FALL 2000 Exposing Yourself: It's All In the Timing and money. by Jim Middleton I have tried several varieties over the past years. Initially, I One of the most intimidating little gap. This is because it made a modification of the challenges to face either as a represents every single frame of example given in Kit writer or an animator is nothing film or video that is being Laybourne's excellent reference, more than a piece of pure The Book r---·-_-~,-,_-~-.------,_-(the.-:F :-1~998-t--' edition still white, plain, blank paper. Nothing can begin until you available and published make that first mark. One of by Three Rivers Press, the means I find helpful in 201 East 50th Street, A coming to grips with a project New York, NY 10022, is to approach it indirectly, to $24.95; mine was from Q toy with fussy details. To this the earlier 1979 U end, I turn to the venerable edition). I stayed with exposure sheet. the basic format, first A frame on top, running to Generally unnecessary if doing the bottom. Keeping R the "straight ahead" approach things as simple as T to animation, the exposure possi ble, there were sheet is indispensable if you E only a couple of rows to are doing anything involving R indicate sound and lip-synch, musical timing, or image, and of course a L pacing. It's one thing to y column to indicate the animate a walk= it becomes much easier if referring to an I"~::;;-,;'',''"-u::..~=-...,"'' .,.~• .•.•....s-= -~=<'-':..:-"'~''-----framel number (figure Figure 1 1). With this approach, p exposure sheet tells you the L_ ___l I was able to squeeze cycle has to be completed in U four seconds onto each page. 82 frames. Similarly, endless animated, For multiple cel For brief sequences this worked, B repetition of a piece of music animation, each layer of but the difficulty in keeping L will automatically tune you to animation is given its own track of the specific frames j the necessary timing or make column. However, for this brief became a problem (I found that you absolutely sick of the tune-• discussion, I will approach the I could quickly lose count and or both. exposure sheet from the drop several frames at A An exposure sheet is generally viewpoint of the enthusiast, or inopportune places). I also T tied in with a storyboard. The student, working within the found that the top to bottom ! storyboard serves as an outline, constraints of both limited time o The exposure sheet fills in every All In the Timing (Middleton) continued on 3 N IMAX Cyberworld 3D now that I have stated the only thing that I didnft like about the o Reviewed by Charles Wilson movie, let us talk about what I F did like. I truly loved the other Honestly folks, while couple of minutes. Because this animation clips and found Cyberworld was a wonderful film was all about showcasing myself wishing to see these A film, I could have lived without some truly intriguing short films in their entirety, I S the Cyberworld Galleria technology, I would have been realize that these were older I segment where the hostess Phig happy with simple titles, or even films, retooled following F (voiced by Jenna Elfman) a Fantasia 2000 style live-action lMAX's specifications, but I A introduced the animated host to introduce the . loved watching them just the segments while fighting While the concept was same. The stereoscopic imaging I computer bugs. I didnft feel that interesting at first, it was process left me at the edge of C the film needed an animated difficult to understand what my seat during Flipbook, e vehicle to tie the segments Phig and the computer bugs Krakken, and Tonight's n together, especially one that were saying during their Performance. These films had a became distracting after the first interludes, I found myself good balance between rich t .