Showing posts with label Event. Show all posts
Showing posts with label Event. Show all posts

Wednesday, September 9, 2015

The Return of Fall and the Great Mike Makarewicz



That's right! The indelible Michal Makarewicz will be kicking off our fall semester with a full demo and lecture. Details are in the poster above, and we'll see you there. 

SPACE EXTREMELY LIMITED -- Wear your merchandise to secure a spot!

Happy Animating!

Sunday, September 7, 2014

Welcome to Fall 2014!


It's official, folks: Summer is over -- and we couldn't be happier to be starting another steaming hot semester of Tea Time with all of you! 

Alicia and George by the Tea Time booth

We were absolutely delighted to meet so many of you at the Cannery this Saturday. The charming individuals you met at our booth were Andy, Jonathan Alicia, George and Kyle, and we can't wait to see more of your wonderful faces at our first official meeting on Friday, September 12th. As per usual, we will be meeting every Friday @ 3:30pm, in room 420 of the 180 New Montgomery building.

We've got a great lineup of activities planned for the semester, and hope that you're all as excited as we are: New shirts, a heart-warming aniSLAM, an action-packed Fall Festival, CTN, and already we're signing up our industry connections to come share their experiences with the likes of us. It's going to be a semester to remember.

Lots of new faces at the mixer!

Can't wait to see you all Friday, and until then -- Happy animating!

Don't forget to join the conversation at www.teatimeanimation.com 
Questions? Don't hesitate to get in touch with us at info@teatimeanimation.com
Twitter: @TeaTimeAnimates
Instagram: @TeaTimeAnimation

Saturday, February 22, 2014

The Day Rob Minkoff, Alex Schwartz and Denise Cascino Chose Tea Time over the Dalai Lama; A Story.


Lana and George with Tea Time's brand new autographed Mr. Peabody and Sherman poster



In all of our time hosting the variety of honoured guests that we have, I must say, last night's event was quick to soar to the top of my favorites list.

After a month or so of planning, we were proud to host Lion King and Mr. Peabody and Sherman director Rob Minkoff, alongside producers Alex Schwartz, and Denise Cascino (Click their names to see their hefty IMDB repertoires) in a fantastic evening Q&A that I don't think I could have been more nervous for. Despite the fact that I've done this at least a dozen times by now, the time leading up to Friday night was disaster delivered by e-mail...


        "We've got a presentation we'd love to deliver about the animation development in Mr. Peabody and Sherman, provided the space can handle it!" I am told by the lovely and talented Kelda McKinney, my point person for Friday's shindig.
        "That sounds fantastic!" I immediately reply, "I've been to the space before and I am 98% sure that there is a projector there, so let's definitely plan on that. It will be perfect." To my dismay, we are quickly snubbed with the news that there is definitely no projector on the premises (it's a theater), and absolutely no way of setting one up as the stage is set for an upcoming play (which it wasn't). Good thing I didn't say 100%.

        "That's alright!" Says Kelda, "we can do this old-school and get some hand-outs for everyone to look at."
        "Great," I agree. "Plus then there's a take-home! It will be perfect."

Naturally, it in't too long until I hear back from her.
     
        "I'm sorry! There appears to be no hand outs available that we would actually be allowed to give to or show to the students." Needless to say I am a little bummed, but Kelda does mention that Rob, as a former Disney man and the talented artist that he is would be thrilled if he could do a drawing demo for us!
        "Well, that's wonderful!" I reply. "I've seen the school do this a few times. They set up an animation desk on the stage and everyone gets to watch the masters work. It. Will. Be. Perfect."

What next? Snubbed. Again.

         "We are unable to acquire the necessary desk/pen/pencil/paper for the drawing demonstration." I read through the palm on my face. At this point I'm feeling a little hopeless. "However, we can get you a whiteboard and some markers?" It will have to do.

I am quick to relay the news to Kelda who seems unfazed by what feels to me like utter despair at the lack of resources at my disposal (hint hint, TOWNHALL, hint hint).

         "That will do fine," she says.
         "Okay," I reply, "and the rest of the time Rob and Tiffany will talk about what it was like revamping the franchise into a modern film?"
         "Oh, that's right! Tiffany has been called away unfortunately and will not be joining us for the lecture on the 21st." My stomach sinks and all at once, a thousand advertisements reading 'ROB MINKOFF AND TIFFANY WARD' that we have had posted around the school for weeks begin spinning through my mind. I think my heart has stopped.

Luckily, I'm not left hanging long and Kelda tells me that we have some exciting replacements for Tiffany - two rather prestigious producers from the film.

