Animation, VFX & Games Graduate Traineeship 2021

Call for Applications

Animation Skillnet and Screen Skills Ireland are currently seeking applicants for the next iteration of the hugely successful graduate Traineeship Programme for Animation, VFX and Games, which is supported by Skillnet Ireland under the Skills Connect Programme.

In 2020, the studios that took part in the programme included Algorithm, Cartoon Saloon, Giant Animation, Lighthouse Studios, Piranha Bar, TouchPress/StoryToys and Vela Games.

The programme, which has been running since 2016, has a great track record with over 90% of participants going on to gain further work in the industry either with their host studio or with another studio.

The 2021 programme will take place over a 3-month period (12 weeks) from end of May to end of August 2021

Over the course of the programme, each trainee will work in-house in the studio where they will receive on the job training. (Some trainees may be required to work remotely depending on each participating studio’s policy regarding remote-working during COVID-19).

In addition to on-the-job training, the trainee will receive additional tailored training through Animation Skillnet and Screen Skills Ireland before they enter the studio and at other agreed times over the 3 months. 

The Traineeship programme will commence on Monday the 24th of May 2021 with approximately one week of up-front training/induction and will finish on Friday the 20th of August 2021.

A training allowance/bursary will be made available to participants (400 Euro a week for the 3 months/12 weeks).

Start Date: Monday 24th of May 2021.

End Date: Friday 20th of August 2021.

Please note the following important points before applying:

  • All candidates must be available on a full-time basis for the entire duration of the Traineeship, including the induction week.
  • Part or all of the placement might be taking place remotely, due to the ongoing restrictions associated with the COVID-19 pandemic. 
  • Only those who are shortlisted will be called for interview.​
  • Trainees participating in the programme must be based in Ireland.

Interested applicants should upload a CV Link or LinkedIn link and showreel/portfolio link and complete the form at the link below:

https://forms.gle/GuzT2329jeZDzedf9

Deadline for applications: Monday the 12th of April at 12pm

Interviews will be held in late April with Final Selection on Friday the 7th of May 2021.

All applications will be evaluated and shortlisted for interview by a panel of industry experts, in consultation with Screen Skills Ireland and Animation Skillnet.

Job Advertisement – Administrator for Animation Skillnet, Screen Skillnet and Immersive Technologies Skillnet

Animation Skillnet, Screen Skillnet and Immersive Technologies Skillnet provide subsidised skills development solutions to the Animation, Screen, and Immersive Technology sectors (Games, VR/AR/MR etc.) in Ireland through high-end, bespoke training courses that are designed and delivered by industry specialists.

Animation Skillnet, Screen Skillnet and Immersive Technologies Skillnet are all co-funded by Skillnet Ireland and member companies.

We are now looking to hire an Administrator to work across all 3 networks (Animation Skillnet, Screen Skillnet and Immersive Technologies Skillnet). This is a contract position (full-time) until the end of 2021 with the possibility of an extension to the contract pending allocation of funding for 2022 and successful performance of the role.

Role – Details and Duties

The list below, which applies across all 3 networks, is not exhaustive and might be complemented by reasonable and related additional tasks across all 3 networks.

  • Work closely and maintain a high level of communication with the Network Manager and the Network Director to achieve objectives of the organisation for the benefit of members.
  • Work closely with the Network Manager and Network Director to coordinate and provide administration support for training programmes and events.
  • Offer any administration and organisational support to the Network Manager and Network Director as needed (including general administration, event organisation, reservations and bookings, Data entry, and Data collection for funding applications).
  • Organise and coordinate Steering Group meetings to include sharing of agenda & papers with Steering Group members and completion and circulation of Minutes.
  • Assist the Network Manager and Network Director with financial management aspects of the network including processing quotes, invoices, receipts and preparing documents for end of year financial reporting, audit, and compliance visits.
  • Support with management of the 3 x Networks Websites and updating courses/events as required.
  • Support with management of the 3 x Networks Social Media accounts.
  • Carry out Data Entry tasks in relation to trainee profiles, training courses, training events, Member Company, tutor profiles and feedback forms.

