Final Website Delegate List 2017
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The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
The Uses of Animation 1
The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator. -
Motion Picture License List of MPL Participating Theatrical Distributors & Producers
Motion Picture License List of MPL Participating Theatrical Distributors & Producers MAJOR HOLLYWOOD STUDIOS & AFFILIATED LABELS 20th Century Studios Paramount Pictures (f/k/a Twentieth Century Fox Film Corp.) Paramount Vantage Buena Vista Pictures Picturehouse Cannon Pictures Pixar Animation Studios Columbia Pictures Polygram Filmed Entertainment Dreamworks Animation SKG Republic Pictures Dreamworks Pictures RKO Pictures (Releases 2011 to present) Screen Gems PLEASE CHOOSE Dreamworks Pictures CATEGORY: (Releases prior to 2011) Searchlight Pictures (f/ka/a Fox Searchlight Pictures) Fine Line Features Sony Pictures Entertainment Focus Features Major Hollywood Studios STX Entertainment & Affiliated Labels Fox - Walden Touchstone Pictures Fox 2000 Films TV Tristar Pictures Fox Look Triumph Films Independent Hanna-Barbera United Artists Pictures Hollywood Pictures Faith-Based Universal Pictures Lionsgate Entertainment USA Films Lorimar Telepictures Children’s Walt Disney Pictures Metro-Goldwyn-Mayer (MGM) Studios Warner Bros. Pictures Spanish Language New Line Cinema Warner Bros. Television Nickelodeon Movies Foreign & International Warner Horizon Television Orion Pictures Warner Independent Pictures Paramount Classics TV 41 Entertaiment LLC Ditial Lifestyle Studios A&E Networks Productions DIY Netowrk Productions Abso Lutely Productions East West Documentaries Ltd Agatha Christie Productions Elle Driver Al Dakheel Inc Emporium Productions Alcon Television Endor Productions All-In-Production Gmbh Fabrik Entertainment Ambi Exclusive Acquisitions -
PB Paddington 2
presenta ! diretto da PAUL KING con HUGH GRANT BRENDAN GLEESON JIM BROADBENT PETER CAPALDI JULIE WALTERS SALLY HAWKINS HUGH BONNEVILLE e con la voce di FRANCESCO MANDELLI distribuito da EAGLE PICTURES durata 95' AL CINEMA DAL 9 NOVEMBRE 2017 www.eaglepictures.com UFFICIO STAMPA Pierluigi Manzo e Alessio Piccirillo +39.347.0133173 +39.393.9328580 [email protected] - www.manzopiccirillo.com CAST ARTISTICO BRENDAN GLEESON Nocche McGinty SALLY HAWKINS Mary Brown FRANCESCO MANDELLI Paddington HUGH GRANT Phoenix Buchanan JIM BROADBENT Samuel Gruber JULIE WALTERS Miss Bird HUGH BONNEVILLE Henry Brown PETER CAPALDI Reginald Curry SAMUEL JOSLIN Jonathan Brown MADELEINE HARRIS Judy Brown TOM DAVIS T-Bone !2 CAST TECNICO Diretto da PAUL KING Scritto da PAUL KING SIMON FARNABY Prodotto da DAVID HEYMAN Produttori esecutivi ROSIE ALISON ALEXANDRA FERGUSON RON HAPERN Case di produzione HEYDAY FILMS MARMALADE FILMS LTD. STUDIO CANAL Fotografia ERIK WILSON Scenografie GARY WILLIAMSON Montaggio JONATHAN AMOS MARK EVERSON Costumi LINDY HEMMING !3 Musiche DARIO MARIANELLI Casting NINA GOLD Direttore delle animazioni PABLO GRILLO Supervisore VFX GLEN PRATT Distribuito da EAGLE PICTURES Ufficio Stampa MANZOPICCIRILLO SINOSSI Paddington è ormai un celebre membro di Windsor Gardens, la comunità in cui vive con la famiglia Brown. A caccia del regalo perfetto per il centenario di zia Lucy, il nostro simpatico e buffo amico trova un raro libro pop-up in un negozietto di antiquariato. Dopo avere svolto una serie di lavoretti per tentare di comprarlo, il libro -
A Hidden Culture Anne Wood on How Art Helps Young Children Develop
