FALL 1998 Compai! The 7th International Animation Festival Hiroshima 198 by Deanna Morse

I had heard from other filmmakers what a number of films straight. This actually was wonderful festival this is. How it was so well not so much a problem. During the organized, friendly, respectful of the films, screenings, I would take notes in the dark, and how it was so interesting to be in describing the film, or making a sketch of the Hiroshima, to be in Japan. At other film characters or scenes. After each film, I would festivals, I've been with groups of grade the piece. Sometimes my handwriting A filmmakers who talk and talk and talk about was sloppy or overlapped, but at the end of what a fabulous time they had at the the day, I could use my notes to remember Q Hiroshima festival. Now, I have joined that the pieces we saw. U cheerleading club. F It was a rare opportunity to be able to see A I was asked to serve on Selection Committee such a wide variety and quantity of films. It R so I experienced the festival as a bit of an gave me a sampling of what is happening in T "insider". In addition, I was elected animation internationally. And of course, I ~ E Chairperson and was the media saw some wonderful individual pieces; many R . spokesperson. The other members of the did not make the deep cut and were not L committee were Irina Margolina, a producer included in the festival. Later, when I went Y and writer from Russia, Thomas Reynolder, a to Ottawa and SIGGRAPH I was surprised to filmmaker and ASIFA Board member from see some different pieces selected --works p Austria, Thomas Basinger, formerly the that were not even entered in the 1127 we animation programmer for the Stuttgart screened for the Hiroshima competition. u festival (Germany), and Toshio Iwai, an There is an amazing amount of animation, B interactive media artist from Japan. Most of being produced each year. Much of it is L us met each other for the first time at the independent work, self-expression by a single I Selection Committee, and we built solid artist or small group of filmmakers. C friendships working together on the process. E Somewhere about half way through the A T We met in Hiroshima for three weeks in May process, several of us began to feel a bit to view the 1127 entries (from 57 countries), down. It was spring in Japan, but every day I and selected 64 films for competition and we just sat in a dark room, screening films - it & 0 screening during the festival. It was seemed like we never were going to get N interesting, if a bit intense. We met for about through this quantity of work. It was taking 10 hours every day for nearly 3 weeks. We energy to look at each piece with fresh eyes. 0 spent eight hours a day in screening, and then As filmmakers ourselves, we wanted to be F F discussed our selections for another two or fair, to give each piece equal respect. But we three hours. were drinking lots of coffee to stay "up"! A Each of us selected work based on our own One night during our discussion, Sayoko ~ S artistic criteria. However, we were each Kinoshita, the festival director, told us a I looking for powerful animation. We story. It was a long story, and took even F considered each piece on its own merits; we longer to tell since it was translated for us A did not consider nationality in our judgment. from Japanese to English. I will try to I paraphrase it: In old Japan, a young woman C People often ask me how I could keep that got married and went to live on the farm of e her husband's family. The mother-in-law In this Issue instructed the new wife to clear an overgrown n • Hiroshima . . 1 field. The new wife looked at the sprawling t • Letter from the EditOL.-----.------. 2 land, and said "this is not possible! This is r such a huge field, and I can only clear a tiny a • South Park: Greg Colton ---.------. 4 patch each day, even though I work so hard!" E I • Non-Scientific Observations -----.-.---- 6 The wise mother-in-law responded, "Don't • Annual Retreat '99 ------... -.- ... -- .. -.-.-.---- 7 look at the entire field, you should only • 3 Frame Challenge . __ . 8 FALL 1998 Hiroshima continued on page 3 Letter from the Editor ASIFAI~ Volunteers and Project Leaders by Jennifer Eldred Newsletter DesignerlEditor & As we look toward ASIFNCentral members that Vice President a new year, now is ASIFNCentral is here to support and Jennifer Eldred a great time to recognize your accomplishments in the [email protected] reflect on the world of animation. Please remember accomplishments when you receive your renewal notices President of ASIFNCentral that membership has its priviledge so Deanna Morse animators in 1998. take advantage of what the [email protected] From our annual ASIFNCentral offers you in our quarterly newsletter and website, a voice retreat this spring Webmaster & Site Designer to featured articles on ASIFNCentral to the animation community. Please send Byron Grush byronts'swcp.com members past and present, it has been a us information we can include in these productive year. I know I personally had publications. If you are interested in Marketing Coordinator a wonderful year, completing work on a submitting an article for the Winter 1999 Dave Daruzska year long project for the National edition the deadline is January 15. Science Olympiad this past spring. There ASIFNCentral: Acknowledging your StoryBoard Contest is no better feeling for an animator than talent! : Mary Lou Haynes, [email protected] completing a project we have put our hearts into and then getting Note: ASIFA International is launching a Conference Chair acknowledgement for our new website in 1999 at www.asifa.net. Mary Lou Haynes, [email protected] accomplishment. Jim Middleton felt this when an article on his animation, "Rush Happy Holidays! Conference Co - Chair Job" was featured in our Summer .J~E1AU. Dave Daruzska edition. So let me remind all Directory Coordinator: WINNERIS CIRCLE Progress Report Randall Rockafellow by Rita Dobias Web site: Rita Dobias is the winner of the 3rd International Helen Victoria Haynes WORW http:/www.asifa.org/animate PEACE Storyboard & Animation Scholarship Competition. E-mail: [email protected] In the past few months I have started to I choose to do this because of Director's work on the animation for the story onion skin feature. It will also make my ASIFAlCentral Conference: board contest. Mainly I have been characters look slightly different from April 3D-May 2, 1998 experimenting with character design the background graphics and stand out a and just the general appearance of the little more during the animation. To contribute or volunteer contact: work. I have decided to use Unfortunately, I have had a some Deanna Morse Macromedia Director along with distractions since I started this project, Phone #: 616.895.3101 MetaCreations Painter. I like the the worst being my husband's accident E-mail: [email protected] realistic look and feeling that painter in early September. Thankfully he is all US mail: ASIFAICentral gives while working on the computer. I right, but he will need my care for about clo Deanna Morse will be using it for the backgrounds as a month. I am going to try to not let that School of Communications well as other objects. keep me from working on this project. I Lake Superior Hall look forward to getting it finished for Grand Valley State University On the other hand I am going to use the the conference next year. Allendale, MI 49401 paint box in Director for my characters. - Rita Dobias

