The World Animation & VFX Summit 2013 -- 'short' recap
Hello, all! If any of you are as fascinated as I am by the nuts and bolts of animation--and getting it distributed after it's made--then you were either at this year's edition of The World Animation & VFX Summit, or needed to be.
It was a big trip for me (Tulsa is a ways from Marina Del Rey). And just running down the list of attendees and the projects they have been involved with would keep me busy long into the night.
The VFX guys from Pacific Rim were there to dissect the exhaustive layers of water, light, debris, metal, reflections, you name it, that went into every shot. The people who made the snow (and clothes, and hair, and...) in Disney's "Frozen" told us how they did it (yes, they have some new tricks and use all the old ones). We got to hear how the menagerie of food animals in "Cloudy With A Chance Of Meatballs 2" came to life, and even some of the ideas that were "left over".
Animation voice legend Tom Kenny was the MC at the opening night party--and voice legend _of legends_ June Foray received a lifetime achievement award. At 96, she's got a Rocky and Bullwinkle short coming out next year and shows no sign of stopping!
I took any opportunity I could to listen to what foreign producers were looking for, and the often arcane rules of co-production (tax breaks, nation of origin) for very personal reasons, as I have had more luck getting companies outside the U.S. to read my own screenplays.
Perhaps as valuable as the panels were the chances to rub elbows with animation professionals and enthusiasts at the meals and parties throughout the Summit--invariably, I found people to be friendly, open, and personable. Quick tips: when people are clumped up listening to someone--be a part of that clump! But also link up with other people stumbling around looking lost, and spend as much (or more) time listening as talking. You will hear war stories, cautionary tales, and insights that don't fit into any other format.
On the optional tour day, we visited three busy production offices--one involved with VFX, one with features, and one focused on television. In the tour, it seemed there was a continuation of a running theme throughout the Summit: it was interesting how often these lines blurred between distribution channels, and how work in one specialty could branch out--a successful feature spawning television series, or as noted in an earlier panel, a series getting a first or second life online.
As the level of omission in my current short post is nearly criminal, please check out the topics and speakers from this year's summit at:
http://animationmagazine.net/summit
I sincerely hope that the Summit continues as a yearly event and that I can attend again with new projects and goals in mind next time--I certainly brought back some new ways of thinking, after getting a closer look at animation production.
Thanks again to Claire-Dee Lim, the rest of the Animation Magazine crew, and the fine folks at the California Yacht Club for making it an intimate, humbling, and memorable few days.