Requirements – Qualifications, Skills and Experience

  • Bachelors degree in a related discipline or relevant experience supplemented with equivalent qualification.
  • Prior Office Management and Administration Experience Preferred.
  • Strong Attention to Detail.
  • Ability to Work Without Supervision.
  • Excellent Time Management Skills.
  • Exceptional Communication and Customer Service Skills.
  • Proficiency with Microsoft Office Programs and Google suite.
  • Strong Organisation and Record Keeping Skills.
  • Experience with CMS (Content Management Systems), CSS (Cascading Style Sheets) and WordPress preferred.
  • Online/virtual platform experience (for example Zoom, MS TEAMS) preferred.

Application Process

Interested applicants are invited to forward a detailed CV that highlights relevant experience and a covering letter in strict confidence to manager@immersivetechnologiesskillnet.ie by Monday 22nd March with the subject heading: Application

Shortlisted candidates will be invited to a virtual interview for the role in April.

The contract will run to the end of 2021 and will be remunerated at €2,000 per month.

The role will be based in Dublin though some national and international travel may be required (once government directive allows for this). An aspect of unsocial hours may be a feature of this position. Due to government guidelines related to COVID-19 the role will be a remote working role initially until COVID-19 related restrictions are lifted.

18 INDEPENDENT PRODUCERS SELECTED FOR THE ACE ANIMATION SPECIAL 2021

ACE Producers has selected 18 experienced independent producers for the ACE Animation Special 2021. The intensive workshop is designed to deepen their knowledge of developing and producing long form,feature film and series animation production for an international audience including cinema, broadcast as well as streaming. Producers applied with animated features and series projects in early development. Originally set to take place during Animation Dingle it was postponed to late June 2021 in Dublin due to the current situation. The selected producers will kick off the workshop with an online session in March giving them the opportunity to benefit from the online Animation Dingle programme.

The ACE Animation Special is supported by Screen Skills Ireland, Screen Ireland, Animation Skillnet, BAI (Broadcasting Authority of Ireland) and Animation Ireland in close collaboration with Animation Dingle.

Of this year’s event, ACE director Jacobine van der Vloed said, “We’re thrilled to be joining with our Irish partners once again for the Animation Special. Of course, the fact that we’re not going to be in Dingle in March is disappointing for all involved, but after our experience last year, we’re confident of delivering a dynamic workshop that will offer our producers the key knowledge to make their way in the animation industry.”

SELECTED ACE ANIMATION SPECIAL PRODUCERS:

  • Simonetta Amenta (ACE Italy), Eurofilm
  • Emilie Blézat (ACE France), SCIAPODE
  • Maria Blicharska (ACE Poland/France), Donten et Lacroix/Blick Productions
  • Fiona Copland (New Zealand), Field Theory
  • Valérie Delpierre (Spain), Inicia Films
  • David Epiney (Switzerland), Alina film
  • Marion Guth, (Luxembourg), a_BAHN
  • Chris Hees (United Kingdom), Bridge Way Films
  • Niamh Herrity (Ireland), Pink Kong
  • Nicole Kellerhals (Germany), X Filme Creative Pool
  • Tamsin Lyons (Ireland), Ink and Light
  • Michael Margulis (Ukraine), Kapi Animation
  • Errol Nayci (Netherlands), Storytellers Animation
  • Kristy Neville (Canada), Wildling Pictures
  • Sébastien Onomo (ACE France), Special Touch Studio
  • Iris Otten (ACE Netherlands), Pupkin Film
  • Aleksandar Protic (Serbia), MIR MEDIA GROUP
  • Vanessa Robinson (Ireland), Little Moon Animation

Topics covered include story development, visual world building and asset creation, international production workflows in multi-country co-productions, financing strategies, physical line production, the integration of an animation department into an existing (film-) production company as well as an assessment of the demands and expectation of broadcasters.