AS/FA/Central Mission Statement The purpose of AS/FA/Central is to promote the art of animation To join ASIFAICentrai: locally and internationally and to promote communication among Send a check (payable to animators and between animators and devotees. - adopted 3/92 ASIFAICentral) to the address above.

2 Fall1998 Hiroshima continued from page 1 consider the small patch you are Indian, Welsh, Asian, and Austrian the light source for an acrylic dome clearing." The young wife took this animation; Animation for Peace, and which contained morphed human, advice. Soon, of course, the whole Animation for Children. There were animal or mineral images. These light field was cleared. At the end, we two wonderful presentations on Music sources were choreographed to original laughed as we remembered Sayoko's in Animation by Judith Gruber-Stitzer music, also by Iwai. The animation sage advice, given to us through this and Normand Roger which included was rhythmic and complex. story. works in progress, where we could hear the tracks develop in complexity. Parties. Of course, no festival is The films we selected for the complete without them. ASIFA Japan competition program were varied. For an enthusiastic full house, Academy hosted a roof -top beer garden; there Some conveyed visual statement of Award winner Ray Harryhausen (the were opening and closing receptions, beauty and hope, others told a story. International Honorary President) gave traditional dance and bingo at a temple. Some were quiet poems, others had a retrospective of his puppet animation, One day, buses took filmmakers to louder voices, some tried to shake us with his earliest films, made in his Miyajima Island. Considered one of up, asking us to question our garage in 1945, and clips from the 16 the most beautiful spots in Japan, assumptions. Each film expressed the features he worked on (from "Mighty Miyajima had tame deer, a swimming voice of an artist, a voice that we can Joe Young" to "Clash of the Titans" ). beach, and tasty barbecue. This outing understand whatever our native He also showed sketches, armatures was a big hit with everyone. On the language. This is the beauty of and models of his creatures. island, they sell biscuits for the deer, animation. Animation art knows no who are very hungry. They gobble the boundaries or nationalities. Animation In addition, there was an excellent daily biscuits, as well as the paper wrappings. art can speak to viewers across festival newspaper, a lounge for They insistently poke their noses in geographical, political and territorial animators, a Macintosh room, open bags looking for more biscuits. lines. demonstration of new animation One deer found Ray Harryhausen's equipment, booths to buy books and open camera bag, and Ray had to The Festival's theme is "Love and eels, a children's workshop, and more. wrestle with him to get his video Peace". It is no coincidence that the manual back! (Ray got the manual festival is held in Hiroshima, and there There were two installations: the Renzo intact, with just a couple of teeth marks. is much awareness and discussion of Forest celebrated the career of Renzo The rest of us got a good laugh.) the significance of having such a Kinoshita, festival co-founder, who festival in that city. We did not died last year. The exhibit included At the closing night of the last narrowly select films based on that artwork, storyboards, and sketches, and reception, the Sayonara party, you theme, however ... we selected the best a retrospective program of his films. could hear cheering outside the exit. A animation regardless of theme or Computer artist (and selection group of strong festival workers were content. The festival promotes peace committee member) Toshio Iwai doing Dong ai - air tossing the and understanding through its structure, exhibited several interactive pieces and filmmakers as they left. You lean back by defining itself as an international gave a presentation showing his and are lifted -and tossed- in the air animation festival. Artists, educators, development and influences as a three times, to three cheers. It was and fans come together across national computer artist. His work, which is in a exhilarating. I wasn't the only borders, finding a community of peers number of permanent collections filmmaker who went back into the party who share their love of animation art. including the Exploratorium in San to exit, and be air tossed, a second time! Francisco, was stunning. Iwai reworks I returned to Japan in August as a guest pre-cinema technology in a very I offer a toast to the success of the next of the festival and screened a short contemporary way. Included in the Hiroshima f esti val, in the year 2000. program of my films. Another jury exhibit were a number of hand-cranked Cheers! Compai! awarded cash prizes from the 60 films three-dimensional Zoetropes. These we selected. had simple clay figures, inside Deanna Morse is an animator and traditional Zoetrope drums, but the professor at Grand Valley State The festival lasted five days. Each silver edges of the slits made them University. She is currently president night, competition films were screened, seem holographic. Four "Time of AS/FA/Central, and is on the and during the days a variety of Stratum" pieces, half-domed crystal International Board oj ASIFA. programs and workshops were offered balls of moving energy, reworked the in two theaters. Screenings included Zoetrope concept with new technology. national/regional programs: Russian, A suspended video monitor provided

