Pause Fest is back this year with an impressive line-up of talks, panel discussions, workshops, and exclusive Pause Fest experiences over three days (8-10 Feb) that will highlight content and experiences that simply cannot be Googled.
More than 45 luminaries from the creative, business and tech worlds will take to the stage (Deakins Edge at Fed Square) to share their experiences and insight in exclusive keynotes.
Some highlights for us animators will be talks from world renowned companies with the likes of Pixar, Lucasfilm and The Mill to name just a few.
Broken up into 3 days (Day 1: Creative, Day 2: Tech, Day 3:Business) there’s something for everyone but if budget is tight there are a number of free events on offer including a Pausefest motion response night hosted by Melbourne Motion, where there will be live and pre recorded Pause Fest breakdowns from Nord Collective, Locked + Loading, Seth Molson, Substance, the Sequence Group & Xiaolin Zeng.
Creating a space for free thinkers to converge, engage and find shared purpose, Pause is an environment which cultivates true collaboration. It’s this ethos of empowerment that has seen Pause’s influence extend beyond its Melbourne roots to become the leading conference and festival of its kind for the entire Asia Pacific region.
‘Pause is where you can find your tribe of like-minded people. People who want to challenge the everyday and build better futures. People who don’t want to accept the status quo’ – Fiona Slocum, Experience Designer.
Exhibit . A is the brainchild of Luke Saunders, design director at Pixel (a Melbourne based animation and production studio). Aimed at connecting local motion folk by offering an excuse to create, Exhibit . A is at its core a curated online gallery space for designers and animators, where a select group respond to a theme with motion pieces no longer than 15 seconds. Meant to be pretty casual, fun and a bit left of centre, we can’t wait for it to amaze our eyeballs (coming soon in late Feb!).
Ozanimate: Hi Luke! Tell us a little bit about yourself, How did you get into Animation?
Luke Saunders: I’m a designer and animator who, after living in Melbourne for 9 years, still has never been to an AFL match. I studied Visual Communication back in Sydney (the fancy-pants name for graphic design), and I remember having a fondness for movie title sequences. Motion graphics seemed like a new thing at the time and I think I was drawn to being part of something innovative. Since then, I’ve re-ignited my childhood love for drawing, which has pushed me back into cel animation territory.
OZ: How did the idea of Exhibit . A come about?
LS: I truly believe that best work is created as a result of collaboration, and that letting others in to your creative zone so to speak will always produce better results than hoarding your ideas away in a dark corner. I was lying awake one night and came to the realisation that perhaps revealing my ideas, processes, mistakes and triumphs was something I needed to do more. Moreover, perhaps it was something I should encourage in others within the design and animation community. I guess I’d like to see Exhibit . A become a tangible means of communication between designers and animators, where they could not only share their best work but also feel unafraid to take risks and push their style. I’ve always been inspired by the great work that’s come out of collaborative projects (Daniel Savage’s Yule log and 9 squares spring to mind), and Exhibit . A, like them, seemed like a great way to offer local talents an excuse to create.
OZ: What are some of the challenges with getting something like Exhibit . A off the ground?
LS: It’s a little tricky to know where to begin with new projects. You might have a grand purpose behind your concept, but it’s only once it’s in the hands of the users/contributors/viewers that it finds it’s true meaning. At this stage it’s exciting for me to see what people, both designers and audience, take away from this first exhibit, but it’s a little unnerving knowing that the direction it may take is largely beyond my control. Also, it can be challenging promoting an exhibition before the work is up, so you have to drum up a level of excitement for it with relatively minimal content. I’ve also been forced to learn how to use email folders. That changed my life.
OZ: How important is it for creatives and animators to get involved with these kind of passion projects?
LS: Any excuse to make something outside the bounds of normal client work is exciting. It offers a reason to take risks, be bold or express something about yourself for no other reason than to simply create. Putting your work up against other talented creatives can be a little intimidating, but letting them see what you’ve been working on can drive you to push your ideas just that little further.
OZ: What do you look for when curating for this type of exhibitions?
LS: Originality and a sense of personality to me are very important factors to look for. A certain level of expertise in animation and design are pretty necessary, whether it’s a great feel for timing or a knack for choosing the right colours, but I think Exhibit . A is about showcasing animators that challenge the current trends a bit. Of course, sometimes you can’t go past something that just looks beautiful.
