Selected Sheridan - UT Music Animations

Here are a few examples of the results of the Sheridan College - University of Toronto Memorandum of Understanding, which has produced musical scores for more than 350 animated films since 2007.

These particular scores were picked to illustrate in just a few films the wide range of styles coming from this program.

1. SMORES -  Contemporary easy pop 

2. SCRAP METAL - 1950’s SciFi Orchestra

3. LUCIAN - Synth Sound Design

4. PEACH FOR TEACH - Saturday Morning Children’s TV (Award Winner) 

5. WOR(L)D - BBC NeoClassical Woodwinds

6. PANIC ATTACK - Guitar Western

7. EGGCELLENT - Big Band Jazz (Award Winner) 

Sound Ideas - Music & Sound Effects Licensing Agreement (General)

As far as I can tell, this is the License Agreement which applies to BA Animation's use of the various Sound Ideas libraries (both Music and Sound Effects) on Cyclops. 

I'll summarize what I see as the interesting points for us. 

(a) You (the student film-maker)  "have the right to synchronize the audio content from any Sound Ideas royalty free product with audio and/or visual productions... • film, video, DVD & TV productions • television presentations & commercials • Web pages • live performances..." etc etc. 

Sounds like we can use the music & sounds in our films, for just about any purpose, for as long as we want. Note, it must be in a the context of sound SYNCHRONIZED to picture. 

(b) We CANNOT add instruments or lyrics to any music, without prior consent of Sound Ideas. We rarely do this, but it's good to know. 

(c) We have a responsibility to inform Sound Ideas of "either broadcast or non-broadcast productions that are eligible for documentation by Performing Rights associations" 

If we have such an event (basically a TV broadcast is the most likely and important one)  "said music use should be reported to your local Performing Rights society and Sound Ideas." 

This is so that the Performing Rights payments will be made to the composer (or Sound Ideas.) This applies to music only, not to Sound Effects. 

This means that if you (the student film-maker) get a TV broadcast or other event for your film where performing rights would normally be paid, you must tell Sound Ideas and the local Performing Rights Organization (PRO) about it. 

In Canada, the PRO is known as the Society of Composers, Authors and Music Publishers of Canada (SOCAN.) They can be reached here - http://www.socan.ca/contact  Sound Ideas can be reached here - http://www.sound-ideas.com

In practical terms, this means that you must keep track of the following information about the music used in your film: 

a) What is it? - Track Name, CD number, Collection Name, etc. You can get this info from Cyclops by searching for your music filename. 

b) How much did you use? 30 seconds? A minute? Two minutes? 

c) What is the nature of the broadcast event? Where did it occur and when?

I think that summaries the details and legal rights and responsibilities that BA animation students incur by using music (and to a lesser extent sound effects) from Cyclops. 

Note that if your film stays within the College, none of this applies, and you are under no obligation to report any use. 

If you're interested, below is the exact text of the License Agreement, as given on Sound Ideas website. It was taken from this web location:  http://www.sound-ideas.com/pdf/end-user-license-agreement.pdf


 ===========================================================

SOUND IDEAS END USER LICENSE AGREEMENT

TERMS AND CONDITIONS
Sound Ideas royalty free products are sold to you with a lifetime non-transferable worldwide license for synchronization rights only. By accepting any Sound Ideas royalty free products, you acknowledge and agree to the stated terms, conditions and limitations of use. In the event of a breach of this License Agreement, action may be taken against you directly by the owner of the copyright.
Sound Ideas products must be purchased directly from Sound Ideas or one of its authorized Distributors. Unauthorized resale of Sound Ideas products is prohibited.

RIGHTS GRANTED
You have the right to synchronize the audio content from any Sound Ideas royalty free product with audio and/or visual productions or applications such as • film, video, DVD & TV productions • training, marketing and trade show presentations • corporate videos & educational applications • on hold messages & advertising • radio presentations & commercials • television presentations & commercials • live performances • speech & audio book products • Web pages & multimedia presentations • Online streaming and video broadcast sites such as Youtube • Social Media such as Facebook and Twitter • PowerPoint & Flash productions • interactive programs & computer games & synchronized content for Apps • AV & computer generated displays, podcasts (all such applications hereinafter referred to as "the Production"). You may create copies of the Production. If you sell, lease, give away or otherwise distribute copies of the Production, the rights and limitations to Sound Ideas synchronized audio content as outlined in this End User License Agreement are in effect for the life of the Production and pass automatically to the End User of the Production. All rights not expressly granted herein are reserved.