          "Cool! And very relevant to many of our students' interests as well. The three of them will do a presentation on what it took to develop the film into the final product?" I ask.
          "Actually, I was thinking it could be one big Q&A. Do you think you'll have any trouble filling two hours?"
          "Nope!" I say, despite flashbacks of the Cannery. Room 301. 100 silent faces. "Two hours should be just fine." After having to turn town every other fantastic offer Kelda had extended, I don't want any further hiccups in the planning of this event. I am eager to please.


Jacob, Richard, and Kyle model all three flavours of Tea Shirt while waiting for the event to start


The day finally arrives, and the drama isn't over yet. Arriving at the theater, the signage I was promised directing patrons to the event is missing. It's 3:20 before the 4:00 start time and the doors are locked. After 10 or so impatient minutes waiting for security, I am finally let into the theater where I am quick to realize that I've forgotten my own Tea Shirt...after harping on others for doing the same...and the shirt I am wearing has been torn by my necklace in an unfortunate location. Naturally.

Morgan, one of Kelda's co-workers and another fantastic mind behind the execution of this event shows up shortly after...with signs! Hooray!

          "Good afternoon!" I beam, spilling my coffee as I go to shake hands.
          "Yes! Good to see you again!" she radiates back, and, indicating the signs, "where should I put these guys?" Before I can reply, she adds, "Oh! And I've got treats for you." Morgan quickly drops the variety of boxes, bags and foam core she has bundled in her arms and hands me 4 adorable pairs of Mr. Peabody and Sherman glasses complete with strap-on red, satin bowties for the Tea Time board to wear while presenting. I love it. Things seem to be looking up as the theater slowly fills. That is, until our guests arrive.

All of Tea Time filters in at the exact moment that Rob, Denise and Alex show up. Thus, the time I had hoped to have for a brief aside to discuss the rapidly changing game-plan with the Tea Time folk has vanished as I shake hands with Alex, then Denise then....Rob.

Now maybe it is just my nerves, but I am sure I've never seen someone look as displeased as Rob did upon arriving at the theater. He stares me down as we clasp hands, eyes wide, mouth locked firmly in a stern, subtle frown that seems to scream "Where is my drawing table?! Why couldn't you get a projector?! A white board? Seriously? That's the best you could muster for the director of your childhood dreams?!"

It takes every ounce of my courage not to run in shame. I put my best courteous smile on and say, "Lovely to meet you, Mr. Minkoff!" His reply is naught but a curt nod in my direction. "If you'd like, the three of you could feel free to settle in and take a seat at the table just to my left." Alex and Denise seem friendly enough. Still not a word from Rob. Not even so much as the hope of a smile. Internally, I panic.


Our stage complete with sad whiteboard


       "Mike! Jonathan! Mendel! Take these glasses! Team meeting!" But alas, I've spoken too soon... Rob, Denise and Alex haven't moved far enough away from where we're standing and must have had their ears pricked by the words 'team meeting'. All three immediately turn to join us in what I hoped to be our private huddle where I would explain the NEW new game-plan that I had thought up earlier that afternoon to the rest of the board.

       "Uhhh..." I stutter, not knowing how to approach the subject in an eloquent light, "So. You guys go on the stage and sit down." I repeat to the guests though they are clearly waiting to hear the end of the meeting, so I continue with, "We'll conduct a moderated interview for the first half,  and then open it up to the rest of the room for general Q&A for the second. Sound good?" Alex and Denise both chirrup a pleasant agreement. Rob, a very tall man, stares at the audience over our heads, silently listening, and, I assume, judging me. "It will be fun!" I blurt out, more for my own sake than anyone else's.

Finally, Denise, Rob and Alex make for the stage.

       "Okay, guys," I stage-whisper to the board. "Alicia and I wrote down a whole bunch of questions this afternoon and we thought it would be good to do a moderated thing at the beginning to keep the ball rolling before opening it to the floor, what do you think?"
       "Works for me," says Mike.
       "Yeah, sounds good," says Jonathan.
       "I can't see out of these glasses," says Mendel.
       "Oh! There's a film on both sides of them that you have to scratch off; I'll show you," I say and snatch Mendel's glasses and begin to fumble at the lenses. "Does anyone want to do step up and do the moderating? I will if you guys don't want to, but you can definitely do it if you feel up for it."
       "You can go ahead," says Mike.
       "Yeah, sounds good," says Jonathan.
       "Can I have my glasses back?" says Mendel.
       "Yes. Of course. I'm sorry. Great. Okay. Y'all know your roles. Let's do this."

