FESTS AND EVENTS An­necy An­i­ma­tion du Monde Pro­gram Al­lies with Africa

Animation Magazine - - Frame- By- Frame - By Tracey Miller-Zarneke [DK, $24.99]

The vig­or­ously de­vel­op­ing African an­i­ma­tion in­dus­try has opened an­other in­ter­na­tional av­enue with the lat­est MIFA An­i­ma­tion du Monde ini­tia­tive.

The pro­gram will pro­mote “an­i­ma­tion with­out bor­ders” with a first-ever pan-African pitch­ing com­pe­ti­tion, or­ga­nized by the An­necy In­ter­na­tional An­i­mated Film Fes­ti­val & Mar­ket, the African An­i­ma­tion Network and DISCOP.

Dubbed “An­necy — MIFA Pitches An­i­ma­tion du Monde,” the African ini­tia­tive will com­prise two semi-fi­nal rounds, coin­cid­ing with DISCOP Abid­jan in Côte d’Ivoire (May 30-June 1) and DISCOP Jo­han­nes­burg in South Africa (Oct. 25-27). Both events will turn out six projects, with all 12 com­pet­ing in the Grand Fi­nale at DISCOP Jo­han­nes­burg for two fi­nal­ist spots. The top two project cre­ators will re­ceive au­to­matic en­try into An­i­ma­tion du Monde 2018 at An­necy, in­clud­ing ac­com­mo­da­tion and MIFA ac­cred­i­ta­tions.

Projects can be reg­is­tered for the first round at DISCOP Abid­jan through dis­co­pafrica.com through May 9.

A com­pre­hen­sive guide to the de­sign and build­ing of the minifigs, ve­hi­cles and brick­tas­tic world an­i­mated by An­i­mal Logic. By Ramin Za­hed, pref­ace by Tom McGrath, fore­word by Alec Bald­win, af­ter­word by Marla Frazee [In­sight Edi­tions, $45] Take a chair on the board of Baby Corp. for a lushly il­lus­trated in­sider’s look at how the sto­ry­book tot got a fea­ture pro­mo­tion from DreamWorks. By Tracey Miller-Zarneke, fore­word by Veronique Cul­li­ford [Cameron + Com­pany, $45] Hun­dreds of sto­ry­boards, char­ac­ter de­signs and con­cept pieces bring Peyo’s col­or­ful char­ac­ters (and their new friends from Sony) to life. By David S. Co­hen, fore­word by Richard Tay­lor [In­sight Edi­tions, $45] Be­sides the white­wash­ing con­tro­versy, Ru­pert San­ders’ adap­ta­tion cre­ated a jaw-drop­ping fu­tur­is­tic world of gi­ant holo­grams, ro­botic geisha and in­sane bion­ics — pure dig­i­tal artistry. [Ko­dan­sha Comics, $29.99] Originally as­sem­bled as an An­goulême comics fest ex­clu­sive in 2015, this 168-page hard­cover fea­tur­ing works by 80-plus il­lus­tra­tors and comick­ers (in full color!) has been reis­sued with a new cover by Kat­suhiro Otomo in honor of Akira’s Funko — These are a cou­ple gems from the line, which also in­cludes Mys­tery Mi­nis ($3.99), plushes ($9.99), and 5-inch ac­tion fig­ures ($12.99, out in May). Pocket Pop! Key­chains [$5.99 ea.] Avail­able in Rick, Morty and Mr. Meeseeks mod­els. Pop! Vinyl Fig­ures [$9.99 ea.] New char­ac­ters: Weaponized Rick, Weaponized Morty, Mr. Meeseeks, Mr. Poopy But­t­hole, Bird Per­son, Squanchy and Snow­ball. [ --Mercedes Mil­li­gan

2Ger­many is the place to be this week for the Stuttgart Int’l An­i­ma­tion Fes­ti­val, FMX and An­i­ma­tion Pro­duc­tion Day — all in the same metro. [itfs.de | fmx.de | an­i­ma­tion­pro­duc­tion­day.de] Mean­while, Tre­bon, Czech Rep., hosts Viseg­rad An­i­ma­tion Fo­rum and the AniFilm Fes­ti­val [viseg­radan­i­ma­tion.com | anifilm.cz]

room back­grounds.”

Shaw wrote and di­rected the fea­ture, which tells the story of teenage Dash Shaw, whose reg­u­lar life work­ing on the school paper and hang­ing with best friend, As­saf, is thrown into tur­moil when his sea­side school tum­bles into the ocean. Told with Shaw’s art hand-drawn on paper and scanned into a com­puter for an­i­ma­tion, the movie looks like noth­ing else out there as it fol­lows young Dash and his friends’ at­tempts to sur­vive the disas­ter. It plays like a John Hughes movie crossed with Ti­tanic or The Tow­er­ing In­ferno, and has earned rave re­views on the fes­ti­val cir­cuit.

Car­toon Dop­pel­gänger The movie ver­sion of Dash Shaw bears some re­sem­blance to the di­rec­tor in his teen years. “I was a nerdy teenager and I worked on the school news­pa­per, so I had friends like the friends in this movie,” he says. But he says the

ber Group is do­ing with a Brazil­ian com­pany. “It would be much eas­ier if we were on the ground some­where in Latin Amer­ica than just go­ing over Skype like peo­ple mostly do with co-pro­duc­tions,” he says.

Gold­smith, for ex­am­ple, is charged with de­vel­op­ing Cy­ber Group’s busi­ness in China and Asia.

“I would like this com­pany in five years from now to be on all con­ti­nents with its own im­print so that we could work lo­cally, re­gion­ally and glob­ally with the best tal­ents on all con­ti­nents,” Siss­mann says. Artis­tic Devel

op­ment The sec­ond part of Siss­mann’s plans for Cy­ber Group is artis­tic de­vel­op­ment, which he de­fines as grow­ing the com­pany’s abil­ity to ex­e­cute any kind of ma­te­rial it wants to as well as it can.

For ex­am­ple, he says, when Cy­ber Group started, it be­gan by mak­ing CG preschool shows, which were un­usual then. Hav­ing found suc­cess in that arena, the com­pany set its sights on kids’ shows, and in the process added 2D an­i­ma­tion ca­pa­bil­i­ties to its pal­ette. Now, it’s got hy­brid and stop-mo­tion projects

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