ANIMATrOTT

In contrast to Ottawa '80, whose central The primacy of story development, theme was the impact of the computer especially with regard to character de­ on the form and content of , sign, pervaded the talk given by Ollie this year's animation festival was more Johnston and , two of the eclectic. It was a collage of animation famous "nine old men" who helped ideas and idioms. The classic animation shape the Disney style of animation style of the Disney Studios was juxta­ Disney animation is sometimes referred posed with the irreverent style of the Jay to as "full" or ""classical animation". Ward Studio which gave us Rocky the A creative collage Contrast this detailed animation with Squirrel and Bullwinkle the Moose. some of the Saturday morning T\ ani­ The Emile Cohl Retrospective proved mation for children and you will realize the old adage that there is very little that how much care and consideration was is new under the sun. Most of the given to both technique and story-telling animation techniques that we take for by Robert Hookey at the Disnev studios. Johnston and granted today were developed by this Thomas have co-authored a book entitled inventive French . "Walt Disney : The Illusion of Life." It is "Special effects" is a term most of the a study of what both men learned about young movie-goers could easily define under the tutelage because so many of their most popular ment in animation - the ability to com­ got the idea for from his daughter. of Walt Disney. This is not just another movies depend heavily on special effects municate with an audience. The rocking With his concern for the careful develop­ coffee table book. It explains the impor­ for their impact. like Star Wars, chair is the central image in Frederic ment of a story, he spent five years on tance of developing a story and charac­ Raiders of the Lost Ark, and E. T. owe Back's Crac, the winner of the the . He was intrigued by the ters with whom the audience can be their style and success to them. There­ Grand Prix award at Ottawa '82. role a family plays in giving a child a involved. fore another expression of the art of Crac is a prime example of how a well sense of security and self-esteem. The Many books and articles have been animation was added to the collage conceived idea, coupled with artistic rocking chair seemed to be the perfect written about Walt Disney emphasising with a special tribute to Animation and sensitivity, can result in an animated symbol of family security. He remembers how difficult it was to work with him Special Effects : Part 1 - The Beginning film that touches an audience deeply. how his own children would join him When I ask Thomas and Johnston about to 2001, directed by writer and a member Picture a theatre packed to capacity and his wife on the rocking chair The their working relationship with Disney, of the Ottawa '82 jury, Charles Solomon. with , journalists, and some children would snuggle up and feel safe they admitted that he could be a hard Add to this now ornate collage, themes members of the general public, all of and secure. His wife's memories of task master but only because he wanted Uke - Today and whom are completely absorbed in a living in a small village contri­ the best effort from his animators He Tomorrow, The Sound of Animation, film called Crac, that creates-the "the buted to the authenticity of village life was open to suggestions from his staff if Video Piracy, Audiences for Short Ani­ illusion of life" so superbly that they images in the film. the proposal in any way enhanced the mated Film and How to Reach Them, have difficulty holding back the tears. Back was influenced by two talented storv and the films in competition and you They are not responding to some mani­ animators who have created some of Ualt Disney had two basM dietums have an intricate, ornate, and somewhat pulative melodrama but to the beaut\ of the most innovative work in their field. about effective story-telling in anima overwhelming collection of images. the film's images and its human message Caroline Leafs fluid slvle and Paul tion : the charai tors must he realislu One image, however, dominates the of love and caring found in a stable Driessen's dramatic line dijuings are and the audience must be able to identitv collage and incessanth gives it unity. famil\ life It i.s ironic that a film that both evident in his animation stvle with them That image is a rocking chair thai be­ deals with family values .should be so The most important consideration in popular in a world where family lift' is There were tv\oanimation(harat tei'> comes a symbol of the highest achieve- the creation of an animated film, ao- that made their appearance at Ottawa in decline. Crac also reflects the French i ording to Back, is the careful attention Canadian's respect for the institution of '82 that most of the audience could iden­ Robert Hookey, a regular participant in given to the story-development stage tify 1 reter to thai absurd duo, Rockv the the Ottawa Animation Festival teaches the family Frederic Back, an animator Technical ability will not save a poorly with Societe Radio-Canada, claims he Squirrel and Bullwinkle the Moose. As film at Sheridan College developed story Idea. part of the Jay U ard Studio Salute, the

