As your films near completion it seems there are many people out there who would like to help with the soundtrack. The latest offers are from Leeran Raphaely, an award winning young composer, who has just finished a score for one of our 4th Year films and is so pleased with the way it turned out that he would like to do another. You can contact him at:
leeran.raphaely@gmail.com
The other offer comes from Prof. Mark Melymick, co-ordinator of Sheridan's Theatre Performance Program, who is offering the services of his acting students for doing character voice recordings for your film. If you would like to try them out, send Prof. Melymick an email with a brief description of the type of character voice you need (e.g. "nerdy young male") and he will attempt to connect you with an appropriate student from his program.
mark.melymick@sheridaninstitute.ca
Friday, February 27, 2015
Offer to help with Sound Design
I recently received this email from a student in Media Fundamentals. Please contact him directly if you would like some help with your sound effects and sound-mixing side of your film.
My name is Jonathan Woodburn, and I was a student in Tony Tosti's sound design class last semester. He mentioned to me that one of the ways I could continue getting experience would be to volunteer as a Sound Designer for Sheridan's animation department. If I could help in anyway, please let me know.
Sincerely,
Jonathan Woodburn
woodburj@sheridancollege.ca
Tuesday, February 24, 2015
The Independent Animator
Lecture: Festivals and Distribution for the Independent Animator - Chris Walsh, S235 11 am
Life in animation is not all Pixar and Dreamworks. (Just ask the 500 artists and technical crew who recently got laid off from the latter.)
Some artists just want to make art in whatever medium is available to them. We call them "independent" and it's a viable strategy for many. In the past, production and distribution were both major obstacles to independent work in animation, but powerful, inexpensive computers have largely eliminated the first as an obstacle, and the world-wide-interweb is in the process of eliminating the second. Chris Walsh will be our guest speaker at this week's lecture to fill you in on recent developments along these lines.
Workshop: Demo Music Track Assessment & Discussion - Bruno Degazio, A151 - 2 pm
Life in animation is not all Pixar and Dreamworks. (Just ask the 500 artists and technical crew who recently got laid off from the latter.)
Some artists just want to make art in whatever medium is available to them. We call them "independent" and it's a viable strategy for many. In the past, production and distribution were both major obstacles to independent work in animation, but powerful, inexpensive computers have largely eliminated the first as an obstacle, and the world-wide-interweb is in the process of eliminating the second. Chris Walsh will be our guest speaker at this week's lecture to fill you in on recent developments along these lines.
Workshop: Demo Music Track Assessment & Discussion - Bruno Degazio, A151 - 2 pm
This week is the delivery deadline for the demo version of your music score from the U of T musicians. Sometimes questions arise at his point about the suitability of the music, and now is the time to address the problem with your composer. This drop-in session is for you to bring in your demo track recording for review and discussion with myself and your colleagues.
Tuesday, February 17, 2015
50 Awesome Resumés
"50 Inspiring Resumé Designs: And What You Can Learn From Them"
Inspired Acting, Mindful Animating
LECTURE: Stephen Barnes: Inspired Acting, Mindful Animating: A Study of Great Moments From Animated Films
SCAET 235, 11 am - 1 pm
With the big animation Milestone due this week (100% of rough animation completed), it's appropriate that tomorrow's lecture is on the subject of acting in animation. Stephen Barnes extends his previous study of acting (Inspired Acting: Great Moments from Great Actors) to include acting in animated feature films. Steve livens up the talk with discussion of the bad animation in the old Roger Ramjet TV series, and outtakes from his days as an animator at Pixar.
WORKSHOP: Amir Avni: Flash Animation Workshop
A151, 2 pm - 4 pm
The workshop is also dedicated to the craft of animation with BAA graduate and Flash animator Amir Avni giving a lesson on traditional animation techniques in Flash, and providing a Q&A to resolve any issues you may be having while using Flash in your Senior Project Film.
SCAET 235, 11 am - 1 pm
With the big animation Milestone due this week (100% of rough animation completed), it's appropriate that tomorrow's lecture is on the subject of acting in animation. Stephen Barnes extends his previous study of acting (Inspired Acting: Great Moments from Great Actors) to include acting in animated feature films. Steve livens up the talk with discussion of the bad animation in the old Roger Ramjet TV series, and outtakes from his days as an animator at Pixar.
WORKSHOP: Amir Avni: Flash Animation Workshop
A151, 2 pm - 4 pm
The workshop is also dedicated to the craft of animation with BAA graduate and Flash animator Amir Avni giving a lesson on traditional animation techniques in Flash, and providing a Q&A to resolve any issues you may be having while using Flash in your Senior Project Film.
Tuesday, February 10, 2015
Special Screening Tomorrow
Wednesday, February 11, 2015
LECTURE - 11 AM, S235
The Lecture is dedicated to a special screening of short animated films - I can't give details here but I'm sure you'll all be pleased and interested in the program. And you get to vote on your favourite film of the batch!
The screening will be fairly short (less than an hour) and will be followed by the annual KPI survey, where you get to voice your opinion of the BA Animation program.
WORKSHOP - 2 PM, A151
In the afternoon we have scheduled Barnabas Wornoff, our resident ToonBoom expert, for a Q&A period on TB character rigging and general usage. Barney will focus on cleanup and in-betweening for those of you using ToonBoon in a traditional way, and puppet rigging for those using TB's symbol capabilities. Bring your ToonBoom work-in-progress files!