LIMITATIONS
Copyright infringement is a serious offence. Sound Ideas protects its copyright by all necessary means, including legal action. You are not authorized to:

• Make copies of any of the unsynchronized recordings contained within our royalty free products, except as may be designated to
  a single stand alone workstation for the sole purpose of specific audio and / or visual synchronization at your own facility. You are only licensed to keep one copy of the audio content on one stand alone workstation at any given time unless otherwise directly licensed by Sound Ideas.
  
• Copy, duplicate, provide access to, sell, lease, loan or give away unsynchronized sounds from any Sound Ideas royalty free product by any means including the World Wide Web, streaming audio or any delivery method now known or which shall become known.
  
• Transfer, re-record, copy or duplicate any Sound Ideas royalty free product, in whole or in part, for any purpose not authorized under this End User License Agreement without express written authorization from Sound Ideas. You may not transfer any Sound Ideas royalty free product, in whole or in part, electronically or via any peer to peer file sharing program, FTP site, service bureau operation, DRS, computer network or in any way not expressly allowed by Sound Ideas.
  
• Provide remote access to unsynchronized sounds from any Sound Ideas royalty free product to any location remote from your licensed address without a valid Remote Access License issued directly to you for this specific purpose by Sound Ideas.
  
• Provide sounds from any Sound Ideas royalty free product in whole or in part as mobile telecom audio content such as ring tones, ringback tones, soundscapes, multimedia messaging services (MMS), voice messaging, audio enhancements, greeting mail services, or other content applications now known or which shall become known, without a valid license issued directly to you for this specific purpose by Sound Ideas.
  
• Provide Sound Ideas royalty free products in whole or in part as unsynchronized content within other mobile communications or entertainment applications, such as iTunes Apps, or as unsynchronized content offered in software packages.
  
• Provide Sound Ideas royalty free products in whole or in part within retail toys, electronic sampling products or program chips.
  
• Sell or otherwise dispose of computers, hard drives or discs or any other electronic storage media which contains Sound Ideas' proprietary sounds or music (Sounds) unless all the Sounds have been deleted. All Sounds maintained on any computers, hard drives, discs or any other electronic storage media must be deleted before the transfer or sale of any computer, hard drive or
  disc that contains any Sound Ideas proprietary materials.
  
• Change or alter in any way an original music composition owned or represented by Sound Ideas (for example, by adding
  instruments or lyrics) without the prior written consent of the owner.
  
  
  PERFORMING RIGHTS
  With respect to any music compositions that may be included in any Sound Ideas royalty free product, this License does not include Performing Rights. Performing Rights represent the entitlement of music composers and publishers to benefit from the public performance of their compositions. Performing Rights societies like ASCAP and BMI in the United States and SOCAN in Canada, as well as many more around the world, have been established to collect and fairly distribute Performing Rights fees to music composers and publishers. If you use any musical compositions contained within any Sound Ideas royalty free product for either broadcast or non-broadcast productions that are eligible for documentation by Performing Rights associations, said music use should be reported to your local Performing Rights society and Sound Ideas. You agree to promptly furnish Sound Ideas with a complete and accurate music cue sheet for any production that is broadcast on television or distributed theatrically. Such cue sheet shall correctly identify the copyright owner, publisher, song title, and length of use for all Music licensed from Sound Ideas. Additional information about eligible music uses and cue sheets for music reporting are available from Sound Ideas.
  
  WARRANTY
  Sound Ideas warrants that your use of Sound Ideas royalty free products in accordance with this License does not infringe on any third party proprietary rights.
  
  LIABILITY
  Sound Ideas accepts no responsibility for any loss of business or business profits resulting directly or indirectly from the performance of any Sound Ideas royalty free product. Sound Ideas’ liability is limited and restricted solely to replacement at no charge of the Sound Ideas royalty free product in question.
  
  
  Sound Ideas
  105 West Beaver Creek Road, Suite 4, Richmond Hill, Ontario Canada L4B 1C6
  Telephone: (905) 886 5000 Fax: (905) 886-6800 Toll Free: US 1-800-387-3030 Canada 1-800-665-3000 Email: info@sound-ideas.com http://www.sound-ideas.com
  

Mark:102113 

Week 14 & Week "15" Deadlines

WEEK 14 

MILESTONE 6 - Portfolio, Demo Reel & Promotional Package
(remember - no classes on Friday of this week, so all assignments must be completed by end of day Thursday)


WEEK “15”


Monday 8 am - Hand-In deadline for Industry Day Screening (60”)

Tuesday 8 am - Hand-In deadline for Family Day Screening (full-length)

Thursday April 24 - Industry Day Screening and Awards

Friday April 25 - Industry Day interviews

Sunday April 27 - Family Day Screening (time TBA
)

Week 14 - Is There Life After Industry Day?

