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Showing posts with label Halle. Show all posts
Showing posts with label Halle. Show all posts
Monday, 27 April 2015
Cartoon Springboard - Pitching Event for New Animation Talents!
Nicola Lennon has asked us to pass on this information about a new scheme from Cartoon, designed as a bridge between animation education and the supports provided by the Cartoon organisation. Designed for final year animation students and recent graduates, Cartoon Springboard is looking for TV Specials, TV series, feature films and cross-media projects. Deadline is 7th September 2015! Some successful projects will be chosen for presentation at Cartoon Forum, Cartoon Movie or Cartoon 360. Exciting!
Wednesday, 2 October 2013
Halle - Day 2 Session 1 - Mike Riemenschneider
HALLE DAY 2
session 1 Mike Riemenschneider (IAMA - DE)
Presentation of the Animation Talent Award
i won't bother you with the funding issues we had..
International Academy - non prof founded in 2004
we produced a lot of student films
started with 9 months and then cut that to 3 months - they had to be v precise
we have individuals, companies
the question was how can we attract people, attract students
how do we stay alive in the market?
can we do it alone? or do we need partners?
tried to find a niche - the idea was to create a festival but there are tonnes of festivals (260 animation festivals) in the world...
how can we find a niche...
maybe do something with music??
not starting with animation, but start with the music...
a web-based short film competition, where you can earn your production budget to turn your ideas into an animation film
warner set some conditions - streaming yes, download no...
design guideline -
transfer concept into web and digital media
how can we bring everything together?
licencing?
a few people were totally happy to give us music from their new albums...
but the lawyers were a little more difficult...
alan doherty plays the flute - he's from ireland but he lives in Halle - i met him by chance...
pitch video from students who're proposing their projects...
top 10 projects
pitching mode
then they communicate and find additional budget (through crowdfunding pledges)
building up a crowd and then find money
an ongoing process... (still live)
click to support the projects you like...
having found that you can buy 1000 facebook fans for 360 euros, we decided not to rely on facebook
through google analytics - we could see that we were being watched in 90 countries
LinkedIn a great thing to do..
how it's going right now?
they're in the middle of producing the top 10 videos
they needed to get 100% of the money before 20th October - if they're missing 5%, they get nothing (standard crowdfunding)
E2,500 euros is the main prize from ARTE
ARTE is the most important partner
a link with Adobe - unlimited licence of CrativeCloud for 1 year for 3 projects
voting
sharing
like
production
donate
support
we want to establish ourselves as a partner for the animation schools
we were asked if we can licence ATA for India - but I don't know if it's a real offer...
we have projects from
bristol
portugal
belgium
phillipines/indonesia
poland etc etc
www.startnext.de - crowdfunding platform
www.animationtalentaward.com
end of Mike's presentation
were you genuinely surprised by the worldwide interest?
definitely...
also we're talking to samsung, canon
we will then support the finished films
the rights belong to the people who make the movie
but we can use the films for non-commercial projects
normally we'd be finished production, but that was postponed because of the flooding in Halle!
it will happen again next year - if you all help us, we will succeed!
session 1 Mike Riemenschneider (IAMA - DE)
Presentation of the Animation Talent Award
i won't bother you with the funding issues we had..
International Academy - non prof founded in 2004
we produced a lot of student films
started with 9 months and then cut that to 3 months - they had to be v precise
we have individuals, companies
the question was how can we attract people, attract students
how do we stay alive in the market?
can we do it alone? or do we need partners?
tried to find a niche - the idea was to create a festival but there are tonnes of festivals (260 animation festivals) in the world...
how can we find a niche...
maybe do something with music??
not starting with animation, but start with the music...
a web-based short film competition, where you can earn your production budget to turn your ideas into an animation film
warner set some conditions - streaming yes, download no...
design guideline -
transfer concept into web and digital media
how can we bring everything together?
licencing?
a few people were totally happy to give us music from their new albums...
but the lawyers were a little more difficult...
alan doherty plays the flute - he's from ireland but he lives in Halle - i met him by chance...
pitch video from students who're proposing their projects...
top 10 projects
pitching mode
then they communicate and find additional budget (through crowdfunding pledges)
building up a crowd and then find money
an ongoing process... (still live)
click to support the projects you like...
having found that you can buy 1000 facebook fans for 360 euros, we decided not to rely on facebook
through google analytics - we could see that we were being watched in 90 countries
LinkedIn a great thing to do..
how it's going right now?
