Semester 8 Milestones now available

I've had a few requests from students this week for a look at next Semester's Milestones, so here they are, revised (slightly) for the 2014-15 academic year:

http://sheridan4thyear.blogspot.ca/p/4th-year-student-handbook.html

Feel free to email me if you have any questions.

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

Bruno Degazio, 

Professor, 4th Year Academic Advisor

Faculty of Animation, Arts and Design,
Sheridan College, Oakville, ON

degazio@sheridancollege.ca

website: http://www-acad.sheridanc.on.ca/~degazio 

Week 8 Deadlines & Reminders

LEICA REEL SCREENING 

I'm sure few of you need to be reminded that tomorrow morning at 8 AM is the deadline for submission of your Leica Reel. There is a big penalty for not participating, so be sure to put it in the correct folder!

Note that we might have to start earlier if the running time of all the Leicas is longer than three hours so keep your eye on this blog and email list for notification of changes.  We're currently planning to start the screening at 10 am on Wednesday, S235.

MILESTONE 5 

There is also a Milestone deadline this week - Milestone 5 - which is comprised of a Production Plan, Shot Breakdown, and Production Schedule.  (Or alternatively, depending on your Mentor, using Maury's famous Excel worksheet, available here. The Milestone also includes a Design Package (ungraded.)

ZBRUSH WORKSHOP

Last but not least, tomorrow (Monday Oct. 27) there is also a special workshop for those of you interested in the latest 3D modelling and design tools. The software is ZBrush, and we're very lucky to have a resident expert in the person of Florian Jacot. He'll demonstrate some of the features of this amazing 3D sculpting software. In Lab A151 at 6 pm.

Big Week Ahead! - Senior Animation Project Week 7

A big week is ahead of us as we get our Leica Reels ready for the screening in Week 8.

GUEST CRITIQUE

This week every Mentor Group will have a special guest who has been invited to view and critique your Leica reel. This will take place during your usual Mentor Group meeting time (or by special arrangement, at another time; stay in touch with your Mentor for details.)  This event is an important step in the development of your film; be sure to take advantage of it. Note that participation in this event is required and a penalty may be applied to your grade for non-participation.

LECTURE - Maury's Production Planner and a visit from Tinman Creative Studios

The lecture this week offers two highlights.  Firstly, mentor Maury Whyte will demonstrate and distribute an updated version of his Excel "Production Planning Worksheet", a valuable tool for organizing  and scheduling your production. (Many mentors will also accept the worksheet in lieu of some of the production forms for Milestone 5- Production Plan: Asset Estimate, Shot Breakdown, Production Schedule. Talk to your mentor for details.)

Secondly we look forward to a visit from Tinman Creative Studios, specifically creative director Brett Jubinville and a recent Sheridan graduate (TBA) who has recently been working at Tinman. They will discuss, among other things, the challenges of production planning in a creative environment, and the transition from Sheridan Animation to the "real world" of Web and TV animation production.  For more information about Tinman Creative Studios, go to tinman.tv

WORKSHOP - postponed to October 27

Due to scheduling complications related to the Monday holiday there will be no workshop this week. The planned workshop - ZBrush Tutorial with Florian Jacot - will instead take place on Monday October 27 in A151.

The Trouble With Dreamworks Animation

Here's an interesting and fairly in-depth article describing the current situation at Dreamworks:

It concentrates mainly on the business situation the company finds itself in rather than on the art and craft of animated storytelling. But the two are closely connected in Dreamworks' case, because the company's business model of making only two films a year requires each one to be a box office success. 

http://www.buzzfeed.com/peterlauria/the-trouble-with-dreamworks-animation#4gpcma6

This Week's Lecture & Workshop - Wed. Oct. 8 - GUERRILLA DESIGN

GUERRILLA DESIGN
This week we have two events to address the design phase of the animation pre-production process. Our guest is Peter Bielicki, whose credits include Mulan, The Hunchback of Notre Dame and Atlantis. Peter will speak at the 11 am Lecture on "Guerrilla Design Workbook Development for Short Animated Films."

Peter will also be on hand to review and discuss your design work at the 2 pm Workshop,  "Animation Design & Workbook Critique", taking place as usual in A150.

