanderhill, René Walling
Festivals and conferences, as you might as it happens, these are the best places to go to the Dome Animation Theater at
Layout Emru Townsend
gather, are strange beasts. Everyone has to get to know the people you exchanged SIGGRAPH this year—it was part of this
a different take on them, but the people I business cards with earlier. You also tend year’s Computer Animation Festival—but Cover Image Still from Learn Self-Defense,
typically hang out with at these things are to get—and give—more honest opinions there was always something else going by Chris Harding
of a like mind: we make sure to mix work when everyone’s relaxed. on, and the next thing I knew, I missed it.
and play. “Work” varies from person to Every so often, someone asks: why write Janeann’s description gave me most vivid SPECIAL THANKS
person, of course; in my case, that means reviews of festivals? Every year is a bit mental image of dome animation, and
John Canemaker, Dave "Grue" DeBry, Sean
catching all the competition screenings different, with a festival’s vibe determined what it must be like to literally lie back and Ivory, Joe Raasch, Jean Théberge, Marco
(which is much more work than it sounds by the industry, the people who attend, the watch the images fill every corner of your Valgresy, Vicky Vriniotis, Tadeusz Wilkosz
like—watching several hours’ worth of particular companies that show up, even visual perception.
film with all your critical and aesthetic the weather. Unlike, say, a movie review, When your imagination gets opened CONTACT US
antennae tuned is tiring enough, but doing you can’t go right out and experience it up like that, it’s hard to complain about
Phone (514) 696-2153
it over several days can be a feat); trying for yourself; you have to wait until the next festival reviews.
Fax (514) 696-2497
to chase down directors and animators year and hope to catch a similar feeling. Do you like to read about festivals? If E-Mail editor@fpsmagazine.com
for impromptu interviews; keeping an ear I have to admit, I ask myself the same you’re not sure, have a look at this issue’s Web www.fpsmagazine.com
to the ground for signs of current and question occasionally, especially after I’ve Festival Watch, or see some of the Festival Ad Sales tamu@fpsmagazine.com
future trends in the art and business; just tried to cram almost 100 waking hours Watch articles on the website. And make
and of course, networking, networking, into anywhere from 500 to 2000 words. sure to let me know what you think. ¡
Frames Per Second, Vol. II, Issue 4. © 2005 5x5 Media.
All images in this magazine are copyrighted by their
respective rights holders.
Flipping Pages
René Walling on learning animation through books
Many animators recall how they started first discovered and how they evolved at the industry, lessons, and exercises does book in the later edition. If you can only
their first animation in their youthful the Disney studios. Unlike most histories, not go into small nitty-gritty technical get one of the books mentioned here, this
days creating flipbooks using their school which concentrate on the finished films, details; rather, it is a guide on what makes would probably be it.
manuals. Another way to learn animation this book talks about how Disney’s great animation and what to expect when
with books is by reading books on how animation process evolved over the years. working in the field. The most important The Animator’s Workbook
to do it. From photocopied documents Lavishly illustrated, filled to the brim with lesson in this book may be that animators Tony White
created by instructors for their classes to sketches and artwork, this book provides have to keep the big picture in mind, and Watson-Guptill Publications, 1988
manuals written by animation legends , some great lessons in animating, and is a by this Culhane means your whole life and ISBN 0823002284 (hardcover),
there are countless books out there that history of the studio by two animators who your creativity, not just your animation. A 0823002292 (paperback)
can show you how to animate. were there and who were intimate with must-read. 160 pages
Many books on the history of animation many of the people and events discussed
will also include some information on in it. A great way to be introduced The Animation Book Another book that has helped countless
techniques and methods. Others focus on to animating, the book gives enough Kit Laybourne students along, this one is worthy of note
the methods, equipment, and techniques knowledge for someone to start flipping Three Rivers Press, 1998 since many of the more subtle effects
used to animate and may or may not drawings, but the detailed mechanics of ISBN 0517533898 (hardcover), used in character animation are explained
feature examples from released films. This creating animation (shooting, editing, etc.) 0517886022 (paperback) and illustrated in detail. In fact, the bulk
article will cover some of the better ones in are only glanced at, as the focus is mostly 448 pages of the book is dedicated to this topic
the latter category. on the animating process itself. and other, more technical topics such
First published in the late ‘70s, The as camera operation are ignored. One
The Illusion of Life Animation: From Script to Screen Animation Book was the book for a interesting feature is that the same simple
Frank Thomas and Ollie Johnston Shamus Culhane generation of students to learn animation figure is used throughout the book to
Disney Editions, 1995 St. Martin’s Griffin, 1990 with. Revised almost twenty years later, illustrate many of the principles, clearly
ISBN 0786860707 ISBN 0312021623 (hardcover), it now includes extensive coverage of demonstrating that good animation does
576 pages 0312050526 (paperback) computer animation. Both editions are not depend on the design of a character.
