I have an actual post in the works, but here’s a little note of interest for you Vancouver artists.

It’s pretty neat and you better hurry because at the time of this writing, it’s 75% sold out!

So get cracking.

VanArts is proud to present a Masterclass in Animation & Story Development with instructors Story Artist Matthew Luhn, and Animator Andrew Gordon, both from Pixar Animation Studios!

This exceptional 2-day event offers participants a rare and exciting opportunity to learn from the industry’s top talent. This class has toured the world, with this being one of only two North American stops in 2010.

Pixar Animation Artists Masterclass website link and phone number:

http://www.vanarts.com/pixar-vancouver

Online ticket purchase link:

https://register.beanstream.com/scripts/registration.asp?form=852

Event location:
Fletcher Challenge Theater – Simon Fraser University
515 West Hastings St., in downtown Vancouver

Event schedule/dates/times (this is a 2-day event):
Day 1:  September 24th, 9am-5pm
Day 2:  September 25th, 9am-5pm

Hi.

Remember me?

I used to write a blog about storyboarding. Well okay, I still do… just not lately.

*slaps wrist*

And I’ve been stressing about starting up again because it’s been so long. As in…the first post back better be a GOOD ONE.

So I’m going to write a crappy one just to take the edge off, if that’s okay.

Rest assured I am very much alive and well.

I’ve just been suffering from a case of post-storyboard-contract “Lazy-ass-itis”.

Here’s what I’ve been doing.

I ended my Kid vs Kat contract at the end of May. *whew*

And survived.

I went to Hawaii at the beginning of June.

See?

Sweet, sweet Hawaii. *sigh*

Then home and relaxed some more. (That’s about when the “Lazy-ass-itis” kicked in.)

I turned down some work. (See above.)

I saw ‘Toy Story 3′. Twice.

Loved it. *sniff*

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Thank goodness May is here. Because April was emotionally draining.

I was looking forward to April ending because of all the ‘death stuff‘, then on the morning of the 30th (the last day of the month) I received an email with more sad news.

My ex-boss and friend of many years had succumbed to cancer and passed away at the age of 59.

I burst into tears. And cried all day.

But I don’t want to write another post about death (one was enough don’t ya think?). So I’d rather tell you the good stuff about my friend and one great art lesson he taught me ‘way back when’.

Call it a little tribute.

As I’ve mentioned before on the blog, I used to be a graphic designer in my twenties (remember…I’m old). I worked at a small studio out of college for a year or two, then tried to go the freelancing route at 22. A bit risky. But I was still living at home so the timing was good.

Through a mutual connection, I met Steve Buist who was looking for a little extra help around his small graphic design studio. He took a chance on me and I did some work for him off and on for another two years or so.

Then he offered me a full time position. I took it and worked at D-Zign S.A.B. for the next six years until I left to pursue animation with Steve’s blessing.

Back then, the studio was just me, Steve, another guy named LP and Steve’s wonderful wife Cheryl. Steve was a boss who wasn’t a ‘boss’. His clients loved him. His suppliers loved him.

He loved his job, he loved his family and he loved cars.

Anyone would be lucky to work for a guy like Steve. We were a little family in that studio.

I saw his three girls grow up. We knew what was going on in each others lives. We drank a lot at our little Christmas parties.

And I learned tons about graphic design.

Now, this was a time when a graphic designer didn’t mean ’someone with 3 months of training and a MacBook’.

When I started, it was markers, paste-ups, wax machines, rubber cement thinner, x-acto knives, T-squares, Letraset and stat cameras (Google it). Half of the supplies could cause some serious health issues or cut the end of your finger off! Those were the days, baby.

Everything was done by hand. It rocked.

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I hope this post isn’t too much of a downer. But it might be.

Sorry.

Because it’s a little off-subject and might not have the comic snark you’re used to if you come here often. If you are new (hi!), just know this isn’t the norm and I will get back to the business of boards eventually. I’m still in Kid vs Kat vs Karen mode.

But here it goes anyway.

A man died in front of me a week ago.

His funeral was yesterday but I didn’t go because I had to work and I didn’t really know him.

But I was thinking about him. Because I witnessed the last moments of his life.

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Yes,  I finally got off my butt and made a video of me picking the winner to the fabulous “From Word To Image” book contest!

If you have no idea what I’m talking about, check out this great guest post by Marcie Begleiter and the contest details at the end.

If you don’t want to watch the video in all it’s silly glory (I mean just look at that screen grab) and just want to know who won…well, it wasn’t you.

Unless your name is Lamont Wayne. 

So congrats to Lamont, yay for Muk Muk and Olympic mitts and yay that I’m still alive and have motivation not to die before June!

Enjoy the video and hopefully I can post another one soon. With educational content and stuff.