Jonathan, Mendel and Mike are fantastic, I am struggling to stand upright through the shaking of my knees. After the schpeel, I walk to my seat, stage right of our trio of guests only to find sitting doesn't make it better. I nervously flip through my notebook of chicken scratch and try to ignore the feeling of Rob's eyes burning into the side of my head.


Messy interview notes

        "Um...Well.. perhaps you could start us off by..um...an introduction? Who you are, where you got started and what you're doing now?" I'm tongue-tied and shaky like I'm talking through a mouthful of molasses while standing naked in the Arctic Circle. I look up at the trio of guests hopefully.

Alex speaks first. Powerfully. Elegantly. Denise is immediately both lovable and intimidating. Motherly kind of strong that knows how to get a job done. (or, as she will tell us later, the whip-cracker) Two strong women I can see myself looking up to.

There is a beat before Rob says anything and I feel my breath catch in my throat when he speaks: Booming, pronounced, and so....friendly! He's confident about his past work without even a hint of ego, and I can feel him immediately engage our audience. Before I can ask another question he goes on to tell us about a hitch in their own journey to get to us.
 
         "I'm sorry, I've just got to tell you guys this," he says. "We were just about to leave our hotel, it's very close to here and we knew it wouldn't be a very long walk, but when got down to the hotel lobby, it was absolutely packed with people; wall-to-wall!" He leans forward in his chair and I can hear the simultaneous groaning of the theater seats as all the students do the same.
         "Well, we didn't know what was going on, but we couldn't yet find a way to escape. We figured it must be some celebrity coming through...but you know who it was?" The audience simultaneously shake their heads. "It was the Dalai Lama."
       
The audience is tickled with laughter, but Rob cuts us off.

         "I'm serious!" he continutes "and you know what? Instead of hanging around and hoping for a chance to meet the Dalai Lama, we looked at each other and said 'we gotta go!' because we knew we were coming here to be with you."

Rob is greeted with a roar of joyful applause. I turn my eyes to all the Tea Timers in the audience and realize that Rob wasn't upset or displeased at all. What I took for a stern and judgmental man was really just all of my own fears reflecting back upon me. In fact, he's one of the more pleasant people I've had the opportunity to meet, though I didn't get the chance to speak to him candidly.

I look out at all the faces in the crowd and felt their enthusiasm building up the strength I needed to do the rest of the interview.

      "Well in that case," I say, "perhaps you like to draw us a picture?"


Rob draws us a picture as Denise and audience look on. Thanks Alicia for the video

_______________________________________________
Paraphrased by Lana Bachynski

As it was a simple Q&A, and not so much specific animation notes or tips or tricks, there's not really much I can provide by way of summary here, but you can find and discuss the rest of the 'story' in the event thread on our forums!

A big thank you to Rob, Denise and Alex. What an absolute pleasure! I could not have had more fun interviewing them, and I wish them all the best in their future endeavours.

Thanks to Becky Johnson for always having our back behind the scenes.
Thanks to Mike and Jonathan for rallying the troops at 180.
And a big thank you to everyone for your excellent, excellent questions.

Happy Animating, and we'll see you Friday.


Don't forget to join the conversation at www.teatimeanimation.com
Questions? Don't hesitate to get in touch with us at info@teatimeanimation.com
Twitter: @TeaTimeAnimates
Instagram: @TeaTimeAnimation

Tuesday, February 11, 2014

Photos from the First 180 Meeting

I am so pleased to say that our first meeting at home was a smashing success. We put some of the animation newbies to the test on the principles, offered a helpful bunch of critique, and naturally enjoyed a heaping buffet of snacks and warm beverages. 

For those who were looking for the more in depth look at the 12 principles, you can find the link here:

Finally, here are a few images from the event:


The room filling as 3:30 fast approaches

Alvin tellin' it like it is to a full house

The last leg of critique


Don't forget to join the conversation at www.teatimeanimation.com
Questions? Don't hesitate to get in touch with us at info@teatimeanimation.com
Twitter: @TeaTimeAnimates
Instagram: @TeaTimeAnimation

Thursday, February 6, 2014

Rob Minkoff and Tiffany Ward

On behalf of the 20th Century Fox and DreamWorks Animation’s release of MR. PEABODY & SHERMAN, Tiffany Ward - daughter of creator Jay Ward - will be joined by Director Rob Minkoff to answer your questions on Jay, Dreamworks, and the creation of Mr. Peabody and Sherman.



