(Empire) British director Julian Gilbey (A Lonely Place to Die) has signed to direct sci-fi pic Offworld for producer Lloyd Levin.
"It's a kind of an intergalactic 'Naked Prey,'" Levin told the magazine, "a pedal-to-the-metal safari movie set on an alien planet. There's lots of nasty creatures - some even on the good guys' side."
Video Game Industry Receives Hefty Tax Breaks
(gamingbus.com)
According to the NY Times, the video game industry receives many tax breaks in the U.S.—so many, in fact, that other companies can only dream of having them. Tax breaks are nothing new to business, with several businesses using all the breaks they can. Juggernauts exist in every industry, and EA is certainly one of the biggest in gaming.
EA hired on a new head tax lawyer in 2004, Glen Kohl. He’s been responsible for lobbying greater tax breaks for the gaming industry and providing EA with the same by setting up off-shore subsidiaries. Jeff Brown, an EA spokesman had this to say:
Company officials say they have no qualms about taking all the tax breaks legally available to them. To do otherwise would be like a consumer “insisting on paying full price during a store sale.”
EA isn’t the only company advocating to keep these current tax breaks in place. Shane Frank, the chief operation officer at the Alliantgroup, which helps game studios and other business take advantage of these tax incentives, had this to say:
Software and high-tech industries are the brain trust of the U.S. We can’t afford to lose that knowledge and those high-paying jobs to India or anywhere else.
The gaming industry has been growing rapidly over the past decade, which is now bigger than the music industry and quickly gaining on the movie industry. Calvin Johnson, who worked in the Treasury Department and is currently a tax professor at the University of Texas at Austin, said the following:
Those tax incentives — a collection of deductions, write-offs and credits mostly devised for other industries in other eras — now make video game production one of the most highly subsidized businesses in the United States.
The article also shows the negative side of other business’s view points towards the gaming industry about these tax breaks.
Because video game makers straddle the lines between software development, the entertainment industry and online retailing, they can combine tax breaks in ways that companies like Netflix and Adobe cannot. Video game developers receive such a rich assortment of incentives that even oil companies have questioned why the government should subsidize such a mature and profitable industry whose main contribution is to create amusing and sometimes antisocial entertainment.
The U.S. is only one of a few places who’s providing tax breaks for the gaming industry. An article from Develop-Online has stated that the tax breaks in Quebec, Canada will cost the province about US$118 million this year.
Analysis: It is no secret that the U.S. has been losing a number of high paying jobs, many of them going overseas because they don’t pay as much per hour like tech support. These are hard times worldwide and having these tax breaks is one way to attract business to your country, but are these tax breaks for the gaming industry too much? This is a double-edged sword, having both its pros and its cons on either side of the argument.
I personally would rather see that the gaming industry benefit from this over other companies, such as big oil, and those who do little to nothing with what they receive. When was the last time you saw big oil take a hit in profits because they wanted to keep gas prices down? Never. At least in gaming it’s malleable as companies come and go, and those like EA can fail if they royally screw up. I know there’s a tax break put in place for R&D: if you look at the time in the 20′s, they used almost all of that tax break for R&D. Now it’s almost nothing with big oil being the worst, if I recall correctly.
Complaints will always come from those who feel left out, but in business, they let their lawyers do the complaining. There are never any simple solutions to national or even global issues, and a compromise is an agreement that no one is completely happy with. Until we can all learn to live with less, including business and government, we’ll never be truly happy with every rule or exception given.
Men in Black 3 to Hit IMAX 3D Theaters on May 25
(Sony Pictures) IMAX Corporation and Sony Pictures Entertainment today announced that the action comedy Men in Black 3 will be released to IMAX theatres simultaneously with the film's worldwide release on May 25, 2012. Directed by Barry Sonnenfeld, Men in Black 3 is the first in the franchise to be released in IMAX.
Will Smith and Tommy Lee Jones are back in black in Men in Black 3. Directed by Barry Sonnenfeld from a screenplay written by Etan Cohen, based on the Malibu Comic by Lowell Cunningham, the film is produced Walter F. Parkes and Laurie MacDonald and executive produced by Steven Spielberg and G. Mac Brown. The film also stars Josh Brolin, Jemaine Clement, and Emma Thompson.