Fall 1998 3 Moving West to Work on South Park

ASIFAlCentral member Greg Colton recently lett the midwest, moving to California to work on the TV series South Park. This is Greg's first job after graduating from Grand Valley State University this summer. While he was at Grand Valley, Greg produced a number of colorful and quirky animations, drawn from his bank of cartoon characters. He has a real knack for animating energetic character movement in lively, upbeat scenarios. We weren't surprised to hear that he had already found work in the business! We thought we'd catch up with what him, and hear a little about his work on South Park. Greg wrote an article on the '98 World Animation Celebration which graced the pages of Frame By Frame s Spring edition. Oeanna Morse: Greg, you are just a the show is done on such a quick work. few months out of college, and you got schedule, the computer comes in really a job working at South Park! This is handy. If Trey does a last minute re• OM: Where do you actually work? Do the dream of many a college student. write or something, they can change you work on a computer, a drawing How did you get this opportunity? shots or re-animate them really really table? Do you have a little cubicle, or quickly! Also, with the computer, the do you work with others in a big room? Greg Colton: I had just headed back animators can do some neat-o tricks to Chicago after graduating from Grand that would be tough if the show was Greg: It's a relatively big area, and all Valley and spending the summer still done traditionally. "Spookyfish" had the animators and TO's have their own making a short cartoon. I was shooting some really rad FX!!! cubicles with computers. When us lip out my demo tapes and resumes all synchers come in, the animators have over the cou ntry (and to OM: What are you doing for South usually gone home by then, and we Canada ... hehe) just hoping someone Park? just grab one of their computers and try would think my stuff was cool and hire not to mess up their area too much! me. Lucky for me, my mom brought Greg: I was hired as a freelance lip• home a new issue of "Animation synch artist. I worked on the episodes OM: What kind of questions did they Magazine", and there was an ad in the "Clubhouse", "Cow Days", "Chef Aid", ask you in the interview? Did they ask classifieds for South Park... so I called and just a smidgen of "Spookyfish". you to do some kind of a technical them up, and Fed-Exed them my stuff. animation test? When they got it, they told me that they OM: How did you develop the skills to were all staffed up for the movie, but do lip sync work? Greg: Ha! I didn't even have an would pass my stuff on to the TV interview! I just drove out here, got a people. I figured I'd never hear from Greg: I made a two minute cartoon this quickie training tutorial, and jumped them again since I'd already been summer, and I wanted it to have right in on "Clubhouse"!!! getting "rejection" letters from a bunch voices. We never really learned how to of studios already. The next day I got a do lip synch in school, so I sorta taught OM: How many people are on staff - call from David Yanover, who's the myself. Turns out the charts I made up full timers and freelancers? What roles Animation Coordinator on the SP for myself to break down the phonetics do they usually fill with freelance movie. He liked my demo tape and are pretty much the same thing they talent? basically said if you want the job, move use professionally! So it worked out out to Cali and it's yours! He had pretty well! Greg: Hmm.... well, everyone except lip moved out to California from the same synchers are full time. I never counted, part of Illinois as me, so maybe he OM: What is your typical day like at but I'd say that there are like 15 or 20 understood that I needed that ''first job" South Park? Technical Directors and to get me going.... 1 dunno! Animators .... about 10 or so Lip Greg: Well, lip-synch artists work at Synchers. And of course there's Matt OM: Can you explain briefly how South night...so during the day I was sleeping and Trey who write, do the voices, and Park is animated? It looks like cut-out, pretty much! We basically come in, even edit sometimes .... and there's but I read that it is done with and there's a bunch of storyboards and Mary Kay who does all the female computers... a shot list...and we just sign up for a voices.... and then there's coordinators, chuck of shots and jam on them until editors, producers, storyboard Greg: Yeah, the original pilot was done they're done. It seems like it might be artists ..... It's not as big as most traditionally with cut outs under a repetitive, but I don't care, I really