In further news: The delightful people listed above have invited Tea Time to join them for a Press Screening of the Film well before its release on March 7th! Please join us this Friday, February 7th @ 3:30 PM in room 420 of 180 New Montgomery or visit www.teatimeanimation.com for full details.

Don't forget to join the conversation at www.teatimeanimation.com
Questions? Don't hesitate to get in touch with us at info@teatimeanimation.com
Twitter: @TeaTimeAnimates
Instagram: @TeaTimeAnimation

Wednesday, February 5, 2014

First 180 Meeting and Second Run of Tea Shirts

Okay, I know - it's no Nickelodeon raining amazing swag down upon us, 
but we're excited to be coming home! 

Obo and Jonathan wearing their sweet Tea Time swag from @TeaTimeAnimation on Instagram



We also announced at the Nickelodeon Panel that we will be doing a second run of Tea Shirts! Please bring $15 dollars cash to the meeting if interested. Men's and Women's both available. 

Happy Animating!

Don't forget to join the conversation at www.teatimeanimation.com
Questions? Don't hesitate to get in touch with us at info@teatimeanimation.com
Twitter: @TeaTimeAnimates
Instagram: @TeaTimeAnimation

Wednesday, January 29, 2014

Nickelodeon and Tea Time

Welcome to Spring!

We are incredibly pleased to say that NICKELODEON will be joining us for Tea Time's first meeting of the semester! Due to such a special event, we're not quite in our usual time/place so read carefully.

WHO: Jill Sanford, Vice president of Animation and Sherley Ibarra, Manager of Talent Outreach and Development.

WHAT: A short presentation about the Nickelodon Animated Shorts program.

WHEN: This Friday, January 31 @ 2:30PM

WHERE: the Cannery (that's 2801 Leavenworth. Cross street: Beach) in Suite 301.

Getting there: AAU transportation already leaves 180 NM for the Cannery (Jones & Beach). Bus E1 leaves 180NM at 1:38 p.m. and bus E2 leaves 180NM at 2:10 p.m. There are also D busses, but the E’s have a shorter transport time. Following the Nickelodeon presentation, Tea Time will be hosting our first official meeting of the semester.

Happy Animating!
See you Friday.


Don't forget to join the conversation at www.teatimeanimation.com
Questions? Don't hesitate to get in touch with us at info@teatimeanimation.com
Twitter: @TeaTimeAnimates
Instagram: @TeaTimeAnimation

Monday, December 9, 2013

An Afternoon with Neth Nom



In amongst the hustle and bustle of the last few weeks, Tea Time had the pleasure of welcoming the talented Neth Nom to our Friday meeting. To a full house, Neth delivered an incredibly insightful - albeit moderately intimidating - lecture on the state of the industry, getting the most out of school, landing your first job, and what the future might hold for the next generation of graduates. With the fall semester coming to a close, and another batch of students walking the commencement road, I give you this summary of what he had to say.


Planning your Career as an Animator
with Neth Nom


Look around. 

Look at all the faces around you; your friends, acquaintances, perhaps people you haven't met yet. (for the sake of our online crew - think about where you're delegating your time to. Who else is reading this article?) What's the one thing you all have in common? You've all got a leg up on so many of your peers. And why? Because you're taking the time to invest in a community. This community. The community that could, one day, easily be your future.

Contrary to popular belief, your career doesn't start your senior year - not even your junior year! It starts the moment you walk through the doors (or sign in online) to your first class in your first year of university. Do you know what classes you're taking next semester? Sure, that's easy. But what about the semester after that? How about the semester after that? No? Perhaps it's about time that you start. School is an investment - depending on the school you attend, it a HUGE investment - and so you should be getting the most out of the money you're putting in. A big part of that is planning ahead. Not sure what path to take? Well, that's where this community comes in!

A huge part of this industry comes from the company you keep. It's no secret, I'm sure, that an individual almost needs a referral to get a second glance these days - but where do you get them? By starting to build those relationships now. Attend talks; befriend, talk to and ask questions of the most talented person in your classes; Join a community (i.e. Tea Time) to find those people with like minds and together, immerse yourself in the culture of animation. It's time to develop a genuine interest in the field you are preparing yourself for.

Frame through shots from your favorite animated films; get together and animate as a group - not all on the same shot, per se, but simply keeping each other in check; you should be as familiar with animation as some people are of sports -- You should know names and shots like they were athletes and successful plays! This is your future, don't phone it in.

-----

Let's take a look at what an average student's day looks like. A typical 24 hours.

As you can see, it appears to be a pretty balanced life. There's some time in there for a social life, a little "me" time to watch some TV. For those who enjoy a little cash flow, feel free to swap out those for "job". It's a nice, comfortable pace.  


