Showing posts with label WIA-SF. Show all posts
Showing posts with label WIA-SF. Show all posts

Wednesday, October 1, 2014

National Film Board Of Canada Animation Event from ASIFA-SF

Hello Women in Animation SF members! ASIFA-SF has invited us to their National Film Board of Canada Animation Event at the Walt Disney Family Museum this FRIDAY! Read the details below and be sure to RSVP to ASIFA-SF President Karl Cohen. 


THE NATIONAL FILM BOARD OF CANADA IN COLLABORATION
 WITH ASIFA-SF AND THE DISNEY FAMILY MUSEUM PRESENT:

AN IN-PERSON EVENING WITH TWO REMARKABLE FILMMAKERS OF THE
NATIONAL FILM BOARD OF CANADA

TORILL KOVE
DIRECTOR OF THE ACADEMY AWARD® WINNING SHORT FILM THE DANISH POET

NICOLA LEMAY
DIRECTOR OF NO FISH WHERE TO GO WINNER OF FIPRESCI PRIZE @ ANNECY 2014



FRIDAY, OCT. 3, 7 PM
AT THE WALT DISNEY FAMILY MUSEUM, FREE!


PLEASE RSVP by 6 pm, THURSDAY, OCT. 3  to: karlcohen@earthlink.net
RSVPs will be confirmed.  If the list is full there will be a waiting list. If your RSVP and can’t come, please tell us, so someone on the waiting list can have your seat.
THIS IS OUR INTERNATIONAL ANIMATION DAY EVENT

TORILL KOVE will show her witty semi-autobiographical trilogy for the NFB. My Grandmother Ironed the King’s Shirts (2001) was nominated for an Academy Award® and The Danish Poet (2006) won the Oscar® for Best Animated Short.  Her latest NFB film, Me and My Moulton, recounts memories of growing up in a creative and unconventional family in 1960s Norway.  In addition to screening the three films, Torill will discuss the creative process of writing, storyboarding and animating shorts, using clips, sketches and storyboard panels from her past and current works.

NICOLA LEMAY has been an acclaimed collaborator with the NFB since 1999 as an animator, designer and director. Following his one-minute episode of NFB’s innovative Science Please! TV series, Nicola will show his new film No Fish Where to Go, co-directed with Janice Nadeau and winner of the FIPRESCI Prize at this year’s Annecy International Animation Festival. His presentation will address the challenges of adapting a renowned illustrated literary work into a powerful animated short.

The program will also include three new NFB animations, including Michèle Cournoyer's Soif, a depiction of alcoholism in the bold, metamorphic graphic style of The Hat, her acclaimed study of sexual abuse; Marie-Josée Saint-Pierre’s Jutra, an animated short documentary about Claude Jutra, the celebrated French-Canadian director of live-action features, who committed suicide after becoming afflicted with Alzheimer's disease; and Tali's Bus Story, winner of the Best Short Film award from the Annecy 2014 Junior Jury.

Friday, April 4, 2014

Intern Fridays: Disney Intern Nicole Ridgwell

Intern Fridays features interviews with former Interns at animation, film, and video game studios. Today we bring you Nicole Ridgwell, former intern at Walt Disney Animation Studios.  Enjoy and stay tuned for future Intern Friday Interviews!

What is your current job title and where do you work?

I’m finishing my last year at Academy of Art University studying animation. I also teach music lessons and play in a band called Sioux City Kid. 

What does your job entail?

I teach private violin lessons and preschool music classes, and I teach a program called Music Together where kids and their families participate in group classes. I just finished a pacific northwest tour with my band, where I sing and play violin.

What inspired you to become an animator and a musician?

I’ve always loved art and music. My family lived in a trailer without electricity when I was a kid, so I spent most of my time painting and playing violin. In high school I got involved in theatre, music and art. I became inspired after seeing how deeply my philosophies were influenced by what I watched. Once I graduated I spent about a year as a professional musician playing in bands and teaching. The lifestyle was really fun but I knew I wanted something more; I wanted to leave my mark on the world. I realized that animation combines everything I love together; painting, drawing, music, acting, and collaboration. A good animator can make people laugh, make them cry, and can change the way they see the world. I applied to Academy of Art University and moved to San Francisco, and have been here ever since.