Among the experts of this year’s edition are Oscar nominated and BAFTA winning Magic Light Pictures producers Martin Pope and Michael Rose (“Zog and the Flying Doctors”), BAFTA-winning producer Claire Jennings (“Coraline”, “Wallace & Gromit: The Curse Of The Were-Rabbit”) and renowned animation producer Simon Quinn (“Isle Of Dogs”). The full list will be announced shortly. Last year’s expert line-up included Peter Lord founder of Aardman Studios, Chris Dicker, then head of development at Jam Media, Cartoon Network’s Sarah Fell, Michael Ryan of GFM Films and Jean Baptiste Babin of Backup Media.

Please find more information here:

https://ace-producers.com/animation-special/

For more information please contact: alwilliams@ace-producers.com

ACE PRODUCERS

Network & Knowledge

Strengthening independent producers, ACE Producers uses the power of the ACE Network’s collective knowledge to tackle the challenges and seize the opportunities in an everchanging industry.

ACE Producers enables profound collaborations through honest dialogue in the safe trusted space of the ACE Network and fosters valuable exchange of high-level knowledge about the independent audio-visual industry in Europe and beyond.

ACE Producers provides top quality executive education in European creative producing and entrepreneurialism. ACE Producers is strong through the unique combination of high-quality personnel and training, integrity, deep connectivity, commitment to sharing and learning, and collegial membership of the network.

2020 Wrapped!

Season Greetings from Animation Skillnet

As we switch off the webcams, power off the PCs and pack away the drawing tablets, we would like to thank you all warmly for your participation throughout this year.

Despite the challenges and obstacles of the pandemic, 2020 has been a busy year: we supported over 70 courses, workshops, programmes and webinars for close to 700 participants! (Please scroll down to see some of these courses & events.)

This would not have been possible without the support of all our dedicated tutors, our member studios, Skillnet Ireland, Dublin BIC, the Broadcasting Authority of Ireland and our colleagues at Animation Ireland, Screen Skills Ireland and Enterprise Ireland.

We wish you all a peaceful and restful Holiday and we look forward to seeing you all in 2021!

Gareth, Delphine and Daragh

Work-Based Learning programmes

  • 2019-2021 CGI Technical Artist Apprenticeship Programme
  • Animation Games & VFX Graduate Traineeship Programme 2020

Technical Skills:

  • An Introduction to After Effects
  • Toon Boom Animation & Rigging
  • ZBrush Level II and ZBrush Level III
  • Animating Walks and Runs in Maya
  • Creature creation for CG Production
  • Certificate in Training Delivery & Evaluation
  • Excel and Google Sheets Training Course
  • Original IP Development Course
  • Programming in Python 101

Employment Activation Courses

  • Animation Studio Lab
  • Building A Submission-Ready Design Portfolio
  • English Language for Animation
  • Building a Submission-Ready Storyboard Portfolio
  • 3D Animation Next Step Bootcamp
  • 2D Animation Next Step Bootcamp
  • Strengthening your online storyboard portfolio
  • Toon Boom Bootcamp in partnership with LHS

Management Development

  • Successfully Managing Creative Teams Remotely
  • Business Continuity: Managing employees returning to work after COVID19 and retention strategies whilst out
  • Leading Strategic Innovation
  • ACE Producers
  • Screen Leaders
  • Successfully Managing Remote and Partly Remote Trainees
  • Introduction to GDPR
  • Creative Leadership Programme for Animation, VFX & Games

Webinars

  • Screen Talks:
    • Art Direction For Animation with Ralph Eggleston
    • Changes in the Screen Sector with Hugh Farley
    • Becoming a Story Artist
    • Don Hahn Music & Animation
    • Acting for Animation with Ed Hooks
    • Nathan Fowkes on the Power of Landscape
    • Unreal Engine for Virtual Production
    • Heath Kenny on Development
    • Stefano Pepin VFX
  • Story Talks with Kayvon Darabi-Fard
  • Commercialising Animated Kids IP
  • Animation Producers Webinar Series
  • Diversity, Inclusion and Representation in the Animation Sector: in the Studio and on Screen