Unfortunately, with the competitive nature of the animation industry (particularly after a large amount of layoffs across the board), comfortable students are going to get no where. There are people with years of experience out there right now looking for the same jobs as you; you've got a lot of ground to cover. 


Now let's take a look at what your schedule should look like.

For a student hoping to make the most of their time while they are in school, this is an ideal schedule.

I know it looks intimidating, but in reality, it's not that much work. You just have to ask yourself what's more important: The newest episode of Family Guy (RIP, Brian) or achieving your goals? The more you sacrifice now, the greater the reward will be later when you set yourself up for opportunity.

"But what will I even animate for twelve hours? I only get x number of assignments per week, there is only so much I can do before I need feedback from my teacher."

We've heard these arguments time and time again and you are wrong. You can animate all the time because not every piece needs to be a piece for your reel. It is so important to keep this in mind. You should treat your work like a sketchbook, just like any artist would. Practice animating just a sphere, just a limb, but steer clear of the whole body. For those of you with those long months off - use your intersessions wisely! Take this time to bust out exercises, you don't have to wait for a teacher to practice.

-----

Just as important as planning your day, is planning your coursework throughout your degree. It may be hard to know what you want to do up front, but the sooner you lock on to something, put your head down and get to work, the sooner your begin tallying the hours of practice.

Many schools give away free books of course listings, and they can also be found online, but don't blindly sign up for anything. This is where your community comes in. Find people that you trust in years ahead of you and talk to them. What classes did they take? What path would they recommend? Which professor is better for classes x, y, or z? Again, places like Tea Time are perfect for these sorts of questions. Online students - don't hesitate to use the forums to get in touch with your on-site peers! Many of us have met your teachers in person and help guide you towards the most ideal instructors. Take the initiative to sculpt your education in to what you need it to be.

Most importantly, however, is this word of warning: Taking more than one animation class a semester is a recipe for disaster. We've all heard the phrase "quality over quantity", and it couldn't be truer now. Taking more than one animation class (okay, maybe you can press it to two) immediately begins dividing your attention in ways that will not enhance your ability. Not only are you receiving two sets of opinions on the same subject, but you'll have double the amount of animation homework (i.e. weight-bearing work) to complete each week. This leaves no wiggle room for any "sketchbook" exercises, or personal exploration in animation and you'll get burnt out. Fast.

It's important to stock the rest of your schedule with strong foundation classes to enhance and sharpen your eye for animation, not dull it out. Take classes that will make you be a better animator, not just classes where you are animating.

Never forget: This is your career! School is just a tool, a resource for you on your path to success. Take ownership of your own life; be proactive; talk to those who came before you. Show good work ethics in the class, because your peers can vouch for you later. Reach out to your peers, learn from each other, and most importantly, don't be afraid to ask for help!

-----
Graduation!
-----

The likelihood of getting a job straight out of school these days is pretty slim.
Please consider the following chart:


This chart represents the unfortunate fact of industry saturation. On the left, we have a list of on- campus students and an approximate number of how many graduate per year, while on the right we have the approximate number of actual, available internships (from the big 5) there's a pretty remarkable disparity here -- particularly when you add in online schools, like Animation Mentor, who have 300 students graduate a year. This disparity is caused by the layoffs, declining ticket sales/movie going, and, of course, simply the amount of interest in the art form.

So what is a graduate to do? First things first - maintain a community of animators, and don't stop animating. If you maintain connection with your community, you'll be in the first to know of new job opportunities, and also more likely to have someone who could recommend you. Plus, your friends and colleagues will keep you motivated to keep working, providing the feedback you'll need and the encouragement to continue.

Beyond that, it's time to be honest: is it the industry, or your reel? Reconsider your options - perhaps feature work just isn't right for you! But that doesn't mean you have no place. There are apps, startups, games, commercials - so many venues to vent your desire to animate, try to find one that works for you.


-----
First Job!
----- 

With enough focus and dedication, it will come. Hooray, but don't think that your work is over yet. Just as important is getting your first job, is holding onto it for a while.

Don't expect the studio to give you any special treatment - you are new, and you will probably get stuck doing fixes or small 'nothing' shots you can do with your eyes closed after all the practice you put in through school - but it's important not to let yourself feel just that -- "stuck". Put so much love into even the simplest of shots. Knock it out of the park; if the shot is so easy, it's the perfect time to show them what you can do.

Just like in school, you should be planning ahead here, too. Set a 5 year goal! What is it you really want to do? Lead? Direct? Figure it out and then spend every day working towards getting there.