Ah, Week 14, and most of the big chores of the Semester are over, or nearly so. And the big event coming up (really soon) is Industry Day!

Naturally, you're all focussed on making a good impression at Industry Day, but still, it's only one day. And then what? Is there life after Industry Day?

In the Wednesday Lecture we have a panel of Sheridan BA Animation graduates to discuss exactly that question. Come to S235 at 11 am to meet and discuss with:

• Melanie Daigle
• Justin Hartly
• Noam Sussman
        • Adam Hines & Andrew Murray  (Guys With Pencils podcast)


Lastly, being the end of the year and just days before Industry Day (with Good Friday & Easter in between!) , there will be no Workshop this week. All the best on the last-minute tweaks and touchups to your films and portfolios!

Air Canada EnRoute FIlm Festival and Competition - $5000 prize

BA Animation have done well in this in the past, so consider entering your film for a chance at the $5000 top prize. Deadline May 31.

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

Air Canada enRoute Film Festival – Call for Submissions
Air Canada officially announced it is inviting Canadian film students and emerging filmmakers to enter its eighth annual short film festival! Each year, a celebrity and industry jury selects the best short films from across Canada and broadcasts them to an international audience on Air Canada’s enRoute in-flight entertainment system.

The winner of Best Short Film will receive a $5,000 cash prize, courtesy of presenting sponsor Cineplex Entertainment. Other awards include Achievement in Direction, Achievement in Cinematography, Achievement in Animation and, new this year, Achievement in Documentary. All award winners will receive an exciting destination prize to a major international film festival, courtesy of Air Canada. Achievement award winners will also receive special prizing designed to help kick start their careers in the industry, courtesy of our award partners the Directors Guild of Canada, William F. White International Inc., the National Film Board of Canada and the Hot Docs International Documentary Film Festival.

Selected films will be broadcast on Air Canada’s personal seatback entertainment system andviewed by millions of Air Canada customers around the world. A free public screening and awards celebration will be held in Toronto at the end of the year to honour the winners. Additional screenings and special events will take place in Vancouver and Montreal showcasing the selected films.



The festival is free to enter. To download an entry form and view full contest rules and regulations, please visit www.enroutefilm.com.Submissions will be accepted until Friday, May 31.

Important Screenings and Deadlines

Monday April 7, 8 am - Submission deadline for Class Screening of Finished Film (full-length)

Wednesday April 9, 10 am, S235  - Class Screening of Finished Films

Monday April 21,  8 am - Submission deadline for Industry Day film (:60 maximum length)
Tuesday April 22,  8 am - Submission deadline for Family Day film (full length allowed)

Thursday April 24 - Industry Day Screening

Sunday April 27 - Family Day Screening

Note that the HANDIN server has well-marked folders for each of these screenings. Be careful to submit your film to the correct folder. 

Presto Software Demonstration

From the recent Nvidia Developer Conference, a demonstration of some of the capabilities of Pixar's PrestoAnimation software. The software leverages the power of the Nvidia graphics card to provide realtime animation of 3 million vertices in the character model:







Presto demonstration at NVIDIA's GTC conference from Pixar Graphics on Vimeo.

SOUND MIXING & MASTERING

As the final film deadline approaches you are sure to be thinking about the Sound Mix for your film. At this stage, I recommend the following procedure:

(1) Prepare your sound track, including all music, sound effects and voice elements, in either Premiere Pro, Adobe Audition or ProTools.

(2) Adjust clip levels to keep the Master Meter level at -15 dB. This is your "Rough Mix."

(3) Book time at the Animation Studio to review your rough mix.  A one-hour booking will be enough time if you prepared (1) above.

To book the time, email Rick Andersen (rick.andersen@sheridancollege.ca) 
 or Mario Positano  (mario.positano@sheridancollege.ca.)

(4) At your scheduled time, bring a copy of your session or project, exported to include all required audio & video media files, to the Animation Studio and fine-tune your mix with master engineer Rick Andersen.  At the end of your hour Rick will output a professional broadcast-quality mix file in WAV format for you to use as your Soundtrack Master.

Week 12 - Finished Film due; Get Ready For Industry Day; After Effects Q&A

As usual we have a really busy week in BA Animation.