-----I-n-s-i~d::.....e-th-is-I-wishings-s-u for-e the-- next ..., backgrounds and lively r animated segment characters. I found the 3D effect Allin the Timing whenever Phig or easier to see during the long a IMAX Cyberworld 3 the bugs came I Ottawa: Bad Craziness shots of waterfalls and flying Stressed Animation Part II onscreen. fortresses, But by far, the easiest and much more ... Well, FALL 2000 IMAX (Wilson) continued on 3 Letter from the Editor by Jennifer Eldred ASIFAI~ Volunteers and Members be sure to 2001. If you would like to contribute, Project Leaders renew your volunteer or apply to be a presenter at the ASIFAICentral Conference please contact the Conference Newsletter Designer/Editor & membership. All Chair, Melissa Bouwman at Vice President 2000 memberships [email protected] See future Jennifer Eldred, [email protected] are up for renewal Frame by Frames for Conference on December 31. registration forms and agendas. President / Webmaster The renewal Randall Rockafellow application can be As we come to the end of another year, I [email protected] found on the back would like to thank all of the contributing of this edition. writers who help keep ASIFAICentral Treasurer Don't miss a beat, renew today! members informed and connected Deanna Morse. [email protected] (Membership for 2001 starts on January 1 throughout the year. Keep those great and continues till December 31,2001.) articles coming! Conference Chair 2001 Melissa Bouwman, Plans are underway for the 2001 Happy Holidays! ASIFAICentral Conference and Retreat -J~61ktJ. [email protected] so be sure to mark your calendars for the The deadline for the Winter 2001 Edition Conference being held April 27 - April 29, Membership Coordinator of Frame by Frame is January 15, 2001. Tom Brierton ASIFA Opens First Indian Chapter [email protected] by Michael Saltzman Reel Coordinator Jim Schaub, [email protected] (October 16, 2(00) It was announced today communication form, opens with 20 that ASIFA Central in Zagreb, Croatia, the members. Tentatively, the new chapter's StoryBoard Contest only internationally sanctioned organization board includes; Bill Dennis as president, Mary Lou Haynes, [email protected] for animation, will open a chapter in India. Suhael Merchant from Toonsense Studios This new chapter will be located in the city as vice president, and Cathy Peza, Web site Design: of Trivandrum within the Indian state of Animation India's studio manager, as Rita Dobias, [email protected] Kerala, home of Toonz Animation India. treasurer. The first meeting of ASIFA India will occur during The 2nd Annual Week With The ASIEI\, an organization for professional Web site: Masters Animation Celebration, Toonz animators, has grown to over 1700 http:/www.asifaorglanimate Animation India's high profile animation members in 55 countries during its 4O-year festival, held October 30 - November 3, history. The national chapters maintain the E-mail: [email protected] 2000. most immediate and direct contact with members, many, like the American regional ASIFAICentral Conference: Heading up ASIFA's newest chapter is Bill groups, with their own monthly newsletters April 27 - April 29, 200l Dennis, president and CEO ofToonz and screenings. ASIFA provides the linkage Animation India. Dennis comes to ASIFA's between all the chapters as well as a direct To contribute or volunteer contact: chapter with almost three decades of connection to International events such as Randy Rockafellow experience in the animation industry, animation festivals and seminars. For more E-mail: [email protected] having worked on such animated classics information on ASIFA, refer to their as, "The Lion King," "Beauty and the website at http://asifa.net. Beast," "Aladdin," and "The Little To join ASIFAICentral: Mermaid." For more information on The Second Send a check (payable in US dollars Annual Week with The Masters please visit to ASIFA/Central) to the address on The Indian chapter, which will be devoted their website at the back of this newsletter. to the encouragement and dissemination of www.toonzanimationindia.com film animation as an art and