Take advantage of the studio's resources - make sure to look after yourself. The studio's highest priority is the studio, and generally this means they have absolutely no qualms letting go of under-achieving underlings. It's important to build a network here, too. Also like in school, surround yourself with those you can learn from and look up to. Though it's important to hunker down and get work done, don't forget to connect! Figure out how it is you want to be perceived - mingle! Don't let your colleagues fill in the blanks for you. Remember, these are the people who, given the opportunity, can vouch for you when it matters most.

Finally, not all jobs last forever. Keep track of your contract - particularly when it's supposed to end. If you know you're not coming back, never wait until the contract ends to apply for a job. Companies are big machines and it often takes a while to get anything done. It's too easy to get stuck with dwindling funds and months of unemployment.

-----
A Final Word
-----

It's not magic.

There is no 'big secret' to success except hard work, initiative, drive and more hard work. It sounds grueling, but don't be intimidated! This is good. News. It means with a little bit of effort, that your goals, your dreams of working in animation are always within your reach.

--------------------------------------

Thanks again, Mendel, Neth.
Happy Animating.


Don't forget to join the conversation at www.teatimeanimation.com
Questions? Don't hesitate to get in touch with us at info@teatimeanimation.com
Twitter: @TeaTimeAnimates
Instagram: @TeaTimeAnimation

Saturday, November 9, 2013

An Intimate Evening with Glen McIntosh

This past week, Tea Time was proud to be involved in the Fall Festival 2013 and managed to weasel our way into hosting three of the 5 lectures planned for the week.

With the amazing and endless support of Becky Johnson, we were thrilled to have an intimate Inside the Actor's Studio style of evening with the great Glen McIntosh, directing animator at ILM (Jurassic Park III, Star Wars: Episode I, II and III, Transformers, and Battleship and many more). The event was MC'd by Tea Time’s own Frank-Joseph Frelier and gave us some insight into Glen’s life in production.

glen_mcintosh



In the bright stage lights of the 620 Theater, Glen takes his seat at a table for two set front and center of the unusually small crowd gathered for the event ahead. While I had been looking forward to the Monster Mash panel all week (to say Glen's a bit of a dinosaur buff would be a vast understatement), nothing could have prepared me for what Mr. McIntosh had in store for his audience that evening; Charming, witty, incredibly informative and laugh-out-loud funny - with a pinch of some fantastic original artwork to boot - it's needless to say he surprised me.

Before going on to study traditional animation at Sheridan College, Glen initially majored in Film Studies. He got his first "Aha!" moment after taking a figure drawing course between the plethora of film history classes and the rest was history; Glen had found his calling.

After school, he moved out to Ireland and started out at the Sullivan Bluth Studios as an in-betweener and fix animator. He was thrilled - he loved the grittier feel of Secret of Nimh and couldn't wait to get his hands dirty with some Don Bluth goodness - until he was thrown onto Thumbelina and Anastasia: By no means a bad thing, but cute, cartoon bugs was not what he had initially hoped for.

During his time in Ireland, his second "Aha!" moment struck him with the release of Jurassic Park. He immediately fell in love, and was inspired to traverse into the realm of 3D. Much to the envy of all the students in the crowd, Glen jumped straight from working on Anastasia, directly onto Star Wars I: The Phantom Menace. "When I arrived at ILM I didn't even know how to turn the computer ON," Glen says, "I'm sure the woman helping me set up thought I was joking, but I told her 'no, seriously, I'm not sure how, and I want to make sure if I'm going to do this, then I better know how to do this.'" and thus he jumped in head first and started learning all the new technical aspects from the ground up. One of the largest hurdles Glen found in his transition from 2D to 3D was that 3D animation could not be cheated as much as in 2D animation. Traditional animation gives you a lot of leeway in poses. It's easy to throw in a smear frame here or there, and poses could hide certain elements of animation (an arm behind the body is an arm you don't have to worry about).  Meanwhile, in a 3D character, a pose has to look good from every angle. If poses are cheated - such as an arm intersecting the body - the pose may look fine from the view of the camera, but it may cause issues further down the pipeline during cloth/water simulations and lighting.