Animator vs. Animation , Episode 4

Some of you may be familiar with the series of web animations by Alan Becker about an animator battling with his own creation, a stick figure called "The Chosen One."

Episode 4, the latest (and longest) in the series was released yesterday. Although the live-action portions are a little plodding,  the animation itself hilariously fun, especially to those of us who use computers a lot. The final result is oddly supportive of the art of animation.

The film is also an interesting example of a Kickstarter-funded creative venture.



You can watch it here or at the original Youtube location below:

(
original Youtube link:
https://www.youtube.com/watch?list=UUbKWv2x9t6u8yZoB3KcPtnw&v=VufDd-QL1c0
)

New Link for Milestone 3 (Storyboard & Script) Examples

Some of you may have been unable to download from the link in yesterday's posting about Milestone 3 - Script and Finished Storyboard.  Due to the high volume of traffic, Dropbox has  suspended Public Access to the account hosting these files.

To remedy the problem I have copied the files to a secure server here are at Sheridan. The new link is:

http://www-acad.sheridanc.on.ca/~degazio/4thYearBlog/FallMilestone3_Examples/

This should work in any browser that supports FTP.


- Bruno

THIS WEEKS LECTURE: The Wonderful World of Color Keys

This Week's Lecture:

Scratch Track Recording for your Leica Reel - Bruno Degazio
The Wonderful World of Color Keys - Nancy Beiman

SCAET THEATRE, Wednesday Oct. 1,  11 AM

The main event in this week's lecture is a review of the importance of COLOUR in your film. The colour key is your first pass at this in the pre-production phase of project development. Nancy Beiman reviews the use of colour in animated film and illustration.

Also, I will provide some tips on preparing a vocal scratch track for your Leica Reel, including information on how to book time in the Animation Recording Studio, and several alternatives to studio recording.

HOW TO CREATE YOUR TEMP MUSIC TRACK FOR FREE (OR CHEAP)

As your film concept begins to take shape cinematically in the form of your Leica Reel, now is the time to establish the essential musical character of your film via the use of a temp music track. 

THE INDUSTRY APPROACH

Unless you have a composer already signed on to provide you with music, I would suggest that your first attempt at a temp music track involve a review of film soundtracks in a style or genre similar to your intended project. For example, If your story is a comic prehistoric adventure, then Alan Silvestri's score to The Croods will probably give you some ideas, and may provide you with a track or two that can be "re-purposed" for your film. This approach is universally used in the film industry in the early stages of a project. 

The Croods - Soundtrack CD

As the world's largest music retailer, the ITunes Store is an ideal tool for this tactic. Its main attraction is that you can review a huge range of possibilities free of charge, because up to 90 seconds of any musical track is playable as a free preview. And if you decide that a particular music track works for your film you can buy an un-copyprotected file immediately for just 99 cents. 

Regarding the copyright aspects of this approach, it is perfectly legal under the Fair Use (aka Fair Dealing) provisions of US and Canadian copyright law to use these commercial recordings as Temp Tracks.  The operative word here is "temp".  Your musical choices cannot be used for public presentation outside the academic context. However, well-chosen temp music can be a useful stand-in during the early stages of production, and will also make an excellent guide for your future composer to work with. 

LICENSED MUSIC - CREATIVE COMMONS AND OTHERS

In addition to the industry approach just described, there are many websites that will provide licensed music for free or for a relatively small fee. The most common arrangement for "Free" licenses is via Creative Commons. Usually the required "payment" involves simply giving credit to the creator of the music. Sometimes there is a restriction on commercial use as well, so be sure to read the fine print (i.e. the type of Creative Commons license imposed.) Most of the websites listed below offer music under Creative Commons licenses. The Internet Archive and Jamendo are both quite good in this respect. 


There are also many websites that offer original music that can be easily licensed for use in film.  Usually the costs are relatively low ($25-$99) and the legal arrangements are very simple, so that everything can be done online with a few clicks (and a credit card number!) 
Two websites that offer some an interesting range of music this way are With Etiquette  and the Vimeo Music Store. 

VIMEO MUSIC STORE -- BROWSER

Of course, here at Sheridan we also have the Cyclops Music Library server, where 
technologists Mario Positano and Rick Andersen maintain a listing of approximately 10,000 titles of stock music, for which the college pays a flat fee each year on your behalf. 