ASIF41Celltrai Miuion Statement ASI F. \: Association lnternationale du Fi/111 d' Animation The purpose of AS/FA/Central is to promote the art of animation locally and internationally and to promote communication among Printed in the U.S.A on recycled animators and between animators and devotees. - adopted 3/92 paper.

2 FALL 2000 Allin the Timing (Middleton) continued from 1 di Suzanna" from 1921. This sounds CfP software being an excellent example). approach was awkward. This led to the substantial, but using my previous format Stand-alone programs do exist for next version. This one concerned itself less without the advantage of the thumbnail storyboard and timing, however. One with the number of seconds and drew recent example, "Board Master" (www. instead on the number of frames. Each boardmastersoftware.com) from Canada, ..... - ... sheet is now able to hold 50 frames; in .... also markets itself as a means to assist addition, I added a thumbnail box for each .. - ... _._.-.- presentations beyond those involving frame to allow for sketching in random animation. While it may be of use in a notes on what should be going on with the commercial house setting, I found it fairly ! . synchronization. I also chose to arrange .: . ··· .. -i cumbersome for independent usage. Also, j : . ; things left-to-right, to keep with the feel of its exposure sheet printout was of the "reading the soundtrack" on the exposure " .. ---.-.. -.. _- .__- ·-,,_'~~--~i--_,+4~;~f----classici format, making for a ponderous .. ' print time without presenting any clear sheet. This format also allows me to ..•... advantage for viewing the soundtrack. The consolidate a storyboard approach with the - ... _ -I. r:. .~- r=., I _; exposure sheet. ... : ..•.•...... _ .. , demonstration file did have some nice touches and would probably work well as With this method, I am able to haul around .. ...• r=L .. ' I an alternative to a slide show for a a few sheets and sketch in ideas when time production house; however, I think that permits before settling down to a stack of many of its functions must already be animation paper or a computer terminal. available III completely-packaged Still, the most time consuming part of the animation software. Much of what it project is the filling out of the sheet itself. Figure 3 offered for presentation could be replicated Pre s e n,tl Flke the soundtrack and pump sketches would still take up 37 sheets, and with Power Point or Corel's Presentation it into my wonderfully temperamental the earlier still version, based on the classic software. The retail of $179 isn't too bad, Animator Studio (version 0.5, I format, would represent over 90 pages. and it is available online, but I am not sure believe, designed when Windows was still When working on solo projects, it makes a if it's for everyone=the amount of time I The Chicago Project), and play it bit by bit, difference. spent scanning in images, converting to generally in 10-15 frame increments, until I appropriate formats, tweaking *. wav files, have the entire thing transcribed onto Earlier, I mentioned the use of a computer. and typing in comments (not to mention pape.rRight now, the 2220 frames for Granted, most of this activity has been the crashes) could have been spent in actual "Good Garbage 2001" take up 45 pages supplanted in commercial studios with animation. But then, it was less and represent the better efforts of the La computer programming, and most. of the intimidating than that pure white, plain, Scala Orchestra's recording of "II Segreto newer 2D software integrates exposure sheets with their complete package (the blank paper! - Jim Middletom

1M AX (Wilson) continued from 1 Pentium III processors, the microchip giant graciously helped characters to see in 3D were the ones who fit completely within the lMAX Corporation fund this film. boundaries of the theatre's viewing screen. These characters For those of you who would like to learn more about this film and (ranging from underwater seal-like critters to Hying heads) jumped the SANDEE process that created it, there are two excellent articles out into the visual space between the screen and myself while in the October 2000 issues of Animation Magazine and Animation characters that intersected one of the boundaries lost their 3D World Network's Animation World Magazine. IMAX also has a effect. As some of the larger creatures and machines passed across review of their SANDEE system on their website at the screen, they had a tendency to nicker into and out of 3D. http://www.imax.comJinnovations/latest_devs/sandde.html. The animation segments themselves were produced by a variety of In the final analysis, I would recommend watching this film at least studios all around the world. The segments were as follows: Pacific once, if for no other reason than saying "00" and "ah" at the Data Images showcased two joint effort films, from technology that made this film possible. lMAX is currently DreamWorkslPDI, and from 20th Century FoxlPDI. planning some joint ventures with PDI and Mainframe in the Monkey Brain Sushi was from Sony Pictures Imageworks. Joe Fly future, including a special release of PDf's . So if Cyberworld and Sanchez was entered by Spans & Partner. Krakken came from is any indication, IMAX is gearing up to take us on a wild ride in Ex Machina and Liberation was from Pet Shot Boys the not too distant future. PartnershiplEye Development. Finally there was Out of the Box About the Author created by RezNS, Flipbook from Inertia Pictures, and Tonight's Charles Wilson is an independent animator and the president/lead Performance directed by Paul Sidlo. The Cyberworld Galleria animator of Smudge Animation, located in Bath, Michigan. In segment was produced at IMAX using their SANDEE (Stereo 1997, Charles graduated from the Rochester Institute of Animation Drawing Device) system. Technology'S Film/Video department where he earned a Master of All of the older animations were re-rendered using the Fine Arts degree in . Since then, he has specifications set up by IMAX in order to get the appropriate worked as a web designer/ also doing freelance camera angles necessary for converting the images into a format multimedia projects until the summer of 2000 when he created suitable for stereoscopic viewing. The conversion process was Smudge Animation. He can be reached at performed using lMAX Corporation's patent-pending 3D process [email protected] be viewed at and since the process was done on computers running Intel www.geocities.com/Smudge _Anim/