Where did you study?

I’ll be finishing my BFA in animation this winter at Academy of Art University. I also took classes at Animation Mentor and The Animation Collaborative in Emeryville.

Why did you choose to apply to Walt Disney Animation Studios for the internship?

As a kid, I was hugely inspired by Disney films. My family had no TV but our neighbors had almost every animated film on a giant shelf in their living room. I remember lying on their rug watching Aladdin on repeat, then running outside to pretend we were flying on a magic carpet. Disney films nurtured my imagination. The first three years I lived in San Francisco I worked as an actress at The Cinderella Company, playing Disney princesses at kid’s events. It was an incredible experience, seeing how much Disney inspires kids and affects their worldviews. Ever since then I think working for Disney has hovered in the back of my mind.

What did you submit for your portfolio and how did you prepare for the submission?

I submitted my demo reel, letters of recommendation, resume, cover letter, and drawings online in Disney’s careers section. I prepared by asking teachers that I respected to write letters of recommendation as early as possible, and I made sure my portfolio had only my strongest drawings. I included gesture drawings, animal drawings, and a few illustrations. Same thing with my demo reel- I only included my best work. I included a two person dialogue, single person dialogue, pantomime, and a body mechanics sequence.

What do you believe separated you from others who were also applying for the internship?

I was shocked when I got the call; I’m still not entirely sure why they picked my reel over all the others. Our mentors at Disney mentioned to us that they picked Reece (the other intern) because his reel was hilarious and made them laugh, and they picked mine because they felt my acting was genuine. I think the best thing to separate yourself from other candidates is to animate shots that are personal to you. I don’t choose shots based on what studios want to see, I choose shots based on what I want to animate. I think that’s what makes my reel unique. 

What was the interview process like for the Disney internship?

There actually wasn’t any interview process. I was animating in lab at Academy when I got a call from Matt telling me the internship was mine if I wanted it. The next day I started planning my trip to LA! 

What department did you intern in and what specific tasks did you accomplish as an intern?

I was one of two CG animation interns in an eleven person group composed of visdev, story, modeling, rigging, texturing, TD, production, and animation interns.  Disney had a giant room devoted to talent development on the first floor of the building where we worked. As a summer intern group, we made a minute and a half short film from scratch- all the way from story through lighting and sound. While technically my only job was to animate, all the interns were very involved in the whole film-making process. In addition to the film we also worked on outside projects with our mentors.

What was the best and most unexpected thing you encountered as an intern for Disney?

The culture. I had never worked at an animation studio before, and coming from a background as a musician and actor, I was expecting it to be a high stress environment. But while everyone does work hard, it is one of the most fun places I’ve ever been. Everyone is so friendly, helpful, and kind. My mentor Michael went completely above and beyond his duty, often visiting me multiple times a day to give feedback, and sending me music playlists to listen to while I worked. I felt welcomed and included from the moment I stepped into the building and looked up at Mary Blair’s art hanging all over the walls.

How did the internship prepare you for your current career?

I definitely have a lot more speed and confidence in my school assignments than I did before I went to Disney. I think the biggest thing that changed about my work is appeal. I really learned there that you can’t let the rig dictate what shapes you make. I also learned a lot about how to work with a team and hit deadlines.

What is your opinion on paid versus unpaid internships?

I believe internships should be paid. It’s a tough question because I know any chance to get your foot in the door is a rare opportunity these days. I am lucky enough that I’ve never been in a position where I had to work without getting paid.

What advice do you have for aspiring artists who want to intern at a studio or game company?

Be yourself! Make sure your work is unique to you and your interests. Work hard and don’t give up. It’s a competitive industry but don’t believe it when they say that your reel doesn’t get seen if you send it cold. I sent my reel to Disney cold and it still got chosen. If you are going to an art school, make sure you go beyond their curriculum in your studies. Take outside classes and motivate yourself to learn as much as you can. 

Thank you so much for interviewing me, it’s been an honor!