Personal development and workplace well-being

  • Well-being for the Remote Worker
  • COVID-19 Compliance Officer Training for the Audio-Visual (AV) Sector
  • COVID-19 Return to Work Training for the Audio-Visual (AV) Sector
  • Disability Awareness Training
  • Addressing Diversity, Equity, and Inclusion in the Animation sector
  • Managing your time and energy in these uncertain times
  • Respect and Dignity at Work
  • Managing Unconscious Bias in the Workplace at a Time of Crisis

Events, seminars and conference delegations

  • The Children’s Media Conference
  • Cartoon Forum
  • MIPCOM MIP Junior ONLINE+
  • Kidscreen Summit Virtual 2021


15.10.2020 | Screen Talk with Stefano Pepin

Screen Talks is a series of webinars delivered by industry experts on a broad array of sector-related topics. Animation Skillnet is pleased to announce the next webinar in the series, which will be delivered by special effects supervisor Stefano Pepin at 11.30 on Thursday 15 October. 

Stefano Pepin is one the UKs top special effects supervisors, with more than 20 years’ experience in the industry. He has an  extensive filmography including: The Snowman, Into the Woods, Muppets Most Wanted, World War Z, Prometheus, Dimensions, Robin Hood, Prince of Persia: The Sands of Time, Syriana, Bad Company, Behind Enemy Lines, 24: Live Another Day, Hunted, Sinbad and Band of Brothers. Stefano will be discussing high impact, jaw dropping special effects he has achieved over his career, and the more subtle art involved in special effects that may go unnoticed!

If you would like to join us for this free webinar, please register via this link

Previous webinars in the Screen Talks series are now available to watch via the Screen Talks channel on Vimeo. 

Screen Talks is presented in partnership with Screen Skillnet and Screen Skills Ireland. 

Animation, VFX & Games Graduate Traineeship 2020: Participants and Host Studios Announced

Animation Skillnet and Screen Skills Ireland, the skills development unit within Screen Ireland, are delighted to announce the Animation, VFX & Games Graduate Traineeship participants and host studios for the 2020 programme.​

The traineeship, which has been running since 2016, has a great track record with over 90% of participants going on to gain further work in the industry, either with their host studio or with another studio. Targeted at developing skills and talent in the Irish animation, VFX, and games sectors, the programme will take place over a 3 month period. It will involve a mix of on-the-job learning and mentoring in host studios and remotely, as well as additional specialist training delivered through Screen Skills Ireland and Animation Skillnet.

The 7 participating studios and 14 trainees for the 2020 Graduate Traineeship Programme are:

  • Algorithm: Anna Lawlor
  • Cartoon Saloon: Chrissie Hughes, Mikai Geronimo, Jakub Bednarz and Giorgia McKenna
  • Giant: Alicia Ruiz de Amoraga Gil and Neslihan Ates Koken
  • Lighthouse Studios: Eoin McLoughlin, Polly Holland and Adam Powell
  • Piranha Bar: Daniel McNicholl and Iobhar Stokes
  • StoryToys – Touchpress: Amie O’Mahony
  • Vela Games: Patrick Naughton

The traineeship kicked off on Monday 21st of September with a week of specialised online training, featuring talks from experts on the latest creative and technological advances in the area of VFX and animation, as well as soft skills such as emotional intelligence and time management.

Speaking about the traineeship, Sorcha Scully, Animation, VFX & Games Coordinator​ at Screen Skills Ireland, said, “We are very pleased to be launching the next iteration of this highly successful programme, especially in light of the many new challenges facing graduates and the sector in 2020. The Irish animation, VFX, and games sectors continue to be hugely important to Ireland’s digital and creative economy. The traineeship will be an integral link to bring new talent into the sector.”