"Releasing a film in IMAX 3D signals an event release, and 'Men in Black 3' on Memorial Day weekend certainly qualifies in a big way. We couldn't be more excited about how MIB 3 will look and sound in IMAX theatres," said Rory Bruer, president of Worldwide Distribution for Sony Pictures Releasing.
"Will Smith, Tommy Lee Jones and Barry Sonnenfeld have made the 'Men in Black' franchise a fan favorite and we're excited to feature the return of this iconic title in IMAX," said Greg Foster, Chairman and President, IMAX Filmed Entertainment. "'Men in Black 3' is another strong addition to our 2012 film slate and we're looking forward to continuing to work with the talented team at Sony Pictures."
The IMAX release of Men in Black 3 will be digitally re-mastered into the image and sound quality of The IMAX 3D Experience with proprietary IMAX DMR (Digital Re-mastering) technology. The crystal-clear images coupled with IMAX's customized theatre geometry and powerful digital audio create a unique environment that will make audiences feel as if they are in the movie.
Clone Wars Interview with CG Lighting & FX Supe Joel Aron
(thehdroom.com)This upcoming Friday, September 16, the fourth season of Star Wars: The Clone Wars will debut on The Cartoon Network. The ongoing series tells the stories of Obi-Wan Kenobi, Anakin Skywalker and his Padawan, young Ahsoka Tano, as they fight for the Republic against the Separtist forces between the events of Star Wars: Attack of the Clones and Star Wars: Revenge of the Sith.
For the first time in the series' run on The Cartoon Network, we'll be covering the show on an episode-by-episode basis here at TheHDRoom. Rather than jump into the fire cold, I wanted to build up to the big season 4 premiere with a series of interviews with some of the talent that makes the visually arresting show come to life.
Kicking off our The Clone Wars coverage this week is a chat with Joel Aron, the show's CG Lighting & FX Supervisor. Joel's resume spanning decades with ILM reads like a dream Netflix queue. He's quite passionate about The Clone Wars as you're about to find out.
Joel -- thanks for taking the time to answer our questions regarding The Clone Wars and your body of work. I'm a big fan of just about every movie on your resume so it's an honor to feature you at TheHDRoom.
It's my pleasure! Thanks so much for taking notice of the list of movies! Each one was thanks in part to the teams of brilliant ILM artists and production staff that I worked with. It was a team effort!
Can you tell us what your duties on The Clone Wars entail, both when the series began and today?
Unlike most productions (animated or live action) where each person serves a single task, on The Clone Wars, it's like spinning plates and juggling, at the same time. My duties span over a great deal more than I would be responsible for on a live action or animated feature project. I supervise pretty much all things digital on the show, and it all started when I was asked to assist the production over 4 years ago. I was asked to go out to our Lucasfilm studio in Singapore to work for 8 weeks with the few members that made of the FX team, and work with them to raise the bar on the look of the FX. I was in between feature productions at ILM, so I went out there, and within 1 week, I was hooked on the pace, and loved what I was able to bring to the team.
Fast forward to 6 months later to the spring of 2008. I decided to leave 17 years of feature films, and ask for a position as FX development supervisor on The Clone Wars. It got me on to the show at the tail end of the season one, and from there I began taking on more responsibilities. I am always pulling from my past experiences on feature films.
My primary interest on the show was not just the FX, but it was the lighting. The show had a blossoming look to it that I knew could be taken to a more cinematic quality. As a photographer and painter, even in my ILM days, it was the lighting that always was my passion.
In 2009, I became the CG Lighting & FX supervisor. It's a unique duty, that covers everything from working with the Paul Zinnes, who supervises the asset builds that come from the design department, to supervising the look of all lighting and FX that are produced from all three studios that work with us on the show. The character animation is supervised by Keith Kellogg, and the two of us, continue to this day to always help make the show's look get better with every episode.
You stopped working on theatrical releases in 2008 to focus on The Clone Wars. What initially lured you to the series, and has kept you there for several years and counting?
Anyone who knows me or has worked with me will tell you that I have a ridiculous amount of energy. On feature productions, I would thrive for the last push to get a show done. That time, when you've worked harder than you have in months, and you're in the final stretch to deliver on time. Visual effects demands in the last 10 years on feature films have become so challenging, and have to look so believable, that in order to have it look perfect, a team of artists may spend months on a single shot.