September 1982 - Cinema Canada/23 ANIMAIIUN

audience was treated to some classic or Independent Filmmaker was awarded episodes of Rocky and His Friends. Still to The Country House made by Joseite in television re-runs, the fascination Janssen of Belgium. This is a lyric film with Rocky, Bullwinkle, Natasha Fatale, that shows a variety of people beine PRIZE WINNING FILMS and Boris Badinov, has led to what could enrapturted by the music of IVIozart be described as a cult following. Plans to Pig Bird by Richard Condie of the Grand Prix pull the series off television has resulted National Film Board won First Prize in Second Prize in angry responses in many cities across Az Ejskaka Csodai / Wonders of the Promotional Category. This is an­ Crac North America. the Night/ Les Merveilles de la nuit other entertaining film having a prac­ Frederic Back, Canada Maria Horvath, Hungary An added attraction was a reading tical purpose, the kind that the NFB does Ihom an original script of Rocky and His supeiiily. Canadian Customs, in orderto J«nr Commemlatlons Friends. The readers , the protect Canadians' health, has rules Promotional Films or Tapes voice of Rocky and Natasha, and Bill about what animals and plants can be visual Beauty under 5 minutes Scott, the voice of Bullwinkle, brought allowed into the country from abroad A Current Caprice / Caprices back some fond memories of a series determined citizen sneaks the illegal actuels First Prize that had as its main purpose to enter­ Pig Bird into Canada and that is the Steve Eagle, USA Pig Bird tain by poking fun at the Great American beginning of the most humorous infesta­ Richard Condie, Canada Myths. Charles Solomon, host of the tion of an unwanted bug that one will Animation salute, best describes the studio's con­ ever see. A clever film both conceptual­ The Creation / La Creation Second Prize tribution to animation. "The ly and technically. Joan Gratz, USA Studio never produced great animation Klondike Gold/ L'Or du Klondike The winner Of Films or Tapes Shorter but it made excellent cartoons. The George Geersten, Canada than 5 minutes was woil by the talented scripts were always satirical, topical, Ejcperimental Technique Dutch animator, , for his sophisticated and extremely funny. The Tango film Oh What a Knight. A new twist is Films or Tapes cast of these shorts was a misshapen Zbigniew Rybczynski, Poland given to the story of a knight trying to crew of weirdos, as bizarre as any cha­ shorter than 5 minutes save the damsel from the fiery dragon. racter the Fleischers ever drew, with Driessen has evolved a unique style that Special Juiy Prizes First Prize superb voices. It was not unusual for a is married with an impeccable sense of character to argue with the narrator or Effectiveness in Communication Oh What a Knight / La Belle et story and timing. S.V.P. Pollution la boite point out how sloppily something in the The Prix du Public was given to a Graeme Ross, Canada Paul Driessen, The Netherlands scene was drawn. Unlike the current animated-for-television shows that at­ crowd pleaser called Tango made by Zbigniew Rybczynski of Poland. This is Graphic Design Second Prize tempt to disguise their sleaziness with Organic Canonic Icon fancy backgrounds and elaborate sound­ a difficult film to describe. Through the Une Ame k voile use of optical printing a number of Pierre Veilleux, Canada Stuart Wynn Jones, Great Britain tracks, the Ward cartoon revelled in their cheapness". people play out their appointed roles in an extremely cramped kitchen without Absurdity of Concept Films or Tapes An area of animation that cannot ever colliding with each other. This Clockwork Lemons / Citrons longer than 5 minutes afford to be cheap is special effects. The dance absurd is accompanied by Tango mecanlques tribute to special effects, also directed music. (You had to see it to appreciate Steve Evangelatos, Canada First Prize by Solomon, underscored the seminal it.) None contribution animation has made to Sometimes juries fail to give recogni Films lor Children create the " illusion of life" in the movies. tion to a filmmaker because the film Second Prize Many artists and technicians have in­ does not fit the established award cate­ First Prize Two films have tied for second place : vented some impressive effects. How­ gories. Ottawa '82 jury resolved the Fishing the Moon From the Pool Tyll the Giant / Tyll le geant ever, the stars in this sometimes un­ problem by creating a category called La Peche k la lune Rein Raamat, USSR heralded aspect of movie making would Absurdity of Concept. Bravo! jury for Zhou Keqin, China be George MeUes, Willis O'Brien and your bravery. This award was given to a Complex/ Mindrak/ Question de Ray Harryhausen and the many new film entitled Clockwork Lemon con­ Second Prize complexes special effects men who contributed to ceived and animated by young Steve Das Feuer des Faust / Milos Macourek, Jaroslav Doubrava, films like Sfar Wars, The Empire Strikes Evangelatos of Canada. A bin of lemons Fire of Faust Adolf Born, Czechoslovakia Back, Raiders of the Lost Ark, and E. T. in a supermarket turn sour and proceed Katja Georgi, East George Mehes was a magician turned to eat their way through the shoppers Prix du public filmmaker who saw the iUusionist pos­ and the produce. It can best be described First Film by a Student sibilities in film. In A Trip to the Moon, as an urban version of Jaw*. It isencour- Tango made in 1902, he created the illusion of aging to see young filmmakers getting or Independent Fiimmaicer Zbigniew Rybczynski, Poland successfully sending men to the moon. recognition. The quality of films in com­ First Prize In 1933, WilUs O'Brien used stop- petition by young animators was belter Het Landhuis / The Country motioni technique to create a classic than any previous festival. House / La Maison d'ete cinematic creature called King Kong. Ottawa '82 was one of the most suc­ Josette Janssens, Belgium Ray Harryhausen's greatest invention cessful animation festivals to date. This was the battling skeleton sequence in was reflected in the informative and Jason of the Argonauts. thought-provoking workshops, the high There will be many new effects created calibre of the films in competition, and in the future because one of the attrac­ the international celebrities that added tions of the movies is its ability to create glitter to a festive occasion. worlds of imagination for audiences The Ottawa fest is also one of the hungry for an escape from their prob­ warmest and friendliest festivals in the lems. _ world. Its friendly and professional am­ I came to Ottawa '82 hungry for ani­ bience can be attributed to the dedica­ mated films that reflected the variety of tion of its Producer, Frederik Manter; techniques and themes that were inno­ Festival Director, Kelly O'Brien; Inter­ vative and reflected a particular coun­ national Director, Prescott Wright; and try's style. My hunger was satiated to Honorary President of Ottawa'82, Raoul some degree by the quality of children's Servais. films in competitiofi. Here are my hopes for Ottawa '84 1 The festival seemed to be truly inter­ hope there will be more computer- national in scope. The jury selection this animated films in competition. I hope year honoured outstanding animated there will be some new and innovative films from the following countries: themes and techniques. 1 hope more China, Canada, Poland, U.S.A., East Ger­ time will be spent on story develop­ many, Belgium, Hungary, The Nether­ ment to make all those hours spent on lands, Great Britain, U.S.S.R,, and Cze­ producing a 3-minute or longer film choslovakia. worthwhile for the animator, and satis­ In the category of Films for Children, fying for the viewer. Now I will have to First Prize went to Fishing the Moon be at Ottawa '84 just to see if my hopes from the Pool made by Zhou Keqin of are fulfilled. China. It is a delicate cut-out animation film that relates the story of a group of monkeys who try to capture the moon. First Prize for a First Film by a Student