One of the things Glen is quite known for is his work as the Raptor lead in Jurassic Park III. Despite his phenomenal work, Glen tells us that he was pulled off of Star Wars Episode II and it felt terrible. "At the time we were seeing all of these amazing concepts for the arena and it sort of hurt to think that I wouldn't get a chance to be a part of this incredible space-gladiator sort of battle." In the end, however, he was satisfied with the decision as it lead to his chance to take on a larger role. "Being a lead of any sort wasn't something I actively pursued, I was just really enthusiastic," He tells us. "And I happen to love dinosaurs more than anything." It was simply nice to be able to be more immersed in something he was already so passionate about. One of the biggest perks about being a Directing Animator is the amount of time Glen gets to spend on set. He spent some time regaling us with stories about the set of Battleship and his brief time as both an 'acting coach' for Rihanna and a stunt double for...a stunt double.

When it comes to setting up a shot, Glen told us a bit about his animation process - particularly the importance of knowing the capabilities of your rig. When he first gets a rig, Glen makes sure that he tries out specific actions (and asks his team to do so as well) which the rigger may not have taken into account.  "By doing your homework before you even begin, the rig has a chance to be kicked back to rigger and changed making your life easier!" Glen also mentioned that as an animator - just like an actor - it's pretty easy to get type cast and it's important to avoid becoming pigeonholed into a single role. "While working on animation, don’t just become the robot person or the dinosaur person; Broaden the spectrum of your work! Take a look at your real an try to break it up into binaries such as male vs female, comedy vs dramatic, cartoony vs realistic, organic vs inorganic."

One of the most unique pieces of information Glen gave to us had to do with some of his interactions with the film directors.  "It is important to show directors only the animation in which they will be critiquing." He tells us. "While it may look cool to turn on all the textures or use some cards to show splashes or explosions, if the director sees something that already looks so far along, they get the impression that their opinion doesn't matter and you've carried on with making the film without them." Glen and his team switched to using simple geometry as placeholders for simulated actions - plus it gave them a more straightforward evaluation.

Frank-Joseph ended the night with a fun final question: What are three movies that you feel are so important (or at least important to you) that you think everyone should go out and watch them?

Jaws was easily the first movie that came to mind: While there were inconsistency issues from shot to shot due to the technicalities of being shot out in open ocean, the acting and music and the story of the movie is so powerful, that as an audience, we don't really notice. The two other movies weren’t any particular titles but Glen recommends anything from Stanley Kubrik, (Full Metal Jacket, The Shining), and anything Steven Spielburg, (notably War of the Worlds).

All in all, the evening was a smashing success, ending with some show and tell from Glen's personal portfolio (he still works traditionally! Markers and ink; no Wacom). A big thank you to everyone who made it out.

Tea Time Animation 'Monster Mash' Panel
Fall Festival 2013
Guest Post by Andy Wu
Edited by Lana Bachynski

Thursday, October 17, 2013

Save the Date: ILM Animator Pete Kelly

And the date is tomorrow! Our apologies. We've been facebooking and tweeting about it, but I forgot to post the update on here.

Tomorrow, October 18th, at 7:00 pm in the 79 New Montgomery Theater, San Francisco, ILM Animator Peter Kelly will be joining us for an EXCLUSIVE lecture on his work on Pacific Rim (complete with some tasty clips graciously provided by ILM PR). Join the facebook event (linked below) for full details.

Be there with Tea Time Merch for priority seating.
Doors at 6:30.

See you there, and Happy Animating!
https://www.facebook.com/events/1454062634819310/

Tuesday, July 2, 2013

500 members: Breaking the Silence, a letter.

Dear Tea Time,

It has been an unacceptably long time since I've managed to have a moment to spare for our blog -- forgive me, Tea Time is going through a change of hands as some of us (namely, the person writing this) are graduating and getting out into the proverbial "real world".

It is, however, time to get our online base up to speed as Tea Time Animation has just, officially reached 500 members!

We are so excited to have reached such an exciting milestone, and we have you to thank! Let's keep this ball rolling, bigger, better things are on their way!


Tea Time is 100% IN SESSION this summer, convening in room 420 of 180 NM every Friday (other than this holiday weekend, July 5th) at 3:30pm, so be sure to pop in to get feedback over a hot beverage or two.

Also, make sure to keep your eyes on the blog -- We have SO much in store coming up in the fall and we will make sure to keep you updated on every, single thing right here.


Much love from your Tea Time Board,

Lana
Brandon
Frank
Cody
Mendel

Tuesday, April 23, 2013

Tea Time Animation Online Informational

EDIT -- UNFORTUNATELY THE SYSTEM WENT DOWN AND WE HAD TO CANCEL THIS EVENT. BUT IT HAS BEEN RESCHEDULED FOR TUESDAY, APRIL 23 FROM 5 PM - 6 PM (PDT)

No plans for tomorrow night? Then please feel free to join us for Tea Time's first Online Informational Event!   Click the following link tomorrow, Tuesday April 2nd anytime between 5pm-6pm to meet the team, ask some questions, and learn how to be involved in our growing community!