Having been with ILM since 1991, I came from the camp of "you do it all" on a shot. You may not have had to animate it, or build and paint the CG model, but you had to put the shots together with whatever you tricks you knew how to do.
Today, with so much depending on software and proprietary software, there is not much room to "cheat." Cheating is what you need to do in that last push to get a show done on time. Cheating is thinking outside of the box, and taking a much more simple approach to sell the images on screen. It's how they did VFX work before the digital explosion in the early 90's.
The pressure of an extremely tight production schedule, and the challenge of working with multiple teams of artists around the globe (and around the clock) is what really drew me in. Plus, it's Star Wars. Nothing gets old with Star Wars, and that's why I'll be on the show, always.
More: http://www.thehdroom.com/news/Star-Wars-The-Clone-Wars- Season-4-Interview-with-CG- Lighting--FX-Supervisor-Joel- Aron/9511
Android Apps for VFX Folks
(raysinblue.blogspot.com)Well, I got myself a new Android phone couple of weeks back and I was hovering over the net to find any good apps which will help me on location while shoots or in front of workstation and here are few interesting ones I came across.
Kodak Cinema
This one comes with a nifty film calculator which calculates how much amount of film is need for given time and film format. The depth of field calculator which does exactly what it says and awesome Film/Video Glossary which gives you instant offline access to definition of all the industry standard terminologies.
I feel this is must have app for anyone in film/video industry as the glossary feature invaluable at any time. Also it features online help from Kodak support personal and their online resources.
CamCalc Free
CamCalc is another free goody I came across, apart from Depth of Field, Focal Length Equivalents, Flash Calculation and other cinematography calculators I found Field of View and Miniature Calculator extremely useful for VFX folks as FOV calculator can be used while matching moving camera or aligning a camera in 3D scene. And Miniature Calculator will always comes in handy during on set VFX supervision to determine frame rates, distances and speed for a given scale.
D-Measures Free
The below video says it all: http://raysinblue.blogspot.com/2011/09/android-apps-for- vfx-folks.html
It would be very useful on location shoots for taking quick notes regarding measurements of props or set itself.
Super Swiss Army Knife
As the name suggests this is multi-function app with the following features, Ruler, Protractor, Flashlight, Compass, Gradienter, Wall picture, Vertical andTelemeasurement.
I think among the above features, Ruler, Vertical and Telemeasurement can be used in set. Vertical can be easily used to check whether items are vertical and showing the angle of deviation through help the phone camera. I am haven't personally used Telemesuremnt but according to the app decscription it uses simple 3 steps to measure the distance around any object and its height with help phone camera. This again can be used while on location but I doubt how accurate this could be but still time saver for those approx measurements.
Alarm Clock Plus
Last but not the least, this is the best alarm clock for Android out there so never be late for early morning call time for shoots ;)
PS: I think there could be still lot of good film/vfx centric apps out there which I may haven't discovered yet so I will try to update this post if I find any or if you know any app please do drop a comment here.
3D Animated "Zambezia" Gets Nimoy, Breslin, Goldblum
(comingsoon.net)Leonard Nimoy, Abigail Breslin, Jeff Goldblum and Samuel L. Jackson have joined the voice cast for 3D animated feature "Zambezia" for Triggerfish Animation Studios says Screen Daily.
The action is set near one of the giant waterfalls along the Zambezi river in a bird sanctuary led by the wise and battle-tested Fish Eagle Sekhuru (Leonard Nimoy). The story follows a young flying daredevil falcon who leaves to join the Hurricane defense flyers.
Richard E. Grant, Jennifer Lewis, Jim Cummings and Jeremy Suarez also voice characters in the film which Wayne Thornley directs from a screenplay by Andrew Cook, Anthony Silverston and Raffaella Delle Donne. The project is currently in production in Cape Town, South Africa.
VES Wants Your Input
(vfxsoldier.wordpress.com)This week VES leadership will be meeting to discuss input from the VFX community about VES 2.0. This is your chance to voice your concerns about what you would like to see. You can email them here:
leadership@visualeffectssociety.com
There have also been some good comments from Scott Ross and frequent commenter VFX Labor in a previous post.
Here is the email I will be sending:
Dear VES leadership,
I want to thank you for taking the time to address the current issues facing the VFX industry. As some of you may know I have written about these issues for over the past year.