LECTURE - 11 AM, S235
The Lecture is dedicated to a special screening of short animated films - I can't give details here but I'm sure you'll all be pleased and interested in the program. And you get to vote on your favourite film of the batch!
The screening will be fairly short (less than an hour) and will be followed by the annual KPI survey, where you get to voice your opinion of the BA Animation program.
WORKSHOP - 2 PM, A151
In the afternoon we have scheduled Barnabas Wornoff, our resident ToonBoom expert, for a Q&A period on TB character rigging and general usage. Barney will focus on cleanup and in-betweening for those of you using ToonBoon in a traditional way, and puppet rigging for those using TB's symbol capabilities. Bring your ToonBoom work-in-progress files!
Monday, February 9, 2015
Quick Read: How Do Directors Pick their Composers?
Quick and to-the-point reposnse from director Michael Mann:
http://www.slate.com/blogs/quora/2015/02/09/michael_mann_how_do_directors_pick_composers_to_score_their_movies.html
Answer by Michael Mann, director, producer, Blackhat, Heat, The Insider, Collateral, Last of the Mohicans, Thief:
http://www.slate.com/blogs/quora/2015/02/09/michael_mann_how_do_directors_pick_composers_to_score_their_movies.html
Answer by Michael Mann, director, producer, Blackhat, Heat, The Insider, Collateral, Last of the Mohicans, Thief:
Composing is kind of like casting. On a given picture with a standout composer, like Elliot Goldenthal, who I think is one of the more extraordinary composers working today, I will use only his score because I want the picture to have a unified sensibility, like in Heat or Public Enemies. It was the same with Trevor Jones on the main themes of Last of the Mohicans. Randy Edelman did some additional work that was excellent.
In other films, I'll use more than one composer because I want to rotate among different emotional perspectives. That could be character-driven or something totally different about the circumstances, such as the ending of Ali when we're in Africa for the Rumble in the Jungle and the music is almost wall-to-wall Salif Keita. One composer may be able to evoke certain emotions, and another composer is better for different passages. I did that in Collateral as well as in Blackhat.
For Blackhat, Atticus Ross probably makes the greatest impression in the first half, which isn't about counting the minutes of music. I also used Harry Gregson-Williams. There’s a young guy named Ryan Amon, whose outstanding, haunting themes are somewhat surreal. Atticus Ross’ brother, Leo, co-composed with Atticus and played guitar. And there are excellent cues by Mike Dean, who is Kanye West’s producer and a great keyboardist. Everybody was working in parallel. In the end, it's the film and my vision that dictate which music is used and how. If a composer wants to have his music stand alone, he should be a recording artist and let his work contest itself in that arena.
When it comes to the process, I'm very involved, and it’s purely creative and highly intuitive.
Tuesday, February 3, 2015
Music Spotting Session Visit from U of T composers tomorrow!
Remember - Tomorrow's Lecture and Workshop are both dedicated to the Music Spotting Session visit from the U of T film music composition class.
If you are not involved in a partnership with one of the U of T composers then you do not have to attend the lecture. However, you are still welcome to come and watch the screening of a "Best Of" selection of animations scored by this program in years past.
The plan for the day is as follows:
11:00 AM - noon; SCAET 235
We will collect here for some opening remarks and the screening of a "Best Of" selection of animations.
noon - 3 pm; 4th Year STUDIO, A361
We will use the open area at the south end of the studio and the workstations nearby to schedule one-on-one meetings between the various composers and animators.
Plan on meeting with your composer for 20-30 minutes to discuss the musical requirements of your film.
Have an up-to-date version of your Animatic ready, including the recent Workflow Test shot! Also be sure to bring along a pair of headphones, as the listening environment in the Studio is not ideal.
Here is a quick summary of the main procedures and purposes of a Spotting Session:
1. View the Film
- Leica-Reel, Pose-Reel, or Rough-cut.
- include your temp music, sound fx, scratch voices
- decide where music is needed, what style, mood, instruments, accents, etc.
- make a sequential list of music cues (M1, M2, M3, etc.) with starting times!
2. Try Out New Musical Ideas
- play recordings with the picture! It's extremely important to hear the music while looking at your pciture.
3. Wait for the new Score
- discuss delivery dates, file formats & other tech
If you are not involved in a partnership with one of the U of T composers then you do not have to attend the lecture. However, you are still welcome to come and watch the screening of a "Best Of" selection of animations scored by this program in years past.
The plan for the day is as follows:
11:00 AM - noon; SCAET 235
We will collect here for some opening remarks and the screening of a "Best Of" selection of animations.
noon - 3 pm; 4th Year STUDIO, A361
We will use the open area at the south end of the studio and the workstations nearby to schedule one-on-one meetings between the various composers and animators.
Plan on meeting with your composer for 20-30 minutes to discuss the musical requirements of your film.
Have an up-to-date version of your Animatic ready, including the recent Workflow Test shot! Also be sure to bring along a pair of headphones, as the listening environment in the Studio is not ideal.
Here is a quick summary of the main procedures and purposes of a Spotting Session:
1. View the Film
- Leica-Reel, Pose-Reel, or Rough-cut.
- include your temp music, sound fx, scratch voices
- decide where music is needed, what style, mood, instruments, accents, etc.
- make a sequential list of music cues (M1, M2, M3, etc.) with starting times!
2. Try Out New Musical Ideas
- play recordings with the picture! It's extremely important to hear the music while looking at your pciture.
3. Wait for the new Score
- discuss delivery dates, file formats & other tech
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