Thank you Nicole for the interview! You can view Nicole's work at her website:


And at Vimeo/Twitter:

And for more info on Women in Animation San Francisco visit our Facebook Page at:

https://www.facebook.com/wiasf

and Twitter at:

https://twitter.com/WIASanFrancisco

Friday, November 29, 2013

Intern Fridays: Interview with Lead Puppet Maker and Costumer Eliza Ryus

Intern Friday features interviews with former Interns at animation, film, and video game studios. Today we bring you Eliza Ryus former intern at Fonco Creative Services and now Lead Puppet Maker and Costumer.  Enjoy and stay tuned for future Intern Friday Interviews!

What is your current job title and where do you work?

I'm the Lead puppet maker and costumer at Fonco Creative Services.

What does your job entail?

I make stopmotion and live action puppets and costumes for animated shorts, commercials, and trailers. 

What inspired you to become an artist?

The cartoons I watched as a child. I saw Looney Tunes when I was 5 and decided that's what I wanted to do. Of course that's changed a lot in the years since but still in the same vein. 

Where did you study?

I received my BFA at The School of the Art Institute of Chicago and my MFA at Academy of Art University in San Francisco. 

Why did you choose the studio to apply for the internship?

I actually fell into my internship with Margo Mitchell Media and Marvel Comics by being friends with the guy who had it before me.    

When he graduated, he recommended me for the job. My internship at Fonco started because I was introduced to the head of the studio by my professor and my mentor recommended me for the job.

What did you submit for your portfolio and how did you prepare for the submission?

For Marvel and MMM I was working directly for a freelance artist and helping with Marvel book pages so I went to his studio and showed him some work on a slide show on my laptop (2007).
When I applied for Fo I had a website he could look at. Nowadays I keep my work on an iPad.

What do you believe separated you from others who were also applying for the internship?

Being personable. I believe being friendly and easy to work with has made a large difference did me. I make friends easily and that has helped me more than anything else. 

What was the interview process like for the internship?

Very casual on both counts. We sat and talked about movies and comics we were into, art and making stuff then I was offered the job. Pretty simple considering how nervous I was. 

What department did you intern in and what specific tasks did you accomplish as an intern?

I interned for a colorist so I did the flat color layouts for a little throwback indie comic for Marvel. So a lot of Photoshop work.

At Fonco it's always something new. When I was an intern, I was put to work making puppets for our original content and every puppet was completely different than the last so I had to wrangle it a totally new way with new materials every time. 

How did the internship prepare you for your current career?

At MMM working on a Marvel book I learned a lot about the pipeline and deadlines and efficiency. 
At Fonco I was an intern for my first year and I worked really hard, always tackled a challenge with a clear head and got along with everyone I worked with and that slowly got a real lead position there. 

What is your opinion on paid versus unpaid internships?

I think internships should be paid. I worked for years as an intern at many places. We worked overtime a lot and were usually given the hardest tasks just because we were interns and “needed to learn the ropes.” I was always glad to have the experience, but I was still a student and working 40 hour weeks unpaid and because it's such an important opportunity you can't take the time off to get a second job to pay your rent. Also I believe most employers are unaware that in order to get the 'class credit' interns are paid in, students still have to pay the same amount as they would for a regular class. So essentially interns pay a couple thousand dollars to work for a company that can't even cover their rent. So yes, I believe they should be paid. 

What advice do you have for aspiring artists who want to intern at a studio?

It's the best way to get a job after school, but it doesn't always pan out. Sometimes you really are just free labor and if you're an unpaid intern, do one year, do it well, get the credit and resume line and move on. If there isn't a job at the end of that year, hop from company to company. If you're going to be unpaid, get as many good connections as you can at different places, be friendly and work hard but don't get taken advantage of. Knowing a lot of people in other places is always helpful and they usually know each other and can recommend you if a paid job pops up somewhere. You want to be fondly remembered. 

Thank you Eliza for the interview! Check out more of Eliza's work at: 

And for more info on Women in Animation San Francisco visit our Facebook Page at:
https://www.facebook.com/wiasf

and Twitter at:
https://twitter.com/WIASanFrancisco