336 pages divided into four parts covering the Each section ends with one or more
The book on classic Disney animation, fundamentals (basics skills and creativity), assignments for the student, making this a
this once long out-of-print book gives us a Not only was legendary animator Shamus animation techniques, animation good book for the beginner who is starting
history lesson and explains how Disney’s Culhane well versed in all aspects of equipment and resources to learn more. out, anyone who wants to improve their
realistic animation is achieved. Rather animation, he was also fascinated by the The book gives a good overview of several character animation, or an instructor to
than just show how it’s done, the authors creative process. His book, a combination animation techniques. One nice touch is use as a course manual.
show how these animation principles were of personal reminiscences, overview of that 3D animation does not overwhelm the
University of Illinois at Urbana- frontiers and the intuitive use of quite funny. This author found the skeleton portrayed as a stalking force
Champaign. Cox and Patterson technology to create works of visual audience to be quite disturbed. of death. In contrast to Nightmare,
have successfully bridged the walk art. That the “art” papers/panels/ 9, a beautiful and poignant this film is of sombre industrial
between art and science—I simply sessions were so well attended the film by Shane Acker, received top colours and reads as a futuristic
did not care that I was seeing an doors closed soon after opening—a honours as Best of Show by the jury dismissal of warring skeletons,
F3 Tornado Within a Simulated hopeful sign that, at last, technology (on which our esteemed editor sat). textures and mechanical structures—a
Supercell Thunderstorm. Having is no longer the content. The content While viewing the film, I couldn’t fabricated rebirth of wandering into
experienced this animation in stereo is the content and the technology is help but think of Tim Burton and a circle of light—the hero’s journey.
video prior to the experience of it as the medium. Henry Selick’s Nightmare Before Its universal theme both grounds
a dome projection only furthered The Computer Animation Festival Christmas and, somewhat, the the story and differentiates it from
its strength as a work of artistic screened works of individual artists Brothers Quay, both in imagery and its predecessors. It was only after
merit. Clearly the mature work of as well as scientific visualizations, sensitivity. In fact, these influences returning home that I read Tim
an artist who understands optically animated commercials, and excerpts alongside John Lasseter and his Burton had picked up the film to
stimulated color in relationship to from special-effects feature films. Pixar productions were spread develop a feature. How much of the
the spectator’s experience, it was The independent short films varied throughout the shorts, probably feature version will remain Acker’s
gratifying to note the rigour with in intent and content. There was largely due to the large number of will be interesting to note after he
which Cox approached her goal to the gag of Piñata, a rather violent films screened that were student is absorbed into the machinery of
marry art, science, and technology, little film by Mike Hollands of an films, and secondly, because these bigger budget Hollywood. That said,
while paying attention to the animated donkey piñata depicted animation artists are of the age to what might or might not happen in
details, such as finely-tuned digital as adorable and frightened who have seen these works as children the evolution of 9 as a feature can not
Above: The bizarre projection. had the crap beaten out of him so that these figures now replace diminish the beauty and admirable
elasticity of City
Paradise; the geek- SIGGRAPH, in general, by adorable little children with the Disney film as early influences. animation of Acker’s ten-minute
chic gag film Cubic seemed appropriately balanced the assistance of their father. The Beautiful in 9 was the choreography version.
Tragedy; the stark Le in its exhibition of the young audience found this film to be of a kind of mime-movement of its To briefly highlight a few more
Régulateur; the dreamy inquisitiveness of technology-based character, who faced a Gollum-like films:
Helium.
Where to Get It
philosophy, sleeping in, and writing Jason Vanderhill is a longtime
some more. fan of stop-motion animation, and
Colargol/Jeremy the Bear was
Janeann Dill is an artist, filmmaker, his very first favourite television
scholar and Jules Engel biographer. program. How to find the titles mentioned in this
She is a Visiting Assistant Professor issue
in the New College at the University Emru Townsend is animation’s Animation: From Script to Screen Amazon.com
of Alabama where she teaches Renaissance man. He sees the The Animation Book Amazon.com
an interdisciplinary seminar in connections between Japanese and The Animator’s Workbook Amazon.com
Creativity. American animation, stop-motion Appleseed (UMD) Amazon.com
and CGI, the art and the industry, Digital Animation Bible Amazon.com
Noell Wolfgram Evans is a the fiercely independent and the Eisenstein on Disney Amazon.com
freelance writer living in Columbus, relentlessly commercial. He has been The Encyclopedia of Animation Techniques Amazon.com
Ohio. Winner of the 2002 Thurber preaching his Unified Animation Fafner Vol. 1: Arcadian Project Amazon.com
Fallen Art fallen-art.com
Treat Award, he enjoys a number Theory worldview since 1989, and is
The Illusion of Life Amazon.com
of things, mainly laughing with his the founding editor of fps. Lupin the 3rd: Farewell to Nostradamus Amazon.com
family. My Neighbors the Yamadas Amazon.com
A longtime animation fan, René The Place Promised in Our Early Days Amazon.com
Marc Hairston is a professional Walling was the driving force PlayStation Portable Amazon.com
space physicist at the University behind fps for a number of years Pom Poko Amazon.com
of Texas at Dallas and a lifelong during Emru Townsend’s hiatus. Samurai Champloo (UMD) Amazon.com
animation fan. He has co-taught He is very happy to be back in the SIGGRAPH 2005 Video Review ACM e-store
several literature courses at UT passenger seat. Toy Story 10th Anniversary Edition Amazon.com