they're in the middle of producing the top 10 videos
they needed to get 100% of the money before 20th October - if they're missing 5%, they get nothing (standard crowdfunding)
E2,500 euros is the main prize from ARTE
ARTE is the most important partner
a link with Adobe - unlimited licence of CrativeCloud for 1 year for 3 projects
voting
sharing
like
production
donate
support
we want to establish ourselves as a partner for the animation schools
we were asked if we can licence ATA for India - but I don't know if it's a real offer...
we have projects from
bristol
portugal
belgium
phillipines/indonesia
poland etc etc
www.startnext.de - crowdfunding platform
www.animationtalentaward.com
end of Mike's presentation
were you genuinely surprised by the worldwide interest?
definitely...
also we're talking to samsung, canon
we will then support the finished films
the rights belong to the people who make the movie
but we can use the films for non-commercial projects
normally we'd be finished production, but that was postponed because of the flooding in Halle!
it will happen again next year - if you all help us, we will succeed!
Brainstorming in Halle!
GREAT brainstorming session to finish Day 1 of the ETNA conference in Halle! Topics included 'Student Project Management' and 'funding models'. Strong possibility that we'll establish a rotating presidency for ETNA - to impel our collaborations forward! A pan-European postgraduate animation flexible pathway beckons!
Tuesday, 1 October 2013
Halle - ETNA conference
Morning One of the ETNA (European Training Network for Animation Schools) annual conference. Good presentations by Richelle Wilder (script development for animation) and Keith Hopwood (music and sound effects for animation).
011013 halle
Richelle Wilder
animation has the widest demographic
animation isn't limited by cultural or social boundaries...
katzenburg 'the idea is king. if a movie begins with a great, original idea, chances are it will work...'
great ideas are rare...
the strongest ideas can be encapsulated into a logline, or 'hook'...
chicken run 'great escape with chickens'
flushed away 'african queen with rats'
shrek ' greatest fairy tale never told'
when i ran the development department at aardman...
it was a creative forum for generating ideas...
sometimes the original idea FAILS when you try to expand it...
Scorcese said 'there's no such thing as simple. Simple is hard.'
pitch: plot, characters, world, tone...
now we're talking about leprechauns...
but Katzenburg didn't like it 'and all our leprechaun ideas left with him...'
hitchcock 'all you need is a great script, a great script, a great script...'
the technical differences between writing for live action and animation are negligible...
writer needs to be hugely imaginative...
all the projects I've worked on have featured multiple writers... a lead writer certainly, but multiple writers...
we follow the three act structure...
it's important the bg designs and char designs are shared with the writer, to make sure he's on the same creative track...
andrew stanton... the first draft is nothing more than a starting point, so be as wrong and as fast as you can...
rewriting can be twenty paces back and five paces forward...
rewriting is about 'getting the story right'
rewrite is about making creative ideas the best they can be...
often multiple stakeholders involved in rewrite - all opinion is valuable...
however, multiple voices (if they're not managed properly) can destroy the script
in indie productions, this role is rarely managed...
managed, not dictated... Dictatorial no...
ideas often get put in the script to please the money people, to greenlight funding...
DEVELOPMENT HELL - the rewrite black hole...
caused by the writing process being poorly managed...
Many scripts get put into development hell, very few scripts get out
dev hell becomes an illogical dance, with lots of crap and random ideas being built into the script...
remember the project's potential, remember the hook...
billy wilder - an audience is never wrong. an individual member of it may be an imbecile, but a thousand imbeciles sitting in a darkened room - that is critical genius...
end
show don't tell
anim scripts are approx 80 pages in length, live ation are usually 100 to 120 pages...
character world themes and audience demographic
screenwriting is an art
screenwriting is also a craft
lasseter 'the art challenges the technology and the technology inspires the art...'
act 1 who is the main char what is the story about what is the conflict? (this is the inciting incident) first 10 pages, first 10 minutes
the suspension of disbelief must happen in act 1, the audience must buy in
want versus need is the character arc
the char want needs to be established early
drama is conflict...
act 2 longest in length
develops the action (A plot)
develops the main char
develops sub plots
it's essential to have more than 1 storyline
A plot is the action storyline
B plot is the emotional storyline
then subplots
there must be multiple plots, or the story will be completely linear
there can be multiple multiple subplots, adding texture and charm to the storyline
moving between acts is done by turning points - twists
act 3 is the climax
the central premise of the plot is resolved...
shrek gets his swamp back, but with an unexpected twist (fiona)
tv script format...