See you there!

Sunday, April 14, 2013

Villain's Masquerade

Hey everyone! The AAU comic club is having a sweet Super Hero themed costume carnival next weekend called the 'Villian's Masquerade'. Get all the info and RSVP here!






Monday, March 18, 2013

Jim Sidel - Reader's Digest Style

Recently, Tea Time had the pleasure of hosting AAU's own Jim Sidel for a discussion on the importance of Brevity and Subtext. Here's a little bit on what he had to say:

A Rube Goldberg machine


Brevity -- An Economy of Language

But far beneath this wondrous world upon the surface, another and still stranger world met our eyes as we gazed over the side. For, suspended in those watery vaults, floated the forms of the nursing mothers of the whales, and those that by their enormous girth seemed shortly to become mothers. The lake, as I have hinted, was to a considerable depth extremely transparent; and as human infants while suckling will calmly and fixedly gaze away from the breast, as if leading two different lives at the same time; and while yet drawing mortal nourishment, be still spiritually feasting upon some earthly reminiscence; -- even so did the young of these whales seem looking up towards us, but not at us, as if we were but a bit of gulfweed in their newborn sight.


--Herman Melville, Moby Dick, (the Grand Armada)

Now, generally, one might not expect a discussion on brevity to begin with an excerpt from Moby Dick. That entire paragraph is only three sentences -- doesn't appear to be very economical, does it?

Wrong!

Brevity is not about being short, per se, so much as it is about reducing a sentence or idea down to what is absolutely necessary without losing any meaning. If you re-examine the excerpt, you will notice that, although it is long, each word carries it's own, particular meaning and thus is necessary in communicating the idea Melville so wishes to communicate.

Another Rube Goldberg machine with explanation.

Occam's Razor:
       Entia non sunt multiplicanda praeter necessitatem.
or: "Thou shalt not multiply extra entities unnecessarily"

Developed by Logician, Philosopher and physicist William of Ockham (c. 1285 - 1349), Occam's Razor is a tool that refers to the act of shaving away unnecessary assumptions to get to the simplest explanation. Or: "The simplest explanation is the most likely"

To test Occam's Theory, suppose you come home and discover that your dog has escaped fro the kennel and has chewed large chunks out of the couch.

Theory Number 1: You forgot to latch the kennel door, and the dog pressed against it and opened it, and then the dog was free to run around the inside of the house.

Theory Number 2: Some unknown person skilled at picking locks managed to disable your front door, then came inside the house, set the dog free from the kennel, then snuck out again covering up any sign of his presence and then relocked the front-door, leaving the dog free inside to run amok in the house.

Which is True?

Well, the explanation of Theory #1 only requires only two entities (you and the dog) and two actions (you forgetting to lock the kennel door, and the dog pressing against the door)

The explanation of Theory #2, on the other hand, requires three entities (you, the dog and the lock-picking intruder) and several actions (picking the lock, entering, releasing the dog, hiding evidence, re-locking the front door). It also requires us to come up with some sort of plausible motivation for the intruder, a motivation that is, to us, entirely unclear.


Subtext

An underlying an often distinct theme in a piece of writing or conversation. Otherwise -- the intent of a character that is not actually being spoken. See what sort of subtext you can find in the following clip:


All characters are based in their desires. In fact -- a character is nothing without them. For example, a talking rat is not a character, it is simply a noun, but a talking rat that wants to be a chef is a character. 

A character shouldn't speak unless it's achieving more than one objective. Otherwise you get stuck with dry back and forth or, characters like the appropriately named "Basil Exposition" who's sole purpose is to move the story along.




Dialogue should:

- Characterize
- Move the story forward
- Show relationships

Good dialogue also: 

- Contains a subtext
- Is alive with action 
- Reflects setting



These two literary ideas are particularly important for those students out there writing a thesis short film.   Are you wasting your breath on a scene that isn't even contributing to your main story? Try using Occam's Razor on your work. How does it hold up?

Do your characters have desire as the fire behind their ambition? Do the want something, and if so, to what lengths would they go in order to claim their prize? As Kurt Vonnegut famously said:

"Every character should want something, 
                       even if it's just a glass of water."


For the undergrads, finding subtext -- even just in our exercises -- will help us to create interesting pieces for our reel, while considering brevity in our actions will help us to create believable performances. 

Sources:
"Strunk and White's: The Elements of Style" 
Frank Conroy, from his book, "The Dog Barks but The Caravan Rolls on."