Below is a list of just a few of the many places online which can provide Creative Commons and other licensed music: 

Jamendo - Jamendo has a LOT of free stuff. Try it first.

The Internet Archive: Mostly older material,including historical recordings and soundtracks that have fallen between the cracks of copyright law and are therefore free. 

Vimeo Music Store - mostly commercial ($99 for a festival license) but also has free (Creative Commons Share-Alike License)

SoundCloud - online file locker for audio. Nice player software, and many items licensable for the asking. 


Overview | Music | Musopen - recent site with only copyright-free material. Mostly old recordings and/or government produced. 

With Etiquette - collective of alternative musicians who make their music available for low license fee. ‎
songfreedom.com - commercial stock music site

UniqueTracks Inc. - commercial stock music site, good selection, low rates ($40)

Royalty Free Music Library from premiumbeat.com - commercial stock music site

Stock Music - Royalty Free Music with an Edge - commercial stock music site

This Week's Workshop - Character Design

Workshop: Open Critique of Character Designs For 4th Year films.

NOTE CHANGE OF ROOM & TIME!

A151, Friday October 3,  9 am-11 am

Sheridan's very own Enzo Avolio will lead a character design workshop for us this week. Bring your current work-in-progress character designs to discuss with Enzo and others. 

Note that the workshop will NOT take place at the usual time but on  Friday Oct. 3 at 9 am. The room is Lab A151 (right next door to our usual space.)

Although design work (character or otherwise) is not specifically graded in the fourth year Milestones, it is an important part of the pre-production process and the Senior Film Project mentors support your design efforts with workshops like this. 

Below is an example of some of Enzo's character design work, from the Character Design Blogspot at:   http://enzo-avolio-interview.blogspot.ca

Milestone due this week: Milestone 3- Finished Boards and Script

Milestone Due:
Milestone 3- Finished Boards and Script

Here are links to several excellent examples of finished storyboards and scripts appropriate for this week's Milestone,  courtesy of Mentor Nancy Beiman.  

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

THE STORYBOARD 

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

I'm sure that none of you need to be reminded of the importance of the storyboard in the creation of an animated film. But I do want to remind you that this Milestone is your only chance to create your FINAL storyboards. This fact implies two important features of your storyboard at this stage: 

1) The NARRATIVE is completely worked out - e.g. exposition, conflict, crisis and resolution are all presented visually.

2) The PANELS are highly readable. They will become the basis of the LEICA REEL.

Here is a storyboard page from Yacheng Guo's Kongo:

Note the following about this storyboard sample: 

a) The project is identified by student name and working title. 

b) The version is clearly identified as "FINAL" boards. Page numbers are provided. 

c) Panels are drawn using the provided template, in 16:9 aspect ratio. 

d) All drawings are highly readable and suitable for conversion to Leica reel.

e) Panels are identified with Scene and Panel numbers.  

f) There is a verbal description for every panel, even when there is no dialog.  Editing choices (e.g. cut or dissolve, camera moves) are also indicated when relevant.

g) Although not evident in a single page, these panels constitute a portion of a FULLY WORKED OUT NARRATIVE.

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

THE SCRIPT 

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

 The script is an important stage because it allows your narrative imagination to become concrete in a form that is very easy to edit and modify.  When done well, as in this example, it will become an important reference throughout your production. 

Here is a sample page from the script portion of the assignment. This example comes from Lisa Lanese's Get Hot:

Some points to note: 

a) The page uses standard script formatting, e.g. Scene Heading left justified in capitals,  dialog centred and preceded by character name in caps, etc.  

b) The script is dated. Working title and author are clearly stated.

c) Although dialog is a small component of this script, there is a full page of description of many other important cinematic details.

d) Scene Locations are succinctly but unambiguously described, e.g. EXT. OUTSIDE A VAUDEVILLE THEATRE, 1925, NIGHT

e) Many cinematic devices are noted appropriately, e.g.  "FADE IN, Truck toward theatre," ; "SLIGHT PAN to the right." 

f) Sound effects and music are noted when relevant to the cinematic presentation. 

g) Much of the character activity which  will eventually be animated is noted verbally, e.g. "Charlie enters from screen right nervously holding a martini glass."