Animation Skillnet, Screen Skills Ireland and Skillnet Ireland Announce COVID-19 Return to Work Training for the Audio-Visual Sector

Animation Skillnet, Screen Skills Ireland and Skillnet Ireland audio-visual networks partner to offer free courses and webinars to support the safe return to work, based on government-approved protocols. The courses are part funded through the ReBound initiative, supported by Skillnet Ireland.

Animation Skillnet is proud to partner with Screen Skills Ireland and a cluster of Skillnet Ireland audio-visual networks on the roll out of COVID-19 Return to Work Training, designed to help the creative screen and broadcast industries return to work safely. 

The other Skillnet Ireland audio visual networks involved include Immersive Technologies Skillnet, Gréasán na Meán Skillnet, Learning Waves Skillnet and Screen Skillnet.

The COVID-19 Return to Work Training, which is funded by Screen Ireland and through the Skillnet Ireland ReBOUND initiative, includes the following two free online courses:

  • The COVID-19 Return to Work Training for the AV Sector course covers all government requirements with regard to return to work training plus bespoke elements to the audio-visual sector. To apply for this course, please visit our page here or go to your relevant sector website. 
  • The COVID-19 Compliance Officer Training for the AV Sector course covers all the essential duties of the Covid19 Compliance Officer/Lead Worker with an emphasis on risk assessing and designing work plans for the AV sector. To apply for this course, please visit our page here or go to your relevant sector website. 

Irish language versions of both courses will be available shortly. 

These courses are based on the Irish Government’s Return to Work Safely Protocol as well as Screen Producers Ireland’s Return To Production Guidelines for the Creative Screen Industry and the  Commercial Producers of Ireland Filming Protocols.

In addition to these courses, Animation Skillnet and Screen Skills Ireland will also partner with the Skillnet Ireland audio-visual networks and other key stakeholders to host a range of courses and webinars over the coming months that will focus on sharing best practice and case studies in relation to COVID-19 and returning to work.

Further information about COVID-19 and returning to work can be found on Screen Skills Ireland’s dedicated resources page, and the free COVID Tracker app from HSE and the Department of Health can be downloaded here.

Job Advertisement – Administrator for Animation Skillnet, Screen Skillnet and Immersive Technologies Skillnet

Animation Skillnet, Screen Skillnet and Immersive Technologies Skillnet provide subsidised skills development solutions to the Animation, Screen, and Immersive Technology sectors (Games, VR/AR/MR etc.) in Ireland through high-end, bespoke training courses that are designed and delivered by industry specialists.

Animation Skillnet, Screen Skillnet and Immersive Technologies Skillnet are all co-funded by Skillnet Ireland and member companies.

We are now looking to hire an Administrator to work across all 3 networks (Animation Skillnet, Screen Skillnet and Immersive Technologies Skillnet). This is a contract position (full-time) until the end of 2020 with the possibility of an extension to the contract pending allocation of funding for 2021 and successful performance of the role.

Role – Details and Duties

The list below, which applies across all 3 networks, is not exhaustive and might be complemented by reasonable and related additional tasks across all 3 networks.

  • Work closely and maintain a high level of communication with the Network Manager and the Network Director to achieve objectives of the organisation for the benefit of members.
  • Work closely with the Network Manager and Network Director to coordinate and provide administration for training programmes and events.
  • Offer any administration and organisational support to the Network Manager and Network Director as needed (including general administration, event organisation, reservations and bookings, Data entry, and Data collection for funding applications).
  • Organise and coordinate Steering Group meetings to include sharing of agenda & papers with Steering Group members and completion and circulation of Minutes.
  • Assist the Network Manager and Network Director with financial management aspects of the network including processing quotes, invoices, receipts and preparing documents for end of year financial reporting, audit, and compliance visits.
  • Support with management of the 3 x Networks Websites and updating courses/events as required.
  • Support with management of the 3 x Networks Social Media accounts.
  • Carry out Data Entry tasks in relation to trainee profiles, training courses, training events, Member Company, tutor profiles and feedback forms.