like animation places I'm sure, but there's a camera, but now it's computer working there. I wish I had more hours good chunk of people there. animated. As Trey put it, it is still right now, because the people there technically stop motion animation. are fantastic and it's just a blast being OM: How many hours are you working Before, they moved a character and there. I'm still sort of in a "fan" a week? How far in advance do you "click click"ed on the camera... now the mentality, since I've been a big fan of know if you will be called in for work? clicking is done with the mouse. Since the show and Matt and Trey's film South Park continued on page 5 4 Fall1998 Continued from South Park on page 4 Greg: Well...no hours lately... 1 haven't OM: Do you find that it is easy to get back, I probably should have used been called in for about three weeks! an interview? After Effects, but I was way more With my particular job there are no comfy with Director, so I just went with guaranteed hours. Back in September Greg: The closest thing to an it. I edited it all together using the I was doing 30 or so hours a interview I had so far was a quick Media 100. That was so rad, because week.... but currently I haven't been in meeting with Film Roman's recruiter. I synching up sound effects and music at all. It really just all depends on the really couldn't tell if he was interested and everything was SOOO much work load that is there .... when I get in me or not...but then again, it's Film easier than editing tape to tape like I called, it's usually around 3 PM the Roman! He's got TONS and TONS of had been before! I even got some day they want me there. demos and stuff to look at! He did smashing stereo sound FX going that I give me a character layout test which I couldn't do before! OM: So, your work there is coming to finished and gave back to them. I'm a close - what else have you been supposed to get graded on it, but I OM: You mentioned that someone was looking for? haven't heard anything yet besides a interested in distributing the film - any letter saying that there are no news on that? Greg: I've been driving around positions at this time. It seems like it's Burbank and Hollywood and stuff hard to get an actual Greg: Well, Manga Entertainment has dropping off my demo tapes and interview ... usually I just get a call a shorts division called "Chaos resumes and portfolios. I've been telling me to pick my stuff up. Animation", and they expressed making lots of calls and bugging interest in licensing my short. Further people.... 1 hope they're not getting to OM: Can you tell us something about details may erupt, but I don't have peeved with my persistence! But it's your recent film" Jamofo"? What was much info at this time... hehe. rare people call you back, so I keep the inspiration? dialin'... OM: Do you have any tips or Greg: It was based on a short radio suggestions for other recent graduates OM: I think a resume is pretty self• script I wrote for a scriptwriting class. in animation who want to make the explanatory, but can you describe It was short and stupid, but I liked move to LA? what it on your demo tape and it...and I wanted to know what these portfolio? characters looked like that I was Greg: Don't expect to get hired right writing about. So, I came up with away..... but keep being persistent, and Greg: Well, I tried to follow most of the these funky little noseless bastards stay positive! It hasn't done much studio guidelines as best I can with the with wacky hair, and Jamofo and Barlo good for me yet, but hey. ... I'm hoping materials I have. They say that demo were born. I expanded the script so something will turn up soon. tapes should be 5 minutes or less. ... so the cartoon could last a couple my tape's just about five minutes with minutes... and that was that. OM: Thanks, Greg, for sharing this my best stuff first (in case they turn it information with us! Good luck on off half way thru). As far as a portfolio OM: Technically, how did you create finding your next job. I'll be eager to goes, I really don't have a lot of the" Jamofo" project? see where you land next! finished stills or "artsy" stuff.... so I put together this book of drawings from Greg: Well, after storyboarding it, I Greg: Thank you thank you! hehe ... 1 my sketchbooks to show the variety of recorded the voices on OAT. I bugged Columbia Tristar enough so character styles, poses, emotions, etc. managed to use bits and pieces of that they're gonna give me a Dilbert that I can do. I also put a few life whatever equipment there was at character cleanup test! whoohooo! drawings and my "Jamofo" storyboard Grand Valley. I really suck at using I'm gonna pick it up tomorrow! in there. I have way less life drawings those big audio boards with all the than I should in my portfolio. They knobs and shit, so I just used the Greg Co/ton can be reached at REALLY wanna see that stuff! Don't portable OAT and took it into the Jamofo@ao/.com get me wrong ... 