Perspectives on the value of art and culture Children and the Arts: A Hidden Culture Anne Wood on how art helps young children develop READ ON Anne Wood Back Next 02 Anne Wood is one of the most influential figures in children’s television. Born in Spennymoor, County Durham, she grew up in the mining community of Tudhoe Colliery then began a career as a secondary school teacher. She was a leading voice for children’s literature before launching a career in broadcasting. In 1984, she formed Ragdoll Productions, known for such television series as Rosie & Jim, Tots TV, Brum, In the Night Garden, Twirlywoos – and Teletubbies. She is the founder of The Ragdoll Foundation (www.ragdollfoundation.org.uk), which aims to provide a space for alternative thinking, voices and practices, to seek new creative solutions and partners, and to collaborate and share knowledge. It is currently leading the Save Kids’ Content UK campaign (www.savekidscontent.org.uk), which has the particular objective of safeguarding the production of UK- originated television for children. As a cultural notion, childhood emerged in western society somewhere around the 1850s and lasted until somewhere around the 1950s when the cult of the teenager first made itself felt in the USA, and spread around the world. Now, in the 21st century, we hear children are ‘growing up too fast’ or that ‘childhood is lost’. It is not that children are biologically changing. Although many may be taller, more robust and have greater life expectancy than previous generations, essentially children are no different. They have the same need to explore life and navigate it successfully, which has always been central to humanity. -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
Delegate List Updated Friday 13 May 2016
Delegate List Updated Friday 13 May 2016 First Name Surname Company Lauren Ace Little Tiger Group Lindsey Adams Daily Madness Productions Chisara Agu-Franklynn Lisa Akhurst DNA Creative Martin Amor Cosmic Kids Natasha Armstrong Booktrust Courtney Arumugam Mattel Creations Corrina Askin Corrina Askin Films Jake Aubrey Student Ami Aubrey Showcomotion Ameerah Ayyad Jamie Badminton Karrot Entertainment Tim Bain Timothy Bain Sophie Ballinger Eureka! The National Children's Museum Zoe Bamsey Coolabi Ltd Chris Banks Banks & Wag Justine Bannister JUST B Thomas Barthelmeus ... and now for something completely different Julian Bashford Visionality / Noodle Food Caleb Bastock Thornbridge Taps Ltd Steph Bateman University of Salford Peter Baynton Peter Baynton Tom Beattie Tiger Aspect Productions Hilary Beecroft BCre8ive Ltd Kay Benbow BBC Louise Benham The Walt Disney Company Joe Bettridge Ragdoll Productions Limited Steve Bicknell Maverick Arts Publishing Gabriel Boccuni Ual Anton Botes Fourth Wall Creative Chris Bowden Mackinnon and Saunders Ltd Matt Bowen ITV James Boyd Bedtracks Inc Lekisha Bradley University of Sheffield Kirstie Brockett Fremantle Kids & Family Brolly Brollyman Brollyman Productions LTD Vanessa Brookman Turner Keith Brumpton Keith Brumpton Ltd Joanna Budden British Council TJ Bull Just Anim8 Helen Bullough BBC Claire Burdfield CMC Dean Byrne University Of Salford Matilda Byström SVT Laura Campbell Dog Ears Ltd Kate Canning Canning Factory Danny Carmel Joanne Carmichael Joanne Carmichael Ruth Cassidy Immediate Media Co London Limited Jan Caston Jan Caston Phil Chalk Factory Diane Chaplin Helen Charalambous Turner Yihua Chen University of Sheffield Greg Childs CMC Darren Chouings The Children's Media Conference Dr Barbie Clarke Family Kids & Youth Adam Clarke Adam Clarke Thomas Cocker Thomas Cocker James Coleman Plug-in Media Tony Collingwood Collingwood & Co Mick Cooke Too Many Cookes Music Ltd. -
Written Evidence Submitted by UK Screen Alliance/Animation UK to the Treasury Select Committee
Written evidence submitted by UK Screen Alliance/Animation UK to the Treasury Select Committee 23/03/2020 1. About UK Screen Alliance/Animation UK 1.1. UK Screen Alliance in partnership with Animation UK is the trade association that represents Visual Effects (VFX), TV & Film Studios, Post-Production and Animation in the UK. It is the membership organisation for over 100 leading employers in the film, TV and advertising sectors and its primary purpose is advocacy for its member companies and the wider screen industries. 2. The impact of Covid-19 on the Film, TV and advertising supply chain 2.1. Our members rely on an inflow of business from film, TV and advertising productions, but as a result of the Covid-19 virus virtually all global filming has stopped. Film crews utilise large numbers of people working in close proximity, so social distancing measures have made them impossible to operate and insurers will not cover disruption from Covid-19. 