Milestone 5 is probably the biggest event this week. That means that your finished film is due to your Mentor for grading purposes. Talk to your mentor about exact date & time s/he is expecting it.

We have several events happening during the Wednesday lecture, starting with Chris Walsh's talk on Festival and Distribution Options for Independent Filmmakers. 

Following Chris, Tony Tarantini will give you some important information to Prepare Yourselves for Industry Day. 

That will lead into the annual Industry Day Desk Assignment. This is your chance to choose a good location in the Learning Commons area, where our Industry Day guests will meet with you after the screening. (My advice: pick a desk near the food!)

If there's any time left after all of this, we'll continue our screening of the 2014 Oscar Nominees for Animated Short Film with Possessions  by Japanese animator Shuhei Morita.

The Wednesday workshop is host to Adobe Systems' Colin Smith, resident expert on After Effects & Premiere Pro.  Is After Effects driving you nuts? Is Premiere just not behaving itself? Bring your problems to A150 to challenge Colin. He's pretty clever at coming up with solutions. Just once though I'd like to see him stumped. Let's see if we can do it. Wednesday , 2-4 pm, A150.

Industry Day Advice from Coordinator Mark Mayerson

As I'm not involved with 4th year this year, I thought I'd send out some thoughts you might keep in mind over the next few weeks.


Don't think of industry day as the grand climax of your life so far. Think of it as the first day of your job hunt.  It's important to keepyour expectations realistic.  Even if you get hired immediately, itwill not be the last time you're looking for a job.


Some of the studios present will be looking to hire.  Some will belooking for potential employees for future projects, but can't hireyet.  Some will be there merely as a day off from work and the chance to see other industry people.


Your goal when talking to industry people is to be pleasant and to ask a lot of questions.  Ask what their studio is doing.  Ask about software.

Remain open to possibilities.  If they ask what you want to do, tellthem but say that you're open to other tasks.  They may havesomething in mind for you that you haven't considered and youdon't want to discourage them.


Have an image from your film on your business card.  They won't remember your name and possibly not your face, but they'll remember your film. The card may also end up in the hands of someone who didn't come to industry day.  In that case, it's going to be the art that gets them interested. Make sure that your name and contact information is on the card.  Include a link to your work.


Make sure that the link leads to a portfolio and/or reel.  Don't have it go to a tumblr or blog where they have to dig to see examples of your work. Make it easy for them to find your portfolio/reel.  


Always lead with your best work.  If they're not interested after seeing your best work, there's no way you'd get the job.  But if you don't lead with your best work and they stop looking before they get to it, you may have lost an opportunity.  As someone who has hired artists in the past, I'll tell you that I didn't have time to waste.  Often, I could judge a reel in just 15 seconds or a portfolio with just two or three images.  Make sure that in that time, they're seeing your best work.


A job offer isn't an offer unless they've given you a firm start date and a financial offer.  Studios often string people along because they're waiting for a project to come in and may need to hire, but don't confuse an expression of interest with a firm job offer.


Take the first job you're offered.  It immediately separates you from the pack of graduates from this and other schools who haven't been hired.  Your first job will put something real on your resume and increase your professional network. That's a kind of credibility that only comes from working.


You may not get hired at the studio you want to work at or may not be hiredto do the job you aspire to.  Don't panic.  You've got 40 years to get whereyou want to be and at the start of your career, every job is educational.  At themoment, you don't know what you don't know.  Working any job in animation will begin to remedy that.


Just like a jug of milk or a loaf of bread has a "best before" date, so do you. Your "best before" date is one year after you graduate.  If you haven't been hired at that point, there's a new group of graduates whose skills are fresher than yours and who don't have to explain why they haven't been able to find a job in a year.  This is why it is so important to get into the industry as quickly as you can and why I say to take the first job that's offered.


The day after industry day, some studios will interview on campus.  If you are interviewed by multiple studios, be happy even if it doesn't result in a job.  It means that your work is professional enough to attract a studio's interest.  If you receive no interviews, it means that your work is not considered professional.  This is not a hopeless situation, but it is a serious one.  Continue to develop your work so that you can interest a studio in your work.


If you are able to relocate for a job, do it.  Studios in out of the way places often have trouble finding people, which is why they are more open to recent graduates.  You can work your way back to the location of your choice after you have some experience and are more valuable as a result.