Here are some of the issues I feel VES 2.0 should support.
Regional Labor Unionization
Each regional VFX market should be allowed and encouraged to collectively bargain to ensure the rights of workers in the industry.
Portable Health and Retirement Benefits
The VFX profession is a unique profession where most of the workers are project based. We move from project to project, facility to facility. Many vfx workers lose access to affordable health insurance for their families in the event that there is a gap between projects. When they join a new facility, they either offer completely different health
insurance or none at all.
There are also vesting periods for 401k plans that hinder the ability for us to adequately save for retirement. The unions have addressed this issue in the film industry by offering portable health insurance, and pension based retirement plans that are partially funded by studio
residuals.
The health insurance has no premiums or deductibles and can cover the entire family of the vfx worker. Most importantly, a bank of hours exist to offer coverage in between jobs.
Paid Overtime
Many employers do not offer compensation for OT or only offer it after 50 hours of work. I advocate the following overtime provision be adopted by all facilities:
Employees must be compensated at one and a half times the regular rate of pay for all hours worked in excess of eight hours in a workday, 40 hours in a workweek and the first eight hours of a seventh consecutive workday. Employees are entitled to double-time for working more than twelve hour workdays or more than eight hours on the seventh consecutive workday of a single workweek.
Ending Misclassification Of Employees
Many artists are being illegally misclassified as independent contractors or are being forced to go through EOR managers. They are forced to pay the employer side of certain taxes and also face the possibility of being audited.
Regional Trade Organizations
All VFX facilities in each regional VFX market should be encouraged to form a trade union to collectively advocate the facilities business interests.
Transition from bidding structure to cost-plus structure.
Many VFX companies compete and underbid each other to get work or put competitors out of business. The current pricing system has led many good facilities to go out of business. A cost-plus system should be adopted where studios pay for the vfx costs plus a mark up to prevent companies from going out of business.
Ending Subsidies
Regional subsidies are used to artificially price VFX so the studios can obtain rebates from local governments. Smaller VFX facilities unable to open facilities in other parts of the world have been forced to go out of business. It also forces workers to globe trot with no reasonable certainty of long term employment. Some trade lawyers argue that these subsidies are a violation of WTO agreements. This practice leads to unfair competition and there needs to a be a countervailing mechanism.
Easy flow cart for VFX Union Organizers: http://vfxinsider.wordpress.com/
Rango, Movie and Lecture: Justin Holt
(blog.scad.edu)7 p.m., Trustees Theatre, 216 E. Broughton St., Savannah, GA
Justin Holt, a SCAD graduate with a BFA in Visual Effects, has worked in various studios as a texture painter over the years, including Rhythm & Hues, MPC and ILM. Most recently, Justin has completed work as a lead texture painter with Industrial Light & Magic working on Gore Verbinski’s feature animation Rango starring Johnny Depp and as a senior texture painter with Digital Domain on Bryan Singer’s Jack the Giant Killer. Justin’s passion for film and texture painting has allowed him to pursue the projects that interest him while also affording him the opportunity to work for some of the best visual effects studios in the world. Justin will do a brief Q&A, answering questions and giving advice to students! Don’t miss this great event.
Source: http://blog.scad.edu/gjohnson/2011/09/13/movie-and-lecture- justin-holt-rango/
Has Television CGI Caught Up with Jurassic Park?
(forum.beyond3d.com)I mean the first Jurassic Park in terms of CG power.
I know good CGI is getting cheaper every year and while CGI in movies have also gotten better and cheaper, can CGI the quality of the first JP been achieved on TV relatively cheap now?
I saw dinosaur revolution the other day and it got me thinking. This looks better than the first Jurassic Park, but is it really? does the tech match it? A lot of people are still making ridiculous claims that Jurassic Park's CGI hasn't been surpassed to this day. I think Dinosaur Revolution blows it away (maybe not in animation).
Image - You decide: http://forum.beyond3d.com/showthread.php?t=60861
Leading Creature FX Studio Spectral Motion On Board Stephen King's The Ten O'clock People
(dreadcentral.com)Shooting this fall in Providence, Rhode Island, The Ten O'clock People is an independent film adaptation of Stephen King’s short story of the same name. The film, a chilling cross between horror and film noir, will offer a 21st century twist to classics like Invasion of the Body Snatchers.