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

LINK TO MORE EXAMPLES 

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

The complete scripts and storyboards for these projects and others are available for download at:  
https://www.dropbox.com/sh/x7cpuuha01fqcbg/AABtFJMCLUD-BWxRRBL55fdda?dl=0

Lecture for Wednesday Sept. 24, SCAET 235, 11 am

Workshop for Wednesday Sept. 24, A150, 2 pm

STORYBOARDING WITH SCOTT CAPLE

At the tomorrow morning's 4th Year Senior Film Project Lecture we're very pleased to welcome back Scott Caple, whose many major credits  include environment design for The Incredibles, layout artist for Fantasia 2000 and storyboard supervisor for the Inspector Gadget TV Series.  

As you're working now on the transition from rough to finished storyboards (on your way to your Leica Reel) you'll certainly find  both of Wednesday's events instructive. At the lecture (11 AM, S235) , Scott will offer his ideas on Professional Storyboarding, and at the workshop (2 PM, A150) he'll be on hand to look into the technique and practice of storyboarding using Photoshop and other software tools. 

(below, an instructional layout drawing from Scott's blog, "Three Fingers Hold the Pen.")

Week of Sept.15, 2014 - Workshop & Lecture

This week we have a lecture by our Mentor Emeritus Kaj Pindal. The lecture is entitled "Laying the Tracks for a Successful Film",  and Kaj is one of the few animators with the breadth of experience in the film-making process to take the long view.  S235 at 11 am.

The workshop is given by Melanie Rose, a fantasy artist and freelance book illustrator  with a fabulous portfolio.  She also an experienced storyboard artist.   Take a look at her art here - http://www.melanie-rose.com

Melanie has a unique approach to her visual art, which you might find useful in your storyboarding work over the next few weeks.  A150 at 2 pm.

Professional voiceover and character voices!

I just got this email from Patrick Sweeney offering his professional services for voice work for your films.

Patrick has done many of our student films in the past few years, and he always does a great job. He works together with Lori Scarfarotti and Elley Ray, so between them there is a large stable of characters of both genders.

Please read the email carefully. Contact info is repeated again at the bottom of the email;.

-- Bruno

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

Patrick Sweeney <patsvoice@me.com> 

http://www.patsvoice.com

Just wanted to reconnect and see if your students are interested in any VO help this year, my are available for anyone in need of any animation/character voices. I have also recruited another animation VO talent whom you may know, Lori Scarfarotti. She has worked with Mark Simon's students in the past few years. So with Lori and I, we hopefully can be versatile enough to cover the spectrum of needs that your students may have this year.

Just as a summary for the students benefit, the voiceover services are available to anyone that needs a voice for their film project Pro bono. Giving back and having fun is our motivation for doing this and we look forward to it!  I record from my professional home recording studio and can easily have the students direct Lori or I via phonepatch. If they need an Animated/Character voice, a Narrator, an Announcer anything at all..... we can provide it for them.

If anyone is interested in using my services the following process can be followed:

1. Contact me by email or phone to discuss their project.  Cell 416 520-8786,  email pat@patsvoice.com. 

2. Tell me as much about their vision/project as possible, their expectations of us, any character details/pictures etc..... If the student requires a female voice actor, Lori Scarfarotti is available and very versatile.

3. After discussing the project we can set up a time to record a raw audio file in mp3, wav or aiff etc... 

4. On the set appointed recording date, the student can direct me over the phone or via Skype. During the session I can provide the student with as many takes as they wish throughout the recording process. My goal is to make sure their characters come to life and to ensure their expectations are met to produce a successful film.

5. Once the recording session is complete I will then send the student the raw file via FTP for them to edit within 24-48 hours depending upon my schedule.

If the students wish to learn more about me or to listen to my demos they can visit my website at the following link:  http://www.patsvoice.com

Thanks again for the opportunity and I look forward to helping any students/professors at Sheridan College in the coming year.

Patrick Sweeney

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

Phone     416.520.8786

E-Mail     pat@patsvoice.com

Website  www.patsvoice.com

Website  www.themedicalvoice.com

Link to Medical Narration Demo:

Nickelodeon Student Animated Shorts Pitches

This offer might be attractive to those of you going to Ottawa for the Animation Festival next week. 