1 took life drawing recording booth with me... hehe. Much courses and it really did help my easier! Then I broke down all my Deanna Morse is an animator and character drawing skills ... 1 just didn't phonetics on charts I made. ... started professor at Grand Valley State end up keeping a lot of the stuff I did in drawing non-stop like an idiot... inked University. She is currently president those courses... my mistake. However, the drawings with a big fat sharpie of AS/FA/Central. I'm still hoping I can sell myself on my marker and probably inhaled too many other skills .... 1 mean, I figure that marker fumes... then I scanned all my writing, boarding, drawing, coloring, images into Photoshop and then and editing a couple short cartoons imported everything into Director has to count for something!!! where I assembled it all. Looking Fall 1998 5 CALL An outline of the discussion topics April 15, 1999 or $50 afterward at the and short biographies of the conference. Do not mail Regsitration after FOR PAPERS, panelists should be provided April 15 - bring your Late fee to the PRESENTATIONS when submitting a proposal. Conference. Workshops should be of 7th Annual ASIFA I Central interest to a wide range of Rooms should be reserved through the Midwest Animator's Conference attendees from conference center. Room reservations are professional animators to available for 2 nights only (Friday & and Retreat non-animators and those Saturday) for approx. $132 single Friday, April 30 - with an interest in the art occupancy. Prices vary and are subject to form: introduction of new change. Outside cabins and camping are Sunday, technology or new techniques, also available, plus there are other creative approaches, collaborative accommodations nearby. Contact the THE CONFERENCE projects, etc. Please be very specific lodge for room reservations. The Conference is open to anyone with about equipment and space needed for an interest in animation. You do not need your workshop, including what you will TRAVEL to be ASIFA/Cenral member to attend or supply yourself. Utica, Illinois is located on the Illinois present. The setting, Starved Rock State River, about 90 miles west of Chicago Park in Illinois, located on a 125' POSTER SESSIONS (approx. 90 minutes), at 1-80 near 1-39 sandstone butte overlooking the Illinois Poster sessions will provide opportunities (Illinois route 51). River, is named for an Indian tribe that for animators to present their own work, starved to death during a siege. The park or the work of other animators. Let us ADDRESSES boasts 18 canyons, waterfalls, spectacular know what format (film, videotape, etc) All Proposals & Conference Registration: rock formations and 15 miles of trails. you will need, and the length of your M. L. Haynes The amenities in the resort's lodge include presentation. Your proposal should Conference Chair an indoor swimming pool, whirlpool, include a short biography of the artist 3400W. ll1th Street, Box #324 kiddie pool and saunas. whose work you are showing. Stills, Chicago, IL 60655 USA slides, sample reel or a video clip may be [email protected] PAPERS PANELS AND requested if we run out of time slots. Papers: email [email protected] or WORKSHOPS . [email protected] Papers can be on any subject relating to DEADLINES animation - independent, personal, Proposals for workshops, panels, poster Make check payable to: ASIFA I Central. experimental, educational, commercial, sessions and papers in draft form should social, political, critical, theoretical issues be received by Feb 14, 1999. Notification RESERVATIONS in historical, contemporary or future of acceptance will be made by March 15, STARVEDROCK LODGE & contexts or computer related topics - are 1999. Papers should arrive by March 30, CONFERENCE CENTER welcome. Selected papers will be 1999. Conference Registration fee should P. O. BOX 570 published in Frame by Frame, the be received by April 15, 1999. Housing Highway 178 & 71 quarterly publication of ASIFA/Central or Reservations should be made with the Utica, IL61373 posted on the ASIFAlCentral website. lodge as soon as possible, housing is phone: 800 - 868 - 7625 limited. fax: 815 - 667 - 4455 Panels are to be organized and proposed e-mail: [email protected] by one presenter who is responsible for REGISTRATION & RESERVATIONS contacting the other panelists in advance. Advance Registration fee is $40 through