Written and directed by E.J. Meyers and starring Jose Gonsalves, Clayton Watson, and Tonia Passow, The Ten O'clock People tells the story of ex-smoker Brandon Pearson (Watson), who thinks he’s finally kicked the habit when he discovers smoking cessation drug Zytex. But when Brandon succumbs to his cravings and tosses the drug, he uncovers a frightening world full of perilous creatures few but he can see.
King's "The Ten O'clock People" short story was published in 1993 as part of his Nightmares and Dreamscapes collection and is notable for being set in Boston, Massachusetts, instead of King's typical Maine locale.
Per The Ten O'clock People blog, Spectral Motion, one of the leading makeup and creature effects studios in the industry, is now on board to supply the film with first-rate creature effects. The premier special effects company that blew away moviegoers in Hellboy, Blade 2, and X-Men: First Class will be bringing to life the infamous batmen Stephen King so candidly described in his short story.
UK VFX Industry Given Boost in Battle to Tackle Skills Shortages
(moviescopemag.com)In the ongoing battle to retain and develop skills shortages in the UK VFX industry, the Migration Advisory Committee (MAC) has recommended that key job roles that are essential to the continued growth of the UK’s visual effects (VFX) industry, be added or retained on the Government’s ‘shortage occupation list’. If accepted by Government, UK companies will find it easier to hire imported talent in roles where there is a shortage of skilled UK workers.
Skillset’s chief executive, Dinah Caine, commented: “These recommendations are good news not just for the VFX industry, but also computer games and animation who will benefit from being able to access this talent in the short term.
“However these measures are not an end in themselves. Skillset is working with the VFX industry and the UK’s higher education community through our accreditation programme to develop the world-class education and training that we need to fill these roles with home grown talent in the future.”
Skillset and the UK Screen Association worked extensively with MAC to advise on the roles that were necessary for the industry’s continued growth, but where skilled UK workers were in short supply.
The report recommends adding five new VFX roles (2D supervisor; 3D supervisor; software developer; shader writer and stereo artist) while removing six current roles no longer deemed to be in shortage (animation supervisor; editor; R&D tools; R&D software; rigging supervisor and software engineer)
Twelve roles already on the list are to be retained including animator; compositing artist; computer graphics supervisor; matte painter; modeller; producer; production manager; rigger; systems engineer; technical director; texture artist; and visual effects supervisor.
It is hoped the new revised list will help the UK keep pace with technological developments such as the boom in stereoscopic film production.
Chief Executive of UK Screen Association, Sarah Mackey, said: “British companies are at the forefront of VFX both creatively and technologically. It is essential that our members are able to recruit the right skills globally while the UK develops those skills for the next generation.”
Digital Humans Have Practical Uses
(press-citizen.com)A diverse talent pool at the University of Iowa's Center for Computer-Aided Design is working to develop one of the world's most sophisticated digital human models.
"There's Digital Human Modeling in general, and then there's SANTOS," said Tim Marler, a senior research scientist at UI's Virtual Soldier Research Program.
A group of more than 30 staff members with backgrounds in everything from art, graphics and avatar development to physiology, engineering and video game design, have spent eight years developing and advancing SANTOS, a 3D digital avatar they can use to model human behavior and the impact of different scenarios on people.
"You look for something that humans do not interact with directly or indirectly, and there's not much," Marler said. "Today, so much of that stuff is made on computers first. It makes sense that you have to have a human on the computer."
The VSR staff unveiled SANTOS in its first year of operation in 2003 but continues to advance his qualities, Marler said.
One thing that sets the VSR avatar apart is his fidelity, Marler said.
"He looks so realistic," Marler said.
SANTOS' designers thought of everything down to his six-pack-abs, fingernails and hair, which was modeled after that of VSR Engineering Team Lead Anith Mathai.
"Most other software is not nearly as sophisticated," Mathai said. "They're all mannequin like."
His predictability also sets SANTOS apart, Marler said.
Instead of using a database approach to answer questions, such as how much a 150-pound person can lift, SANTOS allows researchers to use a physics- and math-based approach.
Researchers can use SANTOS to test everything from heart rate and oxygen consumption to muscle fatigue and joint impact.