FALL2000 3 ._---_--- Ottawa: Bad Craziness by Jim Middleton

The pumpkins were there, the animators gave the proceedings more the atmosphere see more rather than hear about the films). were there, the Chez Ani was there, and the of a bad frat party than a good animation The workshops on distribution and weather was mostly cooperative. So why festival. His intent was lost on most of the portfolios quickly became a Q and A about did this festival have such a sour feel to it audience. Was it sarcasm? Was it an Andy Why Aren't You Hiring meeeeeee? (hungry this time? The "Best of Show" was the Kaufman knock-off? Was there real booze animators in their 20s, nervous animators German entry "Ring of Fire," a black and in his hip flask? And why this venue to put in their 30s, frantic animators in their white orgiastic allegory with a literal bump on his show? (The "Spike and Mike" 4Os ... oh no! I'm passe!') but the and grind showing was already presentation on puppet animation from the background booked, after all.) This is production team that brought "The Periwig of sexual especially sad in light of Maker" to the festival was great. One of imagry. some of his fine essays the workshops was held in a room painted Considering that have appeared in completely black, prompting one of the that "The Old various Animation panelists to comment, "Welcome to our Man and the publications and even in review of Austrian experimental cinema" Sea" was the festival program, casually where he also wrote, "1 On a tourist note, I have to state that dismissed know when to tell lies Ottawa remains one of the finest stops for a from the that ring of truths." r vacation. When it rains, umbrellas are competition, wish he had chosen to do everywhere and inexpensive, the National it seemed like it Gallery is still giving FREE FREE "Porky's" an FREE and the Academy presence of a Award while tossing aside "Citizen Kane" somewhere else. It took bikini store in because "everyone has seen it." Sexual the wonderful mimicry the Eaton mall imagry seemed to be a guaranteed way to of David McCallum, as seems almost obtain screen time as well, as if to further the "Voice of the like wishful the stereotype that animators are mostly Festival," to salvage one thinking. And males who didn't get to date much in high evening with his how many eel school. One night's competition was inspired reading of phones can one bracketed by two films dealing with sexual Shakespeare's 18th group of people abuse--"The Hat" was an eternal succession Sonnet, using the voices have? And of images that of Presidents what is it with included a little Kennedy Exhaust girl astride an through Industrial enormous Clinton. Strength jeans? Do you want that logo on phallus, while your derrier? And where can I find a "I ! "Daddy and I" Having vented thus, much of the my Lithium" T-shirt? brought a less• festival remained noteworthy. abstract The retrospectives were very And, finally, at the Cafe Supreme, it took presentation of a fine, highlighted by the the coordinated efforts of three people-van similar message Computer panorama (with the off-duty manager, a woman assistant from Korea. latest innovation test from Pixar, manager, and a trainee--to make a mocha Even the this year being the feathers in for me. The young man who had taken my excellent "Four "For The Birds;" however, order had forgotten what I ordered by the Minutes" and "Bunny" and "Fishing" were the time he went to ring it up, and then he had "Crime and jaw-droppers for that show), a to refer to the register twice as he tried to Punishment" phenomenal tribute to jazz in make change for me (it was $3, I had given couldn't shake the pall of the evening. animation (with an outrageous, and him a ten). He looked at me with the eyes probably never to be televised "Tin Pan of a lost puppy and said, "I'm sorry about Chris Robinson provided a message at the Alley Cats" by Clampett), and an overdue this. I am really very stupid." beginning of the festival's program that tribute to Paul Fierlinger. "Muratti and said "cradle elsewhere." He also Sarotti: The History of German Animation" You don't get sincerity like that in the introduced the evening's showings with was a well-crafted documentary, if United States. some more-than-indelicate comments and somewhat heavy on technique (I wanted to - Jim Middleton