After you leave the college, keep checking canadiananimationresources.caand awn.com for possible jobs.  If you know students from previous years who are working, keep in touch with them as they'll give you the inside information as to what's happening at their studios.  Stay in touch with people from your own year as well.  If you're working and know that your studio is looking, spread the word.  Someone will return the favour in the future.


If a studio rejects you, there's nothing wrong with approaching them a month later as the employment situation is constantlyshifting due to new projects or deadline crunches.  It's best to have new work to show each time you approach a studio.  This tells them that you are continuing to develop your skills and not just sitting at home killing time. If you keep going back to them with the same portfolio, you are wasting their time and not helping your chances.


Persistence pays off.  It's easy to get discouraged, but the people who succeed are the ones who get past being discouraged and continue to look for work. The more studios and people you are in touch with, the better your chances. It may take weeks or months, but it won't happen at all if you stop looking.


Good luck to everyone.  


Regards,

Mark

U of T Recording Session this Weekend!

The U of T Film Composing class holds their final recording session this weekend. That means this is the last chance to ask your composer for changes to your score.

This recording session is typically used for adding some live instruments ("sweeteners") to the synthesizer demo you received at mid-term.

Email them tonight or tomorrow, and be very specific. Only small changes are possible at this stage, so there's no point in asking them to rewrite the music overnight!

If your musical collaboration has been going along smoothly, expect a new (and final) version of your soundtrack sometime next week.

I've heard some great soundtrack work on your films this semester, and I hope to hear more in the final versions next week. Please send me with a copy when you receive it, and feel free to email me with any questions or concerns.

Wednesday's Events - What is Transmedia? and Sound Mixing Workshop

Our guest lecture this week is by none other than our own Jason Thompson, speaking on a subject dear to his heart. What is Transmedia and Why it Matters to You will fill you in on the latest developments in the world of media. S235 at 11 AM.

This lecture will be preceded by a screening of some of the Oscar nominees for Short Animated Film, including the Oscar winner, Mr. Hublot.

---------------------
In the afternoon workshop, bring your sound effects and music work to A150 for a session with sound designer and composer Tony Tosti, who will answer your questions about choosing the best sound effects, creating audio special effects, balancing the music with other sounds, and transferring your work from Premiere Pro to Adobe Audition for a more professional sound job.   Lab A150 at 2 pm.

WELCOME TO PHILADELPHIA!

Animation, hockey, and 1970's haircuts - what's not to love?

Check out this one-page online comic. It uses (very) limited animation in a very effective way to tell the story behind the infamous 1976 USA-Russia Hockey game.

http://victoryjournal.com/stories/hockey-story

REMINDER: Open Portfolio Review with Mercury Filmworks - today at 2 pm!

Ottawa's Mercury Filmworks will visit Sheridan College today (Monday March 17.)  In A360 at 2 pm today, they will review the portfolio work of the following students:

2:00 Yacheng Guo
2:20 Miranda Quesnel
2:40 Yue Moon Li
3:00 Alex Henderson
3:20 Jordan Shereck
3:40 Isabella Tse
4:00 Gary Ye
4:20 Annie Zhang
4:40 Ailin Liu

All 4th Year students are invited to watch and listen to this open portfolio review. Please be considerate of others when you enter or leave A360 during the session. 

Note that Mercury Filmworks will return on Industry Day and are likely planning to conduct more focused job interviews, based on the screening of your film, at that time.

Unimagined Friends -- Fantastic Student Group Film from VIA in Denmark

Courtesy of Kaj Pindal, this is a group film from the Animation school in Denmark where he also teaches. Well written, acted, designed and animated, this film should be an inspiration to all of you:

Hi-Res version here: https://vimeo.com/85147506

Open Portfolio Review with Mercury Filmworks

Ottawa's Mercury Filmworks will visit Sheridan College on Monday March 17, and we have scheduled two events that you might wish to attend.

(1) The first event is a lecture by Mercury's VP of Production,  Marianne Culbert, and HR Manager, Brittany Hanniman, detailing Mercury's many ongoing projects, with perhaps some hints about their plans for the future. This talk will take place in J102 at 11 am on Monday morning.  All are invited.

(2) The second event could be of personal interest to you, because Marianne and Brittany will conduct an open portfolio review at 2 pm in A360 a+b. The format will be similar to a personal portfolio review of your work, but with a small group of other 4th Year students allowed to watch and listen.