Karim Abdel-Malek, VSR director and a UI professor of biomedical engineering, helped found the VSR program in 2003 when UI received a large grant from the U.S. Army to aid in the design of military tanks that would reduce time on the assembly line.
Since then, the organization has steadily grown, taking on more contracts and partnerships, Abdel-Malek said.
Researchers have worked with Caterpillar to help mitigate injuries associated with large mining equipment, and with car manufacturers -- including Ford, Chrysler and GM -- to find ways to reduce injuries during the assembly process.
Earlier this year, VSR won a contract with the U.S. Navy that could be worth up to $8.6 million over the next five years.
Researchers are working with the Navy to help reduce the loads soldiers have to wear into combat.
"They want to reduce the load that they carry, but at the same time, give them everything they need without reducing their mobility or agility," Abdel-Malek said. "Basically, instead of using tens of thousands of soldiers and years of research, this research can tell us very quickly the impact of carrying 92 pounds on your back while walking for five miles in Afghanistan."
The pack load project is just one of several VSR is working on for the U.S. military, Marler said.
Researchers also study what's best for entire groups of soldiers.
"If I have this mission, these guys and this equipment, what's going to happen to them?" Marler said. "Who should be carrying what?"
Though SANTOS was designed as a "typical" soldier -- he's of average height and in the 52nd percentile for weight among soldiers, Mathai said -- there are other versions of the soldier as well.
There's the short, stocky SANTOS, the tall, lean version and a version built more like a towering linebacker.
"We've pretty much got them all covered," he said.
Researchers at VSR have written more than 500,000 lines of code for SANTOS.
In another project, Mathai is researching how to design body armor that is effective at covering not only vital organs but also outer extremities.
On his computer, he places the armor pieces on SANTOS and runs him through a series of drills, lifting his arms and throwing a grenade.
The computer then tells Mathai the effectiveness of the armor: Whether SANTOS has a full range of motion and the impact it has on more than 100 individual joints. Mathai even developed a star-rating system for the different types of armor he tests.
Marler said VSR continues to grow and evolve in its sophistication.
Right now, researchers are in beginning another stage of work with the Navy to develop a survivability tool that will involve developing new capabilities at VSR and working with armor manufacturers and Johnson Hopkins University to study the impact of explosions on soldiers.
"One of the things that makes SANTOS unique is that, not only does he provide new capabilities, the software provides a platform expandability and interaction that other researchers can leverage," Marler said. "We can easily partner with other cutting-edge efforts. All of this fosters collaboration."
New Animation Lobby Group Pushes for Help for UK Short Film
(televisual.com)A lobby group formed by top British animators has written to the government's Film Policy Review consultation to raise concerns about the "lack of public policy, strategy and support for independent animation."
Animation Alliance UK wrote an open letter to the consultation's chairman, Lord Chris Smith. The letter asked for an acknowledgement of the importance of cultural animation production to the UK, and a recommendation that steps are taken to ensure its continued success.
British animators have won the Oscar for animated short film eight times, with a further 20 nominations, in the last 25 years. The letter notes that as support from broadcasters and public funding bodies has diminished, so UK animators are finding financial support from, and relocating to, other countries. It states that the UK Film Council and Arts Council England have failed to work together to provide any strategic leadership .
The Letter in full
Animation Alliance UK
89 Borough High Street
London SE1 1NL
animationalliance@me.com
www.animationallianceuk.org
Lord Smith of Finsbury
Westminster
House of Lords
London SW1A 0PW
8 September 2011
Dear Lord Smith
Film Policy Review: independent animation
The Animation Alliance UK is a recently formed group of independent animation professionals. It exists as a network and focus for sharing information and discussion, to advocate for the support of independent animation in the UK, and to lobby for investment in production, training and archive.
We appreciate that the main focus of the Film Review is the commercial feature film industry. There are also many urgent issues facing the wider animation industry in the UK. Many our members work in the industry, and we endorse Animation UK’s Save UK Animation campaign around need for subsidies and tax breaks.
There are many different kinds of filmmaking, and many ways to make films, and to get them seen. Animation Alliance UK's focus is on independent animation as cultural cinema and art form.
We have taken the liberty of writing, rather than completing the consultation questionnaire, because we simply wish to alert you and the Film Policy Review panel to our specific concerns about independent animation in the UK, and our straightforward plea is for an acknowledgement of the importance of cultural animation production to the UK, and a recommendation that steps are taken to ensure its continued success.