2.2. This means that there is no raw unedited material flowing into post-production and VFX for them to work on. This has had an immediate effect on some companies and for others the effect will become apparent over the next few weeks as the projects that they already have in their systems come to completion and are not replaced by new work. Their business interruption insurance will not cover them in these circumstances. 2.3. This sector, which was vibrant until just two weeks ago, is about to come to a dead stop. VFX alone contributes more than £1 billion GVA to the economy and attracts considerable inward investment from the USA. -
Uk Animation 2018 2 Short Animation Contents
UK ANIMATION 2018 2 SHORT ANIMATION CONTENTS INTRODUCTION 4 SHORT ANIMATION 6 FEATURE-LENGTH ANIMATION 38 VIRTUAL REALITY / IMMERSIVE EXPERIENCE ANIMATION 42 ABOUT BRITISH COUNCIL 46 BRITISH COUNCIL AND FESTIVALS 48 BRITISH COUNCIL FILM GLOBAL PROJECTS 50 BRITISH COUNCIL AND SHORTS 53 ANIMATION IN THE UK 2018 54 INDEX OF FILMS 62 , Director: Jonathan Hodgson Jonathan , Director: Roughhouse All inclusive images remain the copyright of their respective owners and may Cover: Cover: not be reproduced without the expressed permission of the rights holders. 3 INTRODUCTION Welcome to the 2018 UK Animation Catalogue presented by the British Council. We’re proud to be championing new and upcoming UK films and filmmakers to programmers and audiences around the world. The catalogue includes details of selected recent UK animated shorts, features and VR, and flags up some productions due for release in 2018. You can also find information about some of the work we do and the partners we work with. The PDF version of this catalogue will be updated periodically throughout the year and you can download it at film.britishcouncil. org/british-films-directory/uk-filmcatalogues Film credits and information in this catalogue are drawn from our British Films Directory. The Directory is an information resource which includes an extensive selection of UK titles currently in production, as well as details of recently completed UK shorts and feature- length films. You can explore the British Films Directory, as well as further directories listing both UK filmmakers and international film festivals, at britishcouncil.org/film 4 , Director: Joseph Wallace , Director: Edith Piaf (Said It Better Than Me) - Sparks Me) Than Piaf (Said It Better Edith 5 SHORT ANIMATION , Directors: Karni and Saul Karni , Directors: Perfect World Perfect 6 SHORT ANIMATION Adelaide McCarthy and the Attraction Making of a Legend Synopsis Synopsis We join Adelaide McCarthy as he explains the Urges in the undergrowth, erupting fungal fantasies, wonders of how stop motion puppets are made. -
1 UK@Kidscreen 2014
1 UK@Kidscreen 2014 Organised by 3 UK@Kidscreen 2014 Contents Forewords 5-7 Fun Crew Ltd 28 Danny Lopez 5 Gateley LLP 29 Greg Childs and Sarah Baynes 6 Happy Films 30 HIT Entertainment 31 HoHo Entertainment 32 UK Delegate Companies 8-49 Kickback Media Ltd 33 1973 Films 8 Kindle Entertainment 34 Absolutely Cuckoo 9 Lion Television 35 Accorder Music Publishing 10 Magic Light Picture 36 Adobe Systems Europe Ltd. 11 MIDAS 37 Beakus 12 MCC Media 38 Beyond Distribution 13 Plug-in Media 39 Bigmouth Audio Ltd 14 Pluto Entertainments Ltd 40 Blue-Zoo Productions 15 Saffery Champness 41 Bob & Co 16 Saltbeef Productions 42 Box of Frogs Media 17 Serious Lunch Ltd 43 Bright Box Creative 18 SyncScreen.tv and The Little Big Partnership 44 CAKE 19 The Children’s Media Conference 45 CHF Entertainment Ltd 20 The Creative Garden 46 Coolabi Limited 21 Tinyworld 47 Cutlass Productions Ltd 22 Walker Productions 48 Darrall Macqueen 23 World of Wishes 49 Dog Ears Ltd 24 Dominic Macdonald 25 Dot to Dot Productions 26 Contacts 50 Factory Transmedia 27 Main image: Mike the Knight (© 2013 HIT (MTK) / Nelvana Limited) Top: Ella Bella Bingo (August Media Holdings / Kool Produktions) Middle: Room on the Broom Bottom left: Bookaboo Bottom middle: Puffin Rock Bottom right: Absolute Genius with Dick & Dom Truth0389_CMCKidscreen Ad 21/1/14 12:15 pm Page 1 cc THE UK’S PREMIER MEETING PLACE FOR THE CHILDREN’S 2,3 &4JULY 2014SHEFFIELD UK CONTENT INDUSTRIES The number of children born every minute Welcome to the world of children and children’s content at CMC 2014. -