Nickelodeon is willing to listen to pitches for short animated films suitable for pre-schoolers.  Details in the graphic below, or at: ottawa.nickjr.com

"From Leica Reel to Final Film" video showing Sheridan Animation workflow.

For some reason the embedded vimeo link to the "workflow" video doesn't come through in blogger's emails, so if you want to watch the video, go to my main blog page at  http://sheridan4thyear.blogspot.ca or directly to the vimeo page at https://vimeo.com/104525457 .

WELCOME TO 4th YEAR BA ANIMATION!

The 4th Year Senior Project Blog

Greetings to all Sheridan 4th Year BA Animation students!
This is the first posting of the 2014-2015 school year.  Note this blog address for future reference.:

http://sheridan4thyear.blogspot.ca

This is where all notices relevant to ANIM 45436 are posted, including Lecture guest announcements, workshops, and Milestone deadlines. There is also a listing of Mentor office hours (soon to be updated.)

Blog posts automatically get mailed to the 4thYear Mailing list, so keep an eye on your email for new postings.

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

What does this course consist of? 

ANIM 45436 is the course to help you make your Senior Project Film. It's made up of three components:

1) The Lecture Series, which takes place on Wednesdays at 11 am, in SCAET 235
2) The Workshop series - Wednesdays at 2 pm, in Lab A150
3) Mentor Group Meetings - various times through the week, mostly in A360

In addition there are several highlights to the semester:

4) SCREENINGS - All film works-in-progress are screened twice in the semester; the Leica Reel in Week 8, and the Animatic Reel in Week 14. These screenings are CENTRAL to the production workflow and are therefore required of all students. There is a 20% Grade Penalty for not submitting your film for screening. 

5) Guest Critique - During Week 7's Mentor Group Meeting, a guest, normally form the Animation Industry, will be present to view and critique your Leica Reel. This is a valuable opportunity to have a fresh & experienced pair of eyes view your film - make the most of it!

6) University of Toronto "Composing For Film" class.  - Each year about 40-50 animation students work with musicians from the U of T Faculty of Music to have music written specially for their films. The first step of this process happens this Fall (normally in Week 10) when we travel to U of T for a "Meet and Greet" session.

The Lecture and Workshop Series

You can get some idea of what we cover in the Lectures and Workshops by browsing through this listing. Note that most of the Lecture and Workshop bookings are still tentative and are subject to change. More details will be available at the first lecture:

http://sheridan4thyear.blogspot.ca/2014/08/4th-year-senior-project-fall-lecture.html

The Milestones

Grading for this course is determined by meeting the Milestone requirements as laid out in the 4th Year Handbook (link below - see especially the section titled, "SEMESTER 7 MILESTONES".) You'll get a very good idea of where you're going with your film project over the next few months by browsing through this document. More details at the lecture:

http://sheridan4thyear.blogspot.ca/p/4th-year-student-handbook.html

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

What workflow do we use? 

You might have fun watching the video below. It's a compilation of several films from last year's graduating students, shown in four stages of development, from Leica Reel to Clean Animation. It should give you an idea of the overall workflow we use in the 4th Year Senior Project films. I'll show this video at the lecture and we'll have some time to discuss what out means for you:





(link: https://vimeo.com/104525457)


I'm looking forward to seeing you all on Wednesday at 11 am.

Bruno Degazio
4th Year Academic Advisor
Senior Project Course Lead
Senior Project Mentor

4th Year Senior Project - 2014-15 Fall Lecture & Workshop Schedule

Unless otherwise stated, lectures take place in S235 and Workshops in A150.

Week 1 - Sept. 3

Lecture:

- Course Introduction and Overview

- Course Policies

- 4^th Year Course Handbook

- Stephen Barnes - BirdBrain & Jade Rabbit animatic reels
- 2014 Ottawa Festival selections
- 2013-14 animations with student music scores

- review of past Animatic reels - the good and the bad

Workshop:

Alternative Forms and Techniques for Short Animated Films

Workshop Leaders: Bruno Degazio & Trevor Davies

Week 2 - Sept. 10

Lecture:

Advanced Storyboarding - Nancy Beiman

Essential Academic Considerations for 4^th Year- Bruno Degazio

Workshop:

Story Development for 4^th Year Film - Using ToonBoom StoryBoard Pro 

Workshop Leader: Andrew Murray, Storyboard Artist, Nelvana

Milestone Due:

Milestone 1- Story Pitch and Concept Art

Week 3 - Sept. 17

Lecture: 
Laying The Tracks for a Successful Film -  Kaj Pindal

Workshop:

Approaches To Storyboarding for 4^th Year Films - 
Melanie Rose (illustrator for children’s books/concept artist for advertising, entertainment, and editorial industries) (tent.)