single drama
mini series (multiple eps)
returning series (many eps)
script development TV:
development workshop
bible
premise
outline - fleshed out without dialogue
scene by scene - again fleshed out without dialogue
drafts x 2 - dialogue in, story structure, basic structure is movie structure with beginning, middle and end (this is usually where finance is greenlit)
polish - final draft, often done by the script editor - script editor ensures continuity across the series
development by committee is a staple of modern TV script development
broadcaster
co producer
series producer
each of the stakeholders will want an active input in the series development (includes financiers, co prod partners and broadcasters), all coordinated by the script editor
all opinion is valuable, but all opinion is.
an effective script producer or script editor offers the writer creative support and managerial guidance.
katzenburg: every single thing you see onscreen came out of somebody's creativity. It doesn't exist. Nature didn't deliver it to us. Everything had to be dreamed.
end
011013 halle
Richelle Wilder
animation has the widest demographic
animation isn't limited by cultural or social boundaries...
katzenburg 'the idea is king. if a movie begins with a great, original idea, chances are it will work...'
great ideas are rare...
the strongest ideas can be encapsulated into a logline, or 'hook'...
chicken run 'great escape with chickens'
flushed away 'african queen with rats'
shrek ' greatest fairy tale never told'
when i ran the development department at aardman...
it was a creative forum for generating ideas...
sometimes the original idea FAILS when you try to expand it...
Scorcese said 'there's no such thing as simple. Simple is hard.'
pitch: plot, characters, world, tone...
now we're talking about leprechauns...
but Katzenburg didn't like it 'and all our leprechaun ideas left with him...'
hitchcock 'all you need is a great script, a great script, a great script...'
the technical differences between writing for live action and animation are negligible...
writer needs to be hugely imaginative...
all the projects I've worked on have featured multiple writers... a lead writer certainly, but multiple writers...
we follow the three act structure...
it's important the bg designs and char designs are shared with the writer, to make sure he's on the same creative track...
andrew stanton... the first draft is nothing more than a starting point, so be as wrong and as fast as you can...
rewriting can be twenty paces back and five paces forward...
rewriting is about 'getting the story right'
rewrite is about making creative ideas the best they can be...
often multiple stakeholders involved in rewrite - all opinion is valuable...
however, multiple voices (if they're not managed properly) can destroy the script
in indie productions, this role is rarely managed...
managed, not dictated... Dictatorial no...
ideas often get put in the script to please the money people, to greenlight funding...
DEVELOPMENT HELL - the rewrite black hole...
caused by the writing process being poorly managed...
Many scripts get put into development hell, very few scripts get out
dev hell becomes an illogical dance, with lots of crap and random ideas being built into the script...
remember the project's potential, remember the hook...
billy wilder - an audience is never wrong. an individual member of it may be an imbecile, but a thousand imbeciles sitting in a darkened room - that is critical genius...
end
show don't tell
anim scripts are approx 80 pages in length, live ation are usually 100 to 120 pages...
character world themes and audience demographic
screenwriting is an art
screenwriting is also a craft
lasseter 'the art challenges the technology and the technology inspires the art...'
act 1 who is the main char what is the story about what is the conflict? (this is the inciting incident) first 10 pages, first 10 minutes
the suspension of disbelief must happen in act 1, the audience must buy in
want versus need is the character arc
the char want needs to be established early
drama is conflict...
act 2 longest in length
develops the action (A plot)
develops the main char
develops sub plots
it's essential to have more than 1 storyline
A plot is the action storyline
B plot is the emotional storyline
then subplots
there must be multiple plots, or the story will be completely linear
there can be multiple multiple subplots, adding texture and charm to the storyline
moving between acts is done by turning points - twists
act 3 is the climax
the central premise of the plot is resolved...
shrek gets his swamp back, but with an unexpected twist (fiona)
tv script format...
single drama
mini series (multiple eps)
returning series (many eps)
script development TV:
development workshop
bible
premise
outline - fleshed out without dialogue
scene by scene - again fleshed out without dialogue
drafts x 2 - dialogue in, story structure, basic structure is movie structure with beginning, middle and end (this is usually where finance is greenlit)
polish - final draft, often done by the script editor - script editor ensures continuity across the series
development by committee is a staple of modern TV script development
broadcaster
co producer
series producer
each of the stakeholders will want an active input in the series development (includes financiers, co prod partners and broadcasters), all coordinated by the script editor
all opinion is valuable, but all opinion is.
an effective script producer or script editor offers the writer creative support and managerial guidance.
katzenburg: every single thing you see onscreen came out of somebody's creativity. It doesn't exist. Nature didn't deliver it to us. Everything had to be dreamed.
end
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