Bring any work you would like to include in your upcoming Graduation Portfolio (see Milestone 6 for details about the Portfolio requirement,) Mercury has kindly provided the following suggestions and advice:

a.      Start with your strongest work.
b.      Limit the amount of work included (sometimes “less is more”.)
c.      Look for “strong poses” (either in animation or life drawing.)
d.      Display creativity, design style and personality.
e.      Include significant layout/background work.
           (Mercury will speak to their needs in that department)

Reading between the lines, they want to see two things: animation with strong poses, and layouts/backgrounds. Be prepared!

If you would like your work to be reviewed please contact your Mentor and have them email me. I will arrange the schedule for Monday afternoon.

Note that Mercury Filmworks will return on Industry Day and are likely planning to conduct more focused job interviews, based on the screening of your film, at that time.

Winter Week 9 - Wed. March 12 - Brandon Scott, Justin Time, and yet another MILESTONE due

Week 9 - March 12

Lecture: The Animation Industry: Self-Promotion -  Brandon Scott (creator of Justin Time)

Workshop: General Portfolio Review - Brandon Scott

We've got a really interesting lecture and workshop this week, from one of our very own Sheridan BAA alumni, who has done very well in the Animation business since graduating in 2007.

Award-winning animator Brandon Scott is probably best known as the creator, developer and art director  of the Emmy-nominated animated TV series Justin Time. But he has many other credits to his name, including work for Guru Studios, and JibJab Media, as well as writing and illustrating several books.

Brandon is very generously spending the afternoon at Sheridan BA Animation to give you some background on what it takes to promote yourself in the animation industry, using his experience at developing and pitching his own TV Series as raw material. (S235, 11 am)

And from 2 to 4 pm he'll be in Lab A150 to review your portfolio and give you some sage advice. Bring your portfolio work on memory-stick and paper formats for an open discussion.

MILESTONE 4
2D -100% Cleaned Animation
3D -  50% Completed Animation
Stop Motion: 90% Completed Animation

Fresh from last week's screening of 100% rough animation, it's now time to clean it up, and for StopMo and 3D, to proceed at full speed on principle animation. Contact your mentor for complete details on deadline and grading.

Interested in being an Animation Tutor?

I recently received this email from a Toronto-area parent who would like to hire an animation tutor for his teenage son.  If you're interested, please contact the sender for more information.

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

My name is James Toccacelli.  My 13 year old son is interested in animation and game design...

Dante also has high functioning Asperberger’s Syndrome, and therefore introducing him to animation and game design via on-line education or tutorials is not a viable option.

Might you have a student who would be interested in “tutoring” Dante?  I would – of course – be willing to pay the going rate for these services.  We live near Royal York & Bloor in Etobicoke and could work here or at a location that has the necessary hardware / software, etc.

Please let me know if you have anyone in your program.  I’d suggest the following criteria but would defer to your POV:

·         Relatively far advanced in their studies (3rd or 4th year student)

·         Someone who has some experience tutoring, or working with differently-abled children

·         Geographically desirable would be nice, but not essential

Thank you in advance for your consideration.

Regards,

James Toccacelli

james@toccacelli.com

Nerdtastic Podcast -- Working in Games and Animation

(from Woodbury University,  by way of Nancy Beiman)

Nerdtastic podcast (  http://www.nerdtasticin3d.com ) discussing working in games and animation.  Check out episode #89.  It's full of great information, and a lot of fun.  

Included in the podcast are:

Sean Fennell: Crowd Supervisor and Crowd Department Chair - Dreamworks Animation

Jack Geckler: Crowd Lead/Artists - Dreamworks Animation

Sean Kearny: Lead Game Designer at Disney Mobile

Josh Labrot: Layout Artist at DreamWorks Animation

Jason Pecho: Engineering Manager at Disney Mobile

It was moderated by Ross Blocher, Training Project Manager and TD at Disney Feature, and Woodbury graduate.

It was really rewarding for me to sit there and have them validate the information I have been passing on to my students.

Enjoy and share with your students.  These guys deserve an audience.

Dori

Special Guest - Animation Director Barry Saunders

Bring your 3D animation or 2D animation and have an industry expert look over your work. Barry Saunders is Animation Director for the new Inspector Gadget animated series being produced by Media DHX in Halifax.  Barry has many years experience at Nelvana before moving to Halifax for this show.

Thanks go to Michel Hannan for arranging this workshop.

When : Wed  March 5th  
Time: 2 –3:30

Where: A150

(from the DHX Media website: )

"INSPECTOR GADGET is BACK! Dr. Claw has reactivated his global crime syndicate MAD and the bumbling Swiss army knife detective has been brought out of retirement to save the world!"

http://www.dhxmedia.com/shows/animation/inspectorgadget.html