Milestone Due:

Milestone 2- Story Treatment and Rough Boards

Week 4 - Sept. 24 

Lecture:

“Professional Storyboarding” Presented by Scott Caple

Workshop:

Practical Storyboarding with Photoshop and other tools. 

Workshop Leader: Scott Caple

Week 5 - Oct. 1

Lecture:

Scratch Track Recording for your Leica Reel - Bruno Degazio
The Wonderful World of Color Keys - Nancy Beiman

Workshop: A151, Friday 9 am - 11 am
NOTE CHANGE OF ROOM & TIME!
Critique of Character Designs For 4^th Year films - Enzo Avolio 

Milestone Due:

Milestone 3- Finished Boards and Script

Week 6 - Oct. 8 

Lecture:

Guerrilla Design and Workbook Development for Short Animated Films - Peter Bielicki 

Workshop:

Animation Design & Workbook Critique - Peter Bielicki

Milestone Due:

Milestone 4- Finished Leica (2 versions: 60 sec and full length)

Week 7 - Oct. 15

Lecture:
Production Planning: Morghan Fortier, executive producer, Brett Jubinville, director, Tinman Creative (tent.)

Production Worksheet Introduction - Maury Whyte (tent.)

Workshop: Monday Oct. 27, 6-8 pm, A151 - 
NOTE the change of Room, date and  time!

ZBrush Sculpting workshop - Florian Jacot 

Special Event: Guest Leica Reel critique

BREAK WEEK

Week 8 - Oct. 29

Lecture & Workshop:

LEICA REEL SCREENING  (10 AM, S235 - note the early start time!)

Workshop: Monday Oct. 27, 6-8 pm, A151 - 
NOTE the change of Room, date and  time!
ZBrush Sculpting workshop - Florian Jacot 

Milestone Due:

Design Pack (unmarked)

Milestone 5- Production Plan: Asset Estimate, Shot Breakdown, Production Schedule

Week 9 - Nov. 5

Lecture:

Preparation for University of Toronto Sound Trip - Bruno Degazio

Professional Practices for Layout - Terry Lenko  (Curious George feature, series work on Franklin, Little Bear, Bob & Margaret; Production Designer on The Backyardigans, and Sidekick)

Workshop:

Layout Critique for 4^th Year Films

Workshop Leader: Terry Lenko 

Week 10 - Nov. 12

Lecture & Workshop:

University of Toronto Music Trip (times for this week to be confirmed closer to date)

Milestone Due:

Milestone 6 
- For 2D: Animatic Reel; 
- For 3D: Models and Animatic
- For StopMo: Sets, Props, and Puppets @ 30% Complete

Week 11 - Nov. 19

Lecture:

Animation Timing - Greg Duffel

Workshop 2-4 pm 

Rigging for 4^th Year Films, Part 2.

Workshop Leader: Mark Palowich (tent.)

Week 12 - Nov. 26

Lecture:

Industry Day Primer - Tony Tarantini
Inspired Acting: A Study of Great Moments From Great Actors - Stephen Barnes 

Wednesday Workshop - 4th Year Studio Video Reference Area
Using Video Reference for Animation - Steven Barnes

Week 13 - Dec. 3

Lecture: Working with a Composer (Tony Tosti)

Workshop:

Soundtrack Workshop and Adobe Audition refresher, with Tony Tosti
.

Milestone Due:

Milestone 7- 
For 2D: Performance Test; 
For 3D: Rigging Complete; 
For SM: Sets, Props, and Puppets 100% Complete

Week 14 - Dec. 10

Lecture:

ANIMATIC SCREENING (times for this week to be confirmed closer to date)

Workshop:

Special Christmas screening and critical discussion of Raymond Brigg's Oscar nominated short film, The Snowman
Kaj Pindal, workshop leader (tent.)

Milestone Due:

Milestone 8- Screening Participation Review

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
  

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