OZ: Why the square format limitation?
LS: Good question. I always liked the way Instagram used to force users to show work within a square. I think it really made you consider the frame. Thanks to GIFS (and the internet in general) the square format has become a totally a valid aspect ratio. The square also lends itself to the casual and temporal nature of Exhibit . A, inviting the creative to use it like a canvas for expressing their thoughts and ideas. Lastly, I like the idea of making all the videos consistent when viewed as a collection.
OZ: Our readers will totally be interested in contributing, what’s the best way for them to get involved?
LS: There’s still a couple of spots left for this first exhibit! The best way is to send a copy of your site/folio/reel to firstname.lastname@example.org.
OZ: Melbourne has become quite the “Hub” for Animation with regular events like MIAF, Node Fest, LoopdeLoop and Pause Fest to name a few. Why do you think that is and how’s the Melbourne Animation scene like in your eyes?
LS: Melbourne has such a rich and vibrant art scene. It’s no wonder there are so many amazing animators here making great work. I think all these events help bolster Melbourne’s name within the international motion design and animation arena, and initiating more will only help to unveil the work of relatively untapped local talents to the world. Every day I seem to be discovering another amazing designer, illustrator or animator in Melbourne, which makes me genuinely buzzed for what the future holds for our local animation scene.
Sponsored by Toon Boom
With so many software options to choose from these days, it is sometimes hard to pick which one will get a special place in your animation toolbox. Sometimes a single feature can make all the difference and is enough to sway animators towards a new package.
No matter the required style of animation, Toon Boom ranks high on the list of top 2D animation solutions. Start in pre-production with Storyboard Pro and plan your production. Then, seamlessly export your files to Harmony for animation in any style.
Choose how you want to animate: 2d traditional animation on paper, paperless (digitally) frame-by-frame, or cut-out puppet animation. One particular TB feature made specifically for cut-out animation is Deformers.(Video: Toon Boom)
There are 2 main types of deformers: Bone Deformer and Curve Deformer. These are some of the “secret weapons” in Harmony, providing so much animation control it almost feels like cheating, making it possible to increase your animation productivity without sacrificing quality.
After making successful rounds around the festival circuit and grabbing some awards along the way, the new short film by Adelaide based, Makoto Koji is now online for our viewing pleasure. Dive into this magical world where an unattended cauldron result in an unexpected mythical creature.
Film by Makoto Koji
Music by Christopher Larkin
Made in South Australia and Financed through the South Australian Film Corporation’s support of the Media Resource Centre
Following our post on AFTRS’s Master of Animation last week. Prospective students in Sydney are spoilt for choice with Master studies in 2017 !
Australian award winning digital animation and visual effects production studio, Animal Logic, has partnered with the University of Technology Sydney (UTS) to deliver a ground-breaking industry led postgraduate program in digital animation and visualisation. Starting in 2017, the UTS ALA will deliver the first industry-led post graduate degree of its kind in Australia, a Master of Animation and Visualisation (MAV).
For further information on how to apply, please visit: www.animallogicacademy.uts.edu.au.
Hurry as applications will close on 11 November 2016!
Applications are now open for AFTRS MA SCREEN: ANIMATION & VFX. This course, led by Susan Danta, is being offered for the first time in 2017. The AFTRS Masters’ program is an intensive, 2-year degree with a maximum of 6 places per discipline so you are guaranteed one-on-one industry mentorship.
Join the prestigious list of AFTRS alumni working in the digital arts including Emmy Award winner Patrick Clair (Titles Design for True Detective), Academy Award Nominee Sejong Park (Birthday Boy) and Visual Effects Society Student Award Winner Sandy Widyanata (Plastic).
Click HERE to find out more about the program and how to apply.
In case you missed it here’s the hypnotizing music video made by Dropbear for Dan Sultan‘s new single ‘Magnetic’. It uses 3D printing, stop motion animation, projection mapping and 3D animation all combined to transform Dan into a living work of art. Two months of animating, 5 machines running day and night and over 60 individual 3D printed parts and 2700 photos !
Director and stop-motion animation: Jonathan Chong @ Dropbear Digital
3D scan and 3D animation: Shawn Miller
Projection mapping: Jean Poole
3D printing: Christopher Langton
DOP consultant: Cesar Salmeron
Editing: Jonathan Chong