4 FALL 2000 Calendar tor Show: cperiinq reception: Independent Voices: The Art of Animation February 26th, 2001, 5-7 p.m. Karen lq.B, g.ESt artist Independent Voices: 'Iffi Art of Animation On campus Tuesday, February 27th. An exhibit of animated films and animation artwork featuring Screening and discussing her films February 27th, 10 - 11 :30 five American independent animation artist'>. am, 174 LSH. Meeting with animation students February 27th, 1-3 p.m., 114 HRY. February 26 - March 30th, 2001 in the Art Gallery at Louis Armstrong Performing Arts Center Grand Valley State Faith Hubley, g.E3t. artist University, Allendale Campus On campus March 15th, 1-3 p.m. Speaking to students in the Art Gallery. Faith Hubley screens Overview of dates: her films at the UICA, March 15-17. Urban Institute for Feh:uat:y 26, 5-7 p.m. Gallery, c:p;niIxJ" receptirn Contemporary Arts, 41 Sheldon Blvd. SE Feh:uat:y 27, 10 - 11: 30 am, 174 ISH: Karen Aqua. screens her 1I.Crk Feh:uat:y 27, 1-3 p.m., 114 HRY: N3rer Aqua. rreets with st:u::lents Grand Rapids, Ml. 49503. Tel. 616454-7000. I-t:lrch 15, 1-3 p.m., Gallery: Faith Ihlbley sr::eakinJ to st:uBrt:s I-t:lrch 15 & 16, 7: 30 p.m., urCA: Faith Hubley, f.iJm &:reeling arxi Q&A Thursday, March 15th 7:30 screening, foil owed by Q & A with March. 17, 7 p.m. & 9 p.m., I.JICA Faith Ihlbley fi.Jm s:::reeninr Faith Friday, March 16th, 7:30 screening, followed by Q & A I-t:lrch 29, 5 p.m., Gallery: Gallery talk Ied !::y Cesnna !-brse with Faith Saturday, March 17th, Film screenings 7 and 9 p.m. March 30, SheM closes

Joan Gratz G:illery bourse Joan Gratz will be ajuror at the Ann Arbor Film Festival, Monday through Friday 10-5, Thursday 10-7 Michigan Theater, Ann Arbor, Michigan, March I3-18th. Joan Tel. 616-895-2564 (The gallery will be closed the week of will screen her work during the festival. Tel. 734-995-5356 March 5-9th during spring break.)

Deanna Morse Featured artist/ aIriIPators: Deanna Morse will lead a Gallery talk on Thursday March 29 at Karen Aqua John Cane maker 5 p.m. (in the Gallery) Joan Gratz Faith Hubley Deanna Morse

Be a Presenter at the 2001 that get those creative juices flowing, Miles of hiking trails to waterfalls and beautiful scenic overlooks, Campfires, Hot ASIFAlCentral Animator's Retreat Tub ... You get the idea. call far Presenters: Exposure to a great group of people! The folks that attend the Looking for a Good Time? retreat are supportive, friendly, and want to hear what you have to say. The retreat is generally a smaller venue, so if crowds are Interested in rubbing elbows with some of the finest folks the not your scene, you're safe with us! midwest animation community has to offer? 'Ih:is ~ tiE retrEat. tal