24/CinemaCanada-Septemtierl 982 ANIMATION

Of bits and bytes

Dream Fllgtit by Philippe Bergeron, Nadia Magnenat-Thalmann and Daniel Thalmann

b\' ;\rlhur Vlakosinski

"No jaggies" was the underlying motto large areas, save and restore pictures, resolution monitor with a 35mm camera Data along with other oldies but goodies, of Siggraph 82, the Ninth Annual Con­ magnify the "canvas" selectively for de­ in front of it, or in some cases directly to shown at the Siggraph. The film still ference on and tail work, and record histories of picture film using a modulated laser beam. stands out head and shoulders above Interactive Techniques, held this year in composition. He can also combine techniques are other similar efforts. Boston. The term "jaggies" refers to the several pictures together, or call up also often combined with computer- The new Canadian offering at the Sig­ serrated, block-like patterns produced previously recorded pictures of for painted images and the two are trans­ graph was Dream Flight made by Philip­ on image edges of some computer example, trees and seed them all over ferred either to video or 35mm film pe Bergeron and the Thalmanns; Shot off generated images. his current "cell." Similar treatment is under computer synchronization. In a Tektronix 4027 vector graphics terminal Computer-assisted animation is al­ used for producing background cells general, most sophisticated programs connected to a Cyberg computer, it was ready the norm at some of the larger and titles. for computer animation systems are similar in technique to the Peter Foldes animation houses like Hanna-Barbera The memories which store the huge made to measure and are not available films and, although it spirited clever in California. The animator is not re­ amounts of digital bits associated with cornmercially. Ampex took three years animation, it seemed dark and preten­ placed, but rather he is given a new, each scene are called "frame buffers." A to build the system for Hanna-Barbera, tious in its theme and choice of music. powerful tool He still draws individual single animation film frame may require which also had to buy the people who The great treats of the show for many cells by hand, but his "canvas" is a as much as 500 kilo bytes (eight "bits' came with it. were the examples of solid, three-di­ digitizing tablet connected to a large equal one "byte') of memory for a modes Other studios, like the one at The New mensional compulei^generated imagery. piece of a computer memory, which is screen resolution of512x512 linesandS "Vork Institute of Technology, have also Already used for creating TV logos and displayed for the artist on a color video bits assigned for each color: red, blue developed their own software, but are commercials for Life Savers and The monitor and green. In a half-hour show, this willing to sell at least some of it "Tween" Bell System, and the PBS Nova' and NBC His "Brush" is an electronic stylus translates to over 500 million bytes of is a key-frame animation system program logos, these directly generated synthe- resembling a pencil. Its effective shape memory. The directly accessible memory where the artist draws or enters key­ thic images are the result of a marriage can be any shape he desires, as long as it space is the bottleneck of digital image frames and the computer interpolates of graphic artists and some of the bright­ fits into the allocated computer meihory. creation. Such memory size, although the missing ones. Written by Ed Catmul, est minds in mathematics and computer On the bottom of the monitor screen possible, is still expensive and bulky. its operation is similar to the programs science. This year also marks the first is a "palette" of 256 colors in which he Somewhere during the completion of which created Peter Foldes' Mera Data time that these images were used in two "dips" the stylus. In this way, the ani­ a computer-animated film, a decision is and Hunger, the National Film Board of feature films, notably Star Trek II and mator " paints" the outline of his figures made whether to "dump"' the images on Canada's early contribution to this field. Tron. and can also automatically fill and clear film or onto video tape. In case of a What distinguishes Catmul's program, Lucas Films, a division of ILM Com­ studio like Hanna-Barbera, whose pro­ beyond its use of color, is that Foldes pany, was responsible for creating the ducts ar« for T.V., the image goes from used direct, vector images, while Cat­ 1261-frame scene in which the space the digitizing tablet to frame buffers, to mul's program is adopted for the more ship flies by a dead plane, throws a hai-d magnetic disks and finally to one- difficult, vast scan systems. That is genesis bomb, and brings it to life. Here inch C-type videotape. If the image is where "the jaggies" have to be deah Arthur Makosinski is with the Physics are some details on how this remarkable destined for the big screen, it is usually with through complicated dynamic Department at the University of New image was shot as described by Alvy Ray transferred directly from frame buffers, anti-aliasing algorithms. Brunswick and is working on a film Smith of Lucas Films. or sometimes from hard disks to a high- called Free the Meat It was most refreshing to view Meta (1) Exact star positions were deter-