Context
In 2003, a previous association of independent animators, the Animation Network, made a similar submission to the Culture, Media and Sport Committee's "Is there a British film industry?" inquiry. That network's memorandum noted how "Britain has been considered throughout the world as the leading nation in this particular art form", achieving substantial international success, "picking up awards in festival after festival and films were purchased and screened by major international broadcasters." British animated short film has indeed enjoyed an amazing success over 25 years. Over that period, British animators have won the Oscar for animated short film eight times, with a further 20 nominations.
The UK achieved international renown as a prolific centre of excellent for animated short film came about because of a uniquely British model of sustained public support from public service broadcasters, and public film and arts funding bodies, that allowed creative production free from commercial constraint.
Decline
That support has all but evaporated. Ten years ago, both the BBC Animation Unit in Bristol and S4C's animation unit were closed. In 2005, in addition to its single film commissions, Channel 4 was supporting around 15 short films a year through its innovative open call schemes, in partnerships with BFI, Arts Council England and the National Media Museum. All now gone. And whereas those schemes had offered the opportunity to make films with budgets of £20 - 50k, the channel's last support of independent animation, a strand of the UK Film Council's Digital Shorts scheme, supported one film each in the regions/nations with budgets of only £10-15k.
The number of British animated films in competition and international film festivals has declined. In 1998, 36 films from the UK were in competition at Annecy, the premier festival and market. This year, there were three films from the UK. Stuttgart Animation Festival selected 13 UK films in 1998; one film (a student film) in 2011. The biannual Hiroshima Animation Festival showed 18 films from the UK in 1998, and just four in 2011.
In 2011, all three films nominated for the Short Animation BAFTA were Royal College of Art graduation films. This is testament to the quality of talent coming out of UK animation schools, but it also an indication that that there is a lack of professionally produced work, and that those graduates in turn will have limited opportunities.
It is not the quality of work that is diminishing. Studios support their directors to make non-commercial work, but the success of films supported this way is despite the lack of public support. And otherwise, films cannot be made. Talent is simply going to waste. Or going elsewhere. UK animators are finding financial support from other places - France, Canada, Germany, The Netherlands, Poland, Australia. And as a consequence, UK talent is relocating to make films in those other countries.
Why it matters
The public value of independent animation is extensive, intrinsic and instrumental. There are many reasons why independent animation merits public support and investment:
Animation has a significant cultural value in its own right.
Digital technology has have made animation and its techniques a fundamental component of much feature production.
Animation is culturally pervasive and in its many forms, the pre dominant visual form that we engage with.
Independent animation is a site for innovation, risk-taking and the development of new techniques.
Independent production is a test bed for advertising and other creative industries, and for filmmakers and writers who go on to make feature length films and television series.
Animators move in and out of commercial, industry and independent work, fostering creative and technological cross-pollination between sectors - animation, advertising, games, film.
The UK's reputation for creativity and innovation creates demand for its talent, not least in advertising, and web/digital platform design and content.
The UK's reputation as a centre for creativity in animation attracts international students to UK animation schools.
Animation is instinctively cross-platform and an integral part of the digital revolution.
Animation is popular. Especially with young people.
Anatomy at Industrial Light & Magic
(scott-eaton.com)I am just back from a return trip to Lucasfilm, this time to their Singapore studio where I ran courses for their artists at ILM and Lucasfilm Feature Animation (the Rango guys). Over the week I ran two intensive anatomy courses for 30 of their artists (morning and afternoon sessions). The group was divided almost down the middle between modelers and riggers, though there was a stray animator and concept artist thrown in the mix well. The crew was great – obviously a very talented group of artists – and we were able to go in-depth into all the critical anatomy that applies to their work on feature film characters and creatures.
This trip reminded me a lot of the last time I visited Lucasfilm in San Francisco. Pretty much if you don’t like Star Wars, this is not the place to visit. It is everywhere and Yoda greats you at the entrance to both places (he has evolved in style a bit over the years). Luckily, I grew up with Star Wars and was a big fan (though, like most, lukewarm about the three prequels). The outstanding highlight of both visits is still the personal tour of Skywalker Ranch!
Source: http://www.scott-eaton.com/2011/industrial-light-and- magic-lectures
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