FALL2000 5 Stressed Out Animation Part II by Charles Wilson

Authors s Note: My animation studio is poses in Photoshop. Using Photoshopfs layered behind the moving characters centered on a PC-based computer system. lighting filters, I was able to create a 3-D• until all twenty-two scenes were finished. While all my pre-production work looking clock. Then, using layers and the Since all the assembling and tests (storyboards & model sheets) are done lighting filters, hands were added in each were done in Director, I used Director's with pencil and paper, everything else is position including the anticipation and paint tools to build most of the sets: the done in computer. Over the past few follow-through positions. So when I was wallpaper, the tiled counter, the , years, I've refined the process that [ use finished, I had one file with every pose. etc. for producing animated shorts. The These individual poses were then process is composed of six stages: exported into separate bitmaps and Finally, the motion was tested once again modeling, set-design, animation, sound imported into Director just like the fish as a completed scene. And, if it worked, recording & layering, image touch-up, models. then the scene was exported as sequential and editing & video output. bitmaps. 2. Animation The Animation Process Once I had all the fish and clock bitmaps 4. Image touch-up l.Modeling in each pose, I assembled the character Due to a problem in either Adobe All characters were modeled using animation. Moving body parts were Premiere or Macromedia Director, Macromedia Rash. This decision was animated by creating multiple copies of Premiere cannot import bitmaps that were made so that the characters could be the body part in each pose. Take for exported from Director. No problem resized and still maintain a high level of example, the bored fish's eyes blinking. I there, Jasc Paint Shop Pro to the rescue! resolution. I would have had Stress created several sets of eyes and modified Using PSP's batch conversion option, I finished back in March except I was each set slightly so that they were in the converted all the bitmaps from Windows trying to figure out a solution to my correct poses to blink shut and then open BMP files to TIFF files which were then modeling problem. In Macromedia again. imported into Premiere. I also used this Director, when bitmaps are resized there opportunity to touch up any image that also can come a loss in resolution. Color After creating all the moving body parts, I picked up artifacts during the export and banding occurs, as does improperly sized placed them in the appropriate location conversion process. Thankfully, there features. Since Rash is vector-based, I for each pose. Using this limited style of weren't many since I ended up with over could resize the characters as much as I animation, I didn't have to recreate the one thousand images. wanted content in the knowledge that the entire fish for each action, only the parts fish would look just as good in the small that moved. 5. Sound Recording & Layering poses as the large. When I build the animatic during the pre• The character movement was then tested production phase, all sounds are recorded in each scene using Director's animation using Sound Forge and then layered in playback controls. If the motion didnft Premiere. So what I end up with is my work, it was recreated. All the motion was storyboard images synchronized with my tested and completed for every scene soundtrack. This is key, because when I before I created the background and start importing the images and building props. the animation in Premiere, I visually line up the sequenced images with the 3. Set design appropriate storyboard scene in the Once the character animation was animatic. finished, I built the backgrounds and props and placed them into the 6. Editing & Video Output appropriate scenes. In my animation Once the bitmaps are synchronized with process, I'm still toying with where set the layered sound files that compose the Stressed fish in different sizes & poses design belongs. Sometimes I want to soundtrack, I compile the movie into an build the sets first just to get an idea of AVI file. Then the animation is viewed, Once I had the characters resized, I scale. Other times I want to jump right edited, re-compiled and reviewed until I exported them as a bitmap image. The into the animation and start working with get it right. What I'm looking for is timing bitmaps were then imported into Director motion. Since I already had an idea of issues. Does the scene flow fast enough and the individual characters were what size the characters needed to be, I into the next scene? Does the scene need separated into individual cast members. left set design until the end. to be cut shorter? Does the sound remain