Crestview Partners and Aleph Capital Back Framestore's Acquisition Of
Crestview Partners and Aleph Capital Back Framestore’s Acquisition of Company 3 / Method New York, NY (Nov 6, 2020) – Crestview Partners (“Crestview”), and Aleph Capital Partners LLP (“Aleph”), have today announced a partnership with Framestore, the UK-headquartered, Oscar- winning visual-effects and production services company, to acquire Company 3 / Method, one of the world’s leading post-production and visual effects companies. Following completion of the acquisition, Crestview and Aleph will become the majority shareholders of the enlarged company. The combination of Framestore and Company 3 / Method will create an industry-leading player in a fast-growing market driven by the explosion of content production, and the growth of streaming platforms, bringing together two of the world’s top creative businesses in film, television and advertising. Following the investment from Crestview and Aleph, the merged business will represent the next phase of the industry, uniquely uniting all aspects that support the making of entertainment and communications content – from concept, through to digital and post-production. It will create the only global studio working across every part of the creative and production process and represent a partnership that has together won every major creative award in the film, television, advertising, mixed reality, stereo conversion and experiential sectors. Framestore is headquartered in London with creative studios in Los Angeles, New York, Chicago, Montréal and Mumbai. The company has been a powerhouse in leading entertainment, from its work on box office hits such as Avengers End Game, Blade Runner 2049 and Gravity as well as original series for streaming services such as Amazon, Netflix and Disney+, to immersive theme park experiences for the likes of Wanda and Lionsgate Entertainment World. -
2012 Guide 56Pp+Cover
cc THE UK’S PREMIER MEETING PLACE FOR THE CHILDREN’S 4,5 &6 JULY 2012SHEFFIELD UK CONTENT INDUSTRIES CONFER- ENCE GUIDE 4_ 5_ & 6 JULY 2012 GUIDE SPONSOR Welcome Welcome to CMC and to Sheffield in the We are delighted to welcome you year of the Olympics both sporting and to Sheffield again for the ninth annual cultural. conference on children’s content. ‘By the industry, for the industry’ is our motto, Our theme this year is getting ‘ahead of which is amply demonstrated by the the game’ something which is essential number of people who join together in our ever faster moving industry. to make the conference happen. As always kids’ content makers are First of all we must thank each and every leading the way in utilising new one of our sponsors; we depend upon technology and seizing opportunities. them, year on year, to help us create an Things are moving so fast that we need, event which continues to benefit the kids’ more than ever, to share knowledge and content community. Without their support experiences – which is what CMC is all the conference would not exist. about – and all of this will be delivered in a record number of very wide-ranging Working with Anna, our Chair, and our sessions. Advisory Committee is a volunteer army of nearly 40 session producers. We are CMC aims to cover all aspects of the sure that over the next few days you will children's media world and this is appreciate as much as we do the work reflected in our broad range of speakers they put into creating the content from Lane Merrifield, the Founder of Club sessions to stretch your imagination Penguin and Patrick Ness winner of the and enhance your understanding.