If you can’t see the video, click through to the blog here or watch it at Vimeo here:
http://www.vimeo.com/10225639

Sign-up for the Storyboard Club Mailing List and get a Free Storyboard Template Pack!

Read the Storyboard Blog by RSS Feed or by email because I will post something useful…eventually.

Okay, it’s only one book. ‘From Word To Image‘ by Marcie Begleiter.

Only one birthday. Mine. Today. I’m old.

And only one contest. But it’s my first, so that’s cool.

But first a quick note to say I’m still alive.

Again. And it looks like I can only manage one post a month or so until I finish this contract that may or may not kill me.

You know you’re working too hard when you have to write “Don’t die” in your day planner. (You think I’m kidding…I actually did that. Twice.)

But enough about ‘Kid vs Kat vs Karen’. We have a guest author today! From a real author!

I’ve recommended this book before and I am doing it again. Because the new edition just came out last month. And word has it, my blog is mentioned in the resources. How cool is that? Plus it is one great book on the subject of storyboarding for live-action film.

If that’s what you want to do, get this book.

So in celebration of this second edition of  ‘From Word To Image‘ by the awesome Marcie Begleiter, I bring you a guest post by her. About a little twist to storyboarding  and pitching a film.

Then there will be some details on the little contest we’re having. I’ll give you a hint…FREE BOOK. Signed by the author. (Okay, that was more than a hint.)

Take it away, Marcie!

Visual Pitching: Storyboards on Steroids

By Marcie Begleiter
Author of From Word to Image: Storyboarding and the Filmmaking Process

Since the mid 1980’s my film activities have covered storyboarding, set decoration, art direction, prop design, graphics and even gassing up cars…basically, when a producer or director called, my attitude was ‘You need it, I’ll do it’ (within reason, of course )

The pre-viz work in particular was developed once the financing has been secured, the heads of the production team chosen and then we raced against a production schedule to complete the prep work before the cameras rolled.

But lately a particular request has arrived on my desktop that’s a bit different in character.

Visual Pitching’s time has come.

With production financing a challenge in the best of times, many a director and producer are looking to walk into meetings with more than a practiced verbal pitch. Bringing in visual research that focuses on characters and settings, presenting key frames and flipping though storyboards or even showing animatics in pitch meetings have often been a key to selling Action and SciFi films.

But these materials can also bring inspiration and an expanded avenue of communication to pitches for all manner of projects including character driven stories, romantic comedies or indie dramas.

What comprises a visual pitch?

At the simplest level, it helps to  convey the look and feel of the story and how it will be told in images. There can be references to lighting, to other classic films, to character appearance and even how the film will be shot. Key frames, what I sometimes think of as ‘storyboards on steroids’, are sometimes used to give a snapshot of particular moments of high action or emotion.

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Wee! The first official post of 2010!

(Finally.)

And what better way to kick it off than the second part of my interview with Paul Briggs? You can find the first part of my interview with the ‘The Princess and The Frog’ story artist, here.

Enjoy Part 2 and don’t forget to click on the illustrations to get a better view of Paul’s awesome work!

What’s a ‘typical day’ for you as (current) Head of Story when you’re in production?

A typical day as a Head of Story is managing a team of Story Artists to help the Director get their vision up on screen.

That doesn’t mean I completely buy into it. In fact, I feel the biggest part of my job is always being honest and open in questioning and confirming what the Director wants. Together as the story team, we work really hard in supporting or challenging the idea that is being presented on the screen.

There’s also the scheduling side of it all, but that’s no fun!

Is there a process for assigning certain story artists a particular sequence to work on? Do you go with their strengths or is it the ‘luck of the draw’ for them?

We have some pretty incredible board artists at the studio that can do a wide range of scenes but most tend to gravitate to sequences that appeal to them more. So you want to assign sequences that people will have the most fun boarding.

You know you’re going to get incredible work from them but I always like to try and push people out of their comfort zone for a sequence or two. It really challenges them and forces them to keep their skills sharp and grow as a story artist.

The best artists are the ones that you can hand any sequence to and know you’re going to get something special back.

Are feature boards still done with paper and pencil and set up in a story room? Or have things gone completely digital? What are your typical working tools?

You know it all depends on the artist. Some guys here still work on paper but a lot of us work digital now. Whatever makes you comfortable but also allows you the freedom to quickly sketch your ideas down and not become precious with them.

I normally work in Photoshop on a Cintiq and use another program to pitch in. When I’m boarding I actually limit myself to 2 custom brushes, 3 to 4 levels and only 4 different gray values (no color unless absolutely necessary to make a story point.) This limited palette forces me not to get caught up in all the bells and whistles.

I concentrate more on the just getting the idea down rather than a pretty drawing. We pitch all digital on screens that our boards are projected onto.

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