#konniesutherland

[mixedmediaanimation]

VIV

Director - Talia Gnessin Editor - Melanie Do Producer - Jesse Zand Sound Mixer - Mess

Director - Talia Gnessin 

Editor - Melanie Do

Producer - Jesse Zand

Sound Mixer - Mess 

[mixedmediaanimation]

VIV: Progress Report #4

Three Festivals: 

New Media Film Festival can be a festival we can consider because Viv tells a compelling story about a young girl’s fascinating imagination. It is sponsored by organizations such as EyeCare4Kids, Toys for Tots, Women’s Empowerment, etc.  

San Diego International Kids’ Film Festival is another venue that Viv can shine. It’s all about kids! http://sdkidsfilms.org/Home.html

Los Angeles International Student Film Festival will be a good fit for us to submit Viv. This festival allows awards for winning student films in order to help the students fund their film while in school. http://lastudentfilmfest.com/#intro

[mixedmediaanimation]

Reading Reflection #3

In chapter three of Andrew Selby’s Animation, he stresses the importance of the concept in animation and furthers this argument by illuminating various aspects of developing ideas such as research or even the space in which the creation occurs. A large part of this chapter focuses on research and how it is an essential part of the animation process. He notes that animators and creator rely on sight and sound to access the emotional range of a viewer. He notes how flipbooks and doodles can be effective ways of testing ideas.

Susannah Shaw’s chapter nine of her book titled Stop Motion: Craft Skills For Model Animation,  focuses on the elements of motion that animation generally follows to achieve a recognizable realism. Although she does not claim that all animation follows these rules or guidelines, she does note that these aspects are crucial for the human mind to suspend disbelief and engage more fully with the realm in which the animation exists. Suspension of disbelief is not exclusively important to animation but rather a critical component of creating moving images in general. She gives important formulas and thoughts for the execution of balance, time of action, timing, anticipation, action, reaction, and running in animation. Chapter three of Shaw’s other book, Motion for Design, engages with the practice of creating a design board. She notes how this can be explicitly useful for establishing a wider range of aesthetic direction as well as creating more useful content for pitching ideas to potential investors or clients. The two key differences between a style frame and a design board exists in number of images and the communication of a story.

[mixedmediaanimation]

Reading Reflection #2

In chapter two of Andrew Selby’s book Animation, he begins outlining an animated productions first stages. He notes the various roles that are necessary to complete a large scale animated production. He also lists a series of questions that he claims should be asked preceding the beginning of a project. These questions mostly focus on the logistical problems a large animated project would face. Selby goes on to describe the relevance of a script to animation, noting that not all animated projects require a script. Following the section in which he describes the various aspects a script would contain in an animated production, he explores general themes and plot structures that animated films historically follow. Just like other parts of Selby’s writing, his bias is in favor of a more traditional disney animation.

In The Animation Bible, Maureen Furniss explores the importance of developing a strong concept and idea development. She addresses several possible avenues that a creator might take in the very first stage in project development. Understanding one’s target audience is addressed by both Selby and Furniss. Furniss notes the importance of developing and understanding a projects style and medium. She addresses the need to develop a style and method of production that will best serve one’s concept and project. The form, texture, and line design are most basic aspects of style development that Furniss addresses in this section of the chapter. She then goes on to denote more concrete pieces of animation development such as character design and background design. Just like the other aspects of style design, each of these elements all contribute to the development of a project’s overall tone and feel. She finishes by noting the importance in having a concrete idea of an animation’s movement. She relates this concept to both character design and plot development.