September 1982 - Cinema Canada/25 ANIM Al lUN mined from the "Yale Bright Star Cat» loft" generated and fed into magnetic disks. (2) The projectile path of the space ship with respect to the earth vva. calculated as a 6th degree polynomial and modelled on a vector display. (3) The image of the planet wasiim ed by C. Evans of ILM, digitize|7nd "wrapped" mathematicaUy on a sphere vvdth shade by T Duff (4) The .explosion-strip image was generated by tracking 400,000 particles in several planes, all anti-aliawi (no jaggies) and motion-blurred. ,• (5) The atmosphere was ited from actual physics formulaes' ax- let's "Physics." (6) The most difficult images of the surface of the planet, the mountains and the sea, were the resuhs of what mathe­ maticians know as hidden-surface algo­ rithms consisting of 231 data points, matheinatically '"wrapped' on a sphere, with separate algorithms for color and shade. The calculations generated the so-called ""fractal" (irregular topological dimensions) mountains whose positions and dimensions were recalculated for each frame. (7) The scenes were then synchro­ nized, and the output of Ihe DEC, VAX computer was connected to a standard Barco, 500 x 486-line RGB monitor. A Vista. Vision camera loaded with 5247 films was placed in front of it. The whole filming process was automatic, and no • Foldes" Hunger was a pioneering effort one was present during the most of the nine hours it took to shoot Ihe 1261 frames. Thefilmwas delivered on time and in the exact format the producer wanted 7'ron made much more elaborate use of computer-generated animation. In fact, over 64% of the film was computer generated. Most of the computer work was handled by Information Interna­ tional Inc. and Magi-SynthaVision All geometric models were based on sketch es provided by Disney animators. Some figures, like the Sark's Carrier and the Solar Sailer, were created by digitizing orthogonal views of the Disney draw­ ings, then test-viewing them on a vector display before the final encoding. Other more regular shapes and shad­ ing were created using a wide variety of existing and specially written programs by III. Shot with a resolution of 1024 x 1024 lines with six bits depth of each primary color, the resulting resolution is as good or better than that shot with a lens of 35mm film. Relatively few people were involved on the computer end ol the production, and no paper or wnre models were used. At one of the Siggraph presentations, Ed Catmul tried to set a goal for the future of computer graphics in film. He targeted realism and its manipulation as the chief aim, underiining that no words can compensate for a bad picture (don't we know that, Ed !l."Don't8howa picture you have to apologize for, con­ tinue progress for higher quality," he touted. ""Dont think of any hidden- surface algorithm, without thinking about the anti-aliasinglthe jaggiesproh lem)." Computer resources for the purpose ofmakingpictures are scarce. Research­ ers and experts in this field tend W associate with academic institutions or the U.S. Defence Department. Little work of this kind is going on in Canada, right ? Not for long Sheridan College in Oakville has just announced Canada s first one-year certificate program » terested' Computer Graphics. Anyone ml

26/Cinema Canada- September 1982