NEW YORK ANI MAllON FESTIVAL Recruiting Nevi Melttben, New York City April 1999 Call for entries the Hard Way: First annual comprehensive festival for New York Animation Festival ASIFAlCentral gained it's youngest recruit all types of animation, including film, POBox 1513 on August 11, 1998. Logan Xavier was video and digital animation of any genre. Peter Stuyvesant Station born to proud parents Rich and Leslie Student and international entries New York, NY 10009 Sharp. Rich has been an ASIFA member encouraged. USA since his college days. Those who Deadline: February 1,1999 Tel: (212) 982-7781 attended the Spring Conference and Early Deadline: January 4, 1999 Fax: (212) 260-0912 Retreat may remember Leslie and Rich For entry form or information, send your E-mail: [email protected] hanging out around the hot tub ... name, address or e-mail Web: Congratulations! address to: http://members.tripod.com/-nyafest/hom 6 Fall1998 "Animators Converge in '99 for Annual Retreat" by Mary Lou Haynes

Over the past 6 years, a new animation event has been comers of the country to gather and re-energize with quietly developing in a quaint town just over an hour's kindred spirits. drive southwest of Chicago, in the heart of Starved Rock State Park. Included on the agenda is time for: a Bar-B-Que, nature hikes along the miles of marked trails, swimming in the At just about the time that Spring officially debuts and the indoor pool and relaxing in the ever popular hot tub. Midwest is finally starting to thaw out, animators from around the country convene for the annual ASIFA Central The Retreat also features a competition designed to Midwest Animators Conference & Retreat in Utica, encourage student animators. The Helen Victoria Haynes Illinois. WORLD PEACE Storyboard & Animation Scholarship Competition is unique because a portion of the prizes are The hotel/lodge, which is near the site of a legend of Indian awarded to the winners for turning an 'idea' into a lore, sits atop a phenomenal bluff at the edge of the Illinois completed project. River. The scenery is spectacular, the surroundings rustic, and the accommodations cozy. Conference dates for 1999 are April 30 - May 2, 1999. You should reserve your rooms at the Lodge now. They will go This event, sponsored by the Midwest Chapter of the fast! The deadline for the WORLD PEACE Storyboard & International Animated Film Association, brings together Animation Scholarship Competition is Feb 14, 1999. an informal group of attendees to hear featured speakers, view animation, and discuss various aspects of the The Conference is always in need of sponsors, seminar animation business. presenters, and student volunteers. To sponsor, present, volunteer, or for information on the 7th Annual ASIFA Some of the 1998 presenters were Kim White of PIXAR, Central Midwest Animators Conference & Retreat, send e• ("A Bug's Life") and Annette Browning of the mail to: Northwestern University, Film & Video Department. Midwest Animators Conference at [email protected] or leave a message by calling 773-233-9397 ext.9 or write the The focus of the gathering tends to be artistic and personal, address below. yet the commercial end of the artform is not ignored. It is an excellent opportunity for animators laboring in distant For information and rules for the 4th Annual International Helen Victoria Haynes WORLD PEACE Storyboard & For the past decade, the Whole Toon Catalog Animation Scholarship Competition, or to volunteer as a has been a central resource for animation judge, send e-mail to: WORLD PEACE SCHOLARSHIP videos, laser discs and books for animation at [email protected] or for a pre-recorded message call lovers everywhere. Two years ago, the Whole 773-233-9397 ext. 3. or send a brief note including a SASE Toon Catalog became a part of Facets Video, with 1st Class postage to : the Chicago-based non-profit distributor of M. L. Haynes foreign, classic American, silent, documentary, 3400 W. 111 th Street, Box #324 experimental and animation films on video. If Chicago, IL. 60655 you would like a copy of their upcoming new Please indicate your interest in either the CONFERENCE edition of the Facets Whole Toon Catalog or COMPETITION, or both. Allow 4-6 weeks for please write: processing. Facets Whole Toon Catalog To reserve your room(s) for 1999 ASIFA Central Midwest 1517 West Fullerton Avenue Animators Conference & Retreat call Starved Rock Lodge Chicago, IL 60614 & Conference Center at 1-800-868-7625. email: [email protected] web site: www.starved-rock.com fax: 1-733-939-5437 email: [email protected]

