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Issue Three March 2011 School of Media Edition Animation Special AUCB ALUMNI MAGAZINE FROM HERE TO THERE WELCOME Welcome to issue three of the AUCB Alumni Magazine. In this special edition, we’re celebrating the successes, innovations and expertise of our Animation Alumni. The Animation Production course is renowned for producing some of the most creative and technically-proficient animators working in the UK and internationally, many of whom have collected awards and accolades along the way. Animation Alumni have an extraordinary affinity to the University College, often recruiting new AUCB graduates or returning noun (pl. alumni/; fem. alumna/, as visiting tutors or guest lecturers. They continue to make a significant and lasting contribution to the field of Animation. We follow the careers of all our Alumni with interest and pride. Please keep us posted about your latest projects and career moves – and if you’d like to a particular school, college, or university. college, a particular school, pl. alumnae) a former pupil or student of contact fellow students or staff members from your time here, let us know and we’ll try and help. alumnus Rebecca Huseyin ([email protected]) Front cover image: Chop Socky Chooks by Danny Capozzi Below: Mr Benn Opposite, clockwise from top left: Spot, King Rollo and Maisy CLIVE JUSTER, MANAGING DIRECTOR, ROLLO RIGHTS LTD. GRADUATED 1969 “I came to the Bournemouth and Later, Mr Benn author and illustrator Poole College of Art, as it was then David McKee and I set up King Rollo Films and our first production was based on the called, in 1966. I later obtained series of King Rollo books that David had “There is no a place on a BBC trainee film started to write. The BBC commissioned editor’s course based at Ealing a series of thirteen and fortunately denying that many overseas television broadcasters Studios. It was a wonderful time liked our work. Thus began a long run my time at the to be working at the BBC, and of more or less continuous production; particularly at Ealing Studios, a run which continues to this day. University College which at that time was home to I received a BAFTA for the children’s Ken Russell, Spike Milligan, Monty TV series Maisy, which I produced for prepared me and Python and many of the luminaries Universal Studios, and shortly after I was nominated for an Emmy for the TV series led me into this from the Cambridge Footlights. Paz, which I produced for Discovery Kids. I was a film editor on Playschool when I Throughout my career I have continued fantastic career... was offered the job as editor on a new my links with the University College, children’s series Mr Benn. I accepted and King Rollo Films has employed which continues and set up a cutting room in my spare many AUCB graduates over the years. bedroom. Our rostrum cameraman There is no denying that my time at the Bert Walker set up his own company, University College prepared me and led to surprise and Zephyr Films, in a shed at the bottom me into this fantastic career, a career of his garden in Surbiton. This is which continues to surprise and delight delight every day” where the Mr Benn films were shot. every day. I hope that many other Alumni feel the same way and share my fondness for this very special seat of learning.” COLIN WHITE, “One of my proudest STORYBOARD moments so far was ARTIST being the production GRADUATED 1973 designer on Chop Socky Chooks” “I have very pleasant memories of studying at the University College. “One of the The course was enjoyably hard, highlights of my but creatively fun work. Upon graduating, I gained a place on career was Who an animation training scheme with the Halas and Batchelor Framed Roger Studio in Stroud. I spent the next thirty-five years enjoying a Rabbit. Steven successful career in animation Spielberg would doing everything from assistant animator to supervising director, come round and chat taking in character animation, layouts, storyboards, timing and to the animators!” animation direction along the way. I’ve worked on more commercials than I care to remember as well as TV series, specials and feature films both drawn Below: Colin’s sketch of Jessica Rabbit and computer animated, in the UK Bottom: A storyboard for and the US. I even worked in Russia, The Poddington Peas Manilla, Hong Kong and Saigon. I did a couple of years as a computer animator for Industrial Light and Magic (ILM), on films Caspar and Dragonheart. I also worked on Bod and Watership Down and directed The Poddington Peas and The New Adventures of Captain Pugwash. One of the highlights of my career was Who Framed Roger Rabbit. Steven Spielberg would come round and chat to the animators! I’ve just finished