I also modeled and animated the clock's Each background would be created and Stressed (Wilson) continued on 7 6 FALL 2000 Call for Sponsors INTERNET WORLD MEDIA & ENTERTAINMENT FESTIVAL (ME FESTIVAL) CALL FOR SHORT FILM AND MEDIA ENTRIES FOR INAUGURAL ON-LINE Corporate Sponsors Donors will recei ve COMPETITION. sought for the 9th acknowlegement in all Annual Conference & promotional materials, as Hollywood, CA Penton Media's Internet World's Media & Entertainment Festival (ME Festival) seeks short live-action Retreat well as complimentary registration at the films, animation, web commercials, web series, experimental works, under 15 minutes in length, for inaugural on-line The annual Midwest conference. All donations competition. Winners will be announced March 13, 2001, Animator's Conference and to ASIFA/Central are tax during the two-day Internet World D2ME Spring Conference, at the Regal Biltmore Hotel in Los Angeles. Retreat could benefit from deductible. financial support. We Joy A. Kennelly is the Event Producer for the ME Festival Please contact: would like to be able to which will debut selections LIVE on-line February 7th running offer a paid housing Melissa Bouwman at through March 16th at www.internetworldmefestival.com. package to presenters, and (616) 813-5211, or Viewers, who log on, can vote for an Audience Award of their would like to find sponsors 1-877-702-860 1 ext.4510, or via e-mail: favorite short. StreamSearch, "The Remote Control of the for the Saturday afternoon Web", (www.ss.com) is responsible for the on-line production piCruC. [email protected] and distribution.

Filmmakers will vie for five prizes that include cash and all• Stresses (Wilson) continued from 6 expense paid trips to national and international Internet World 2001 conference sites. synchronized with the action? Wrap-up All these questions and more In my next article about Stress. Entry fees and deadlines are $40 by November 4; $60 by go into my thinking as I watch I will be talking about how the November 15; and $75 by 5pm on December 4. Forms and the movie over and over again film worked out. Between now guidelines are available by calling the ME Festival until I'm satisfied with the final and the next issue of Frame-by• hotline at 310558-6691 or reviewing the web-site, animation. Frame, I will have had the www.pentonewmts.com/internetworldspring. opportunity to show Stress to Finally, after the film is edited, an audience as well as see it on For additional information contact: I review it at several a large screen. My final article Marcia N. Groff (Event Puollcist) 310/855-0498 resolutions. I usually go for will discuss audience reaction, Joy A. Kennelly (Event Producer) 310/558-6691 Molly Molloy (Streamsearch Publicist) 310/315-1808 640x480 for video output and what worked, what didn't, and 200x150 for Internet viewing. what I will do differently on Once I was satisfied that the my next film. Member News: film was finished, I recorded it In December, Deanna Morse win travel to Korea to be a to video and downloaded it to - Charles Wilson juror at PISAF 2000: Puchon International Student my website. Animated Film Festival. You can read about the festival at http://www.pisaf.or.kr Information on the jury is at: http://www.pisaf.or.kr/ehc4.htm Dear ASIFA Central Members:

Now that I am settled in at the University of ASIFA.net ASIFA.net has started a new Tennessee, I am working with a local film A new stART animation on service for international festival called Valley Fest. We would really ASIFA.net was created by members - offering free like to receive some animated works if you ASIFA/central treasurer webpages for members. Deanna Morse, who is also a are interested in submitting. You can read about it at Professor in the School of http://asifa. netlfreepagesl Communications at Grand Submission instructions are at: index.html. Valley State University, http://www.valleYfest.com/ Michigan. If you are interested in being a Happy Animating! stART animator (providing an You can see her animated animated gif to go on the front Phenakistoscope in action at: Ed Counts of the webpage), please www.asifa.net. You can read contact the editor, Thomas about her athttp://asifa.netl+/ Renoldner. [email protected] morselindex. html

FALL2000 7 MEMBERSHIP APPLICATION FOR YEAR ENDING DECEMBER-Jl, 2001 NAME: _ ADDRESS: _

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c/o Deanna Morse Jim Middleton School of Communications The Animating Apothecary Lake Superior Hall 201 Arcadia Blvd. Grand Valley State University Battle Creek, MI 49017 Allendale, MI 49401 email: [email protected]

u. ,11./, .u.,«; m.uu.; 1,,f, ',1,/ ,1, JlI, II! " It! ifill