Fall 1998 7 ASIFAlCentral Members: 3 Frame Animation Challenge. This is Randy Rockfafellow your Whether you've 10 years experience member directory coordinator page behind you, or if your just starting passing on some information with bio/resume info. out, this is an opportunity to help about the 3 Frame contribute to the creation of a Animation Challenge. So the animation gauntlet has been diverse animation gallery. cast down. Who dares to answer the The new ASIFA challenge ... But if you're to busy, or International feel this is too hard or webmaster is calling For eligibility and technical specifics on how to not worth it, that just for 3 frame prepare and send your 3 frame animations for the means I'll have to step animations for the 3 web contact the ASIFA International webmaster, up and take all the Frame Animation Thomas Renoldner at [email protected] glory... Gallery on the AS I FA -Randall Rockafellow International web I encourage your partcipation in putting ASIFA/Central site. animations on the International animation Volunteer Coordinator organization's web site. & Webmaster 1 2 Each one of us, as animators have our Also, if you haven't 3 own style/personality and there is already, check out your Go! no better way to share that membership listing on the web than on the web. page. Help me make sure your Any animation submitted will get a listing is posting your current email, spot on the main page for a brief time. The web page and bio information. Hope to hear rewards for participation are recognition for from you. your work and a link to your website or to a -Randy Rockafellow

Non-Scientific Observations on Common Elements in Animation Entries ... by Deanna Morse about Snowmen. Two films used the same title. (It didn't matter, we selected Common styles and themes Viewing the 1147 entries of the one for competition; it won an award.) animation "reality" films, animating to Hiroshima Animation Festival, I thought documentary sound tracks I could make some real concrete In this list, r ve tried to cull more than the effect of television on little babies statements about the nature of the work two instances .. so here they are - my non• live action and animation intercut being done in animation today. Well, I scientific observations about what we men in prison, men in chains can't. It's just too varied. We saw a saw ... dream diaries wide variety of films and techniques - people become insects, dragonflies drawn, puppet, clay, paint on glass, cg, Common ways of starting films people get trapped in a computer game timelapse, image processed, eel, mixed in the clouds bank robberies media, sand drawn on film ... in the morning, old men alone in houses an alarm clock wakes up the protagonist dark stories However, I did keep some notes during in the night as the day begins the three weeks of screenings. Mostly, I in a starfield Reoccurring visual elements wrote down things that were similar, so using a newspaper to reveal the plot big lips, men with big cheeks, buxom that I could share this information with points ladies my students. Looking back at my notes, films that took a long time to get started; characters with two different sized eyes sometimes it was just oddball stuff. For took too much time establishing a blood shot eyes instance, we screened two films in a row "mood" before the story kicked in that featured angry babies, then two Non-Scientific Observations continued on page 9 8 Fall1998 Non-Scientific Observations continued from page 8 A Question for ASIFA International skulls the camera goes into an eye Members a face turns into a gorilla face we look through a spyglass cowboys As you may have read in the current circus Common sounds issue of ASIFA News, an arrangement constellations- clouds, rain burping has been made with ASIFA Hollywood mountains and water in computer solo piano to convert all of the memberships to animated films background sounds of computers, international status and print an mermaids televisions, radios English-only version of the newsletter castles, seashores, sand classical music to go to those members. spaceships, space shuttles sonatas people with their heads cut open doors that trigger a sound when they This English-only newsletter will save clocks and watches, gears open money for ASIFA International as it will flies and maggots, spiders farting cost less to print. It will also save on dragons, cows, birds, bees, butterflies mailing costs, as it is printed and cats and dogs, lizards This is not to suggest that all of these mailed domestically. saws for hands things need to be avoided. We selected computers, televisions, radios films for competition that shared these So here's the question for you - Do sharkfms common elements. Some of them even you wish to continue to receive the teeth as a decorati ve element in a scene won prizes. But films that had a fresh newsletter in three languages as it has checkerboards,stripes style or characters grabbed our attention been, or would you be satisfied with more quickly! an English-only version? If you are Common camera gestures satisfied with English-only, it would the camera goes into the mouth and away -Deanna Morse ...... save some costs for ASIFA International.