writing the screenplay for an animated feature, a sort of ‘Seven Samurai in fur coats’, and I’m working as a storyboard editor on pre-school animation Mike the Knight.” DANIEL CAPOZZI, ANIMATION DIRECTOR/ CHARACTER DESIGNER GRADUATED 1994 “I remember thinking it was the best equipped institution I had ever visited; we had our own personal animation workspaces, our own light boxes and a room dedicated to computer animation and effects. We were very privileged to have all this and to be given funds to make our group films. After graduation, I started working at The Puppet Factory in Hoxton making stop-motion puppets, sets and props for Aardman Animation commercials and Crapston Villas (Spitting Image Productions). We moved to Bristol, the Mecca of animation, and I soon became a full time stop-motion animator at Aardman, and then went on to become a director for both Aardman and Bermuda Shorts. Currently, I am developing series ideas for Disney, Cartoon Network and Nickelodeon. I work on commercials for Aardman, sometimes as a director and sometimes as a production designer. I am also a freelance illustrator doing character designs, branding and record sleeve art. One of my proudest moments so far was being the production designer on Chop Socky Chooks; designing all the characters and backgrounds and seeing it on Cartoon Network. It won a Gemini Award for best CGI series in 2008 and was nominated for a BAFTA in 2009.” Opposite, above and right: A selection of stills from Chop Socky Chooks All images copyright of Danny Capozzi 01.01.09. All illustration material is protected by A©ID & The AOI. Below left and below: Star Wars: The Force Unleashed 2 Copyright LucasArts 2010. Above left and above: Jason worked as computer graphics supervisor on the critically acclaimed Burnout Paradise before moving to Lucasfilm in 2009. Copyright Electronic Arts 2008. JASON SMITH, DIGITAL PRODUCTION SUPERVISOR, LUCASFILM GRADUATED 1995 “I started my career in computer opportunities for involvement at all levels “Seeing my name games with Argonaut Software, and it’s an incredible resource, whether an industry veteran or a student looking on the credits, to the which was one of the first to expand their professional network. companies in the world to I also get to spend time collaborating on sound of the famous create 3D console games. For new techniques with the other LucasFilm me there wasn’t a more exciting divisions; Industrial Light and Magic John Williams or pioneering place to be at the (ILM), LucasFilm Animation and LucasFilm Singapore. Developing and sharing time. The company operated Star Wars theme, technology, knowledge and expertise from a run-down warehouse between the games, television, film and is a moment that in a very unglamorous part of visual effects groups is one of the most North London; upstairs we were challenging and enjoyable parts of the job. will stick with animating, downstairs served as Working at LucasFilm has also given me a washing machine showroom. the opportunity to present and train at schools, universities and studios on me as clearly as Regularly working fourteen behalf of the Jedi Masters programme; a hour days, we didn’t even get hugely rewarding aspect which has the hearing the music a discount on white goods! added benefit of travelling worldwide. It’s an honour to share a fraction of the for the first time With 17 years and 12 games inbetween, I wisdom that Peter Parr bestowed on his now work as a partner to the art directors animation class many years earlier. and executive producers at LucasFilm, back in 1977” San Francisco. I get to ensure we deliver One of my proudest moments has been the most visually stunning games possible animating the original pitch to secure by empowering the animators, artists, the Harry Potter franchise at EA games. technical directors and other content I also get to work on the Star Wars games creators to work effectively. Much of this which, according to my son, scores me comes through training, tools, technology points in the ‘cool dad’ category. development and research. It often feels The AUCB wasn’t just a three-year course like one of the best jobs in the world. in animation; it’s served as a grounding Outside of my day job I work with the for my entire career, and an amazing animation and computer graphics experience I’ll always be thankful for. communities through ACM Siggraph, Thank you Peter, and all the faculty organisers of the largest Computer staff – I wouldn’t be here without you.” Animation Festival in the world. There are ANDREW GRISDALE, LAYOUT ARTIST, PIXAR GRADUATED 1997 “When I left the University College, I quickly landed a job at a video game company in North London.

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