Requirements – Qualifications, Skills and Experience

  • Qualification in administration or a related discipline or relevant experience supplemented with an equivalent qualification preferred.
  • Prior Office Management Experience Preferred
  • Strong Attention to Detail
  • Ability to Work Without Supervision
  • Excellent Time Management Skills
  • Exceptional Communication and Customer Service Skills
  • Proficiency with Microsoft Office Programs
  • Strong Organisation and Record Keeping Skills

Application Process

Interested applicants are invited to forward a detailed CV that highlights relevant experience and a covering letter in strict confidence to animationskillnet@gmail.com by Monday 6th July 2020.

Shortlisted candidates will be invited to a virtual interview for the role in July.

This is a full-time contract post to the end of 2020 that will be remunerated at between €2,000- €2,500 per month depending on experience.

Job Advertisement – Network Manager – Immersive Technologies Skillnet

Immersive Technologies Skillnet has recently been established to provide subsidised skills development solutions to the Immersive Technology sectors (Games, VR/AR/MR etc.) in Ireland through high-end, bespoke training courses that are designed and delivered by industry specialists.

Immersive Technologies Skillnet is co-funded by Skillnet Ireland and member companies.

Immersive Technologies Skillnet is looking to hire a Network Manager. This is a part-time contract position until the end of 2020 with the possibility of an extension to the contract pending allocation of funding for 2021 and successful performance of the role.

Role – Details and Duties

The list below is not exhaustive and might be complemented by reasonable and related additional tasks.

Courses and Events

  • Carry out skills gap analysis on an ongoing basis regarding the Immersive Technology industry and related sectors.
  • Design and implement industry relevant skills development initiatives which will address skills gaps and future skills. Skills development initiatives can include online/remote courses, direct course provision, mentoring, shadowing and structured on-the-job learning.

Working with the Network Director

  • Work closely and maintain a high level of communication with the Network Director to achieve objectives of the organisation for the benefit of Immersive Technologies Skillnet members.
  • Work closely with the Network Director to design, develop and manage training programmes for Immersive Technologies Skillnet.

Working with Stakeholders

  • Engage with all the various stakeholders in the Immersive Technology industry and related sectors regarding the skills needs of the sector.
  • Build relationships with education/training providers linked to the Immersive Technology sector.
  • Promote skills development initiatives between third level and industry and work with the Director to design bridging programmes for recent graduates.
  • Attend industry events to promote training and education opportunities in Ireland.
  • Build relationships with International organisations to promote the Irish Immersive Technology industry and encourage business opportunities.
  • Promote the network and its offering to attract new members and participants.
  • Organise networking events for members.
  • Continue to strengthen partnership and collaboration with key stakeholders such as Skillnet Ireland, DublinBIC, Screen Skills Ireland, IMIRT, Eirmersive, Technology Ireland, Enterprise Ireland, Industrial Development Authority and others.

Working with the Administrator

  • Maintain a high level of communication with the administrator to ensure all administrative and organisational tasks are delivered including general administration; event organisation; Data entry; Data collection for funding applications; reservations and bookings; Steering Group meetings; financial management including processing quotes, invoices, receipts and preparing documents for end of year financial reporting, audit and compliance visits; updating the Immersive Technologies Skillnet Website and Social Media accounts.

Requirements – Qualifications, Skills and Experience

  • Bachelor’s degree in an Immersive Technologies related discipline or relevant experience supplemented with an equivalent qualification.
  • Over 5 years of experience working in the Immersive Technology industry or a related area.
  • Experience of organising training courses/events (online/remote and in-person).
  • Knowledge of the range of roles and skills required within the Immersive Technology industry.
  • An understanding of the various stakeholders within the Immersive Technology sector.
  • Excellent verbal and written communication skills.
  • An excellent team worker with a strong sense of autonomy and the ability to work on own initiative.
  • A forward thinker, ideas generator and solution driven.
  • A demonstrated commitment to equality and diversity issues.
  • The capability to interface confidently with the Network Director, Administrator, Trainees, and other stakeholders is a key element of the role.
  • An ability to prioritise tasks and projects and learn in a dynamic environment.