L.A. Chapter SIGGRAPH Attending the event will be industry If you have any opinions on the and specialists, educators, professionals, subject, I would welcome your views. students, SIGGRAPH and WIA members Please contact me at the address on Women In Animation-L.A. and non-members. Those established in the the back cover, or at [email protected]. Chapter (WIA) computer animation industry will provide In Association Wzth the Economic insight and direction to attendees seeking Alliance oj the San F emando Valley knowledge. Thanks! Deanna Morse present Find out what you need to know about CAREER BOOT CAMP Fees: resumes, demo reels, networking, Postmarked by February l st: Sunday, March 7th, 1999 interviewing, and internships. $29 Students 9:00 am - 5:00 pm $40 Members of: Last year's Career Boot Camp was a great ACM/SIGGRAPH success with over 600 attendees, and 40 L.A. Chapter SIGGRAPH Location: speakers from companies such as Walt Women In Animation Universal Hilton Disney Feature Animation, Industrial Light $55 Non-Members 555 Universal Terrace Pkwy and Magic, Digital Domain, Rhythm and After February 1st & At-the-Door: Universal City, CA 91608 Hues, Sony Pictures Imageworks, Blue $45 Students 818.506.2500 Sky/vIFX and other industry giants. $60 Mem bers of: ACMlSIGGRAPH If you are interested in breaking into the L.A. Chapter SIGGRAPH and WIA L.A. Chapter SIGGRAPH computer animation industry and need to membership is not required for this event, Women In Animation know what it takes, come learn from the but a registration fee will be charged to $75 Non-Members experts. members and non-members to cover the day's events. Credit cards will not be accepted. Get guidance on job entry procedures and educational programs which relate to the A form will also be available to download We hope to see you in March, 1999. computer industry needs at CAREER at L.A. Chapter SIGGRAPH's website: BOOT CAMP on Sunday, March 7,1999 www.siggraph.org/chapters/los_angeles/su from 9-5 pm. pp/bootcam p

Fall 1998 9 MEMBERSHIP APPLICATION FOR YEAR ENDING DECEMBER 31, 1999 NAME: ADDRESS'~ _

CITY: STATE: _ ZIP:

PHONE: FAX:

E-MAIL:

TYPE OF MEMBERSIDP: PLEASE PRINT MY NAME AND ADDRESS IN:

____ STUDENT ($12) ___ MEMBERSHIP DIRECTORY

_____ GENERAL ($20) ___ WEBSITE LISTINGS

____ INTERNATIONAL ($40) (INCLUDES GENERAL)

___ CORPORATE ($300) Make checks payable to ASIF AlCentral and send to: Deanna Morse ASIFA lCentral School of Communications Lake Superior Hall Grand Valley State University Allendale, MI49401 e-mail: [email protected] JOIN TODAYI

c/o Deanna Morse School of Communications Lake Superior Hall Grand Valley State University Allendale, MI 49401 e-mail: morsed@ gvsu.edu

Randy Rockafellow 98 53426 Starlite Dr ShelbyTwp, MI 48316

Fall 1998