Application Process

Interested applicants are invited to forward a detailed CV that highlights relevant experience and a covering letter in strict confidence to animationskillnet@gmail.com by Monday 6th July 2020.

Shortlisted candidates will be invited to a virtual interview for the role in July.

This is a part-time contract post until the end of 2020 that will be remunerated at between €2,000- €2,500 per month depending on experience.

PUBLIC NOTICE: ANIMATION SKILLNET ACTIVITIES – updated 07.05.2020

Animation Skillnet is fully supportive of the Government’s efforts to effectively address and limit the spread of COVID-19 and to safeguard the protection of public health and that of our stakeholders. 

Animation Skillnet management team is continuing to work and are available to discuss any queries that our businesses or trainees have regarding our scheduled training programmes and supports for businesses. 

In support of this national effort and in line with Government recommendations, Animation Skillnet has postponed its in-person training courses until further notice. Where possible, alternative methods of programme delivery are being mobilised. 

We are also available to discuss your queries about any other future programmes we offer to businesses within the Animation, Games and VFX sector. 

Our Network contact details are.

NAMES   Delphine Coudray & Gareth lee

EMAIL     admin@animationskillnet.ie

We would remind our stakeholders that the HSE website www.hse.ie is the authoritative source of information and advice on the situation regarding COVID-19 in Ireland. 

We will keep this information updated in the coming weeks. Further information is also available on the Skillnet Ireland website.

ACE Animation Special – Report

16 producers were selected for the ACE Animation Special, of whom 13 eventually participated in what became a 4-day online version of the workshop (18th – 21st March 2020).

Focusing primarily on the creative and financial aspects of animation production, the ACE Animation Special also offered sessions on the development process, co-producing, international distribution, audiences and business strategies. The workshop included sessions on the different approaches needed for animated TV series as well as offering the producers a chance to work on their projects.

Besides the solid and active partnership with Gareth Lee from Screen Skills Ireland and Maurice Galway and John Rice of Animation Dingle, the ACE Animation Special was generously sponsored and supported by partners Screen Ireland, BAI, Animation Skillnet, IDA, Animation Ireland and Unreal Engine.

Having been forced to cancel the physical event 5 days before it was due to start, due to the Covid-19 pandemic, the ACE management redesigned the workshop into an online compatible version to be ready to begin on Wednesday the 18th of March. Converting a programme to be held online held many challenges but also opportunities. For example, the timing of the sessions was challenging for the two Canadian participants, however ACE recorded each of the sessions so that nothing would be missed. Also, the length of the sessions was shortened as staying engaged with a session on screen is more difficult than in person.

The ACE management succeeded in maintaining most of the sessions that were initially planned and only four consultants were unable to attend due to work engagements brought on by the crisis. Interviews, case studies, plenary sessions, group sessions and one-to-one meetings were all integrated. Due to the fact of it being held online, it was possible to invite additional consultants, such as producers Pavel Strnad and Roman Paul, who did a case study on “Alois Nabel” and “Waltz with Bashir” respectively.

All sessions were moderated by ACE members Lisa Marie Russo and Martin Pope, the latter conducting many of the session himself as an established animation producer.

The first day concentrated on choosing material and featured an interview with Aardman Studios founder Peter Lord. The second day revolved around animatics, world and story development with input from Jam Media head of development Chris Dicker. The third concentrated on the physical production of animation with sessions by producer Simon Quinn and an interview with Cartoon Network’s Sarah Fell. The fourth and final day was specifically about financing and distribution including sessions by GFM Films’ Michael Ryan and Jean Baptiste Babin of Backup Media.

The week following the workshop, ACE held one-to-one meetings between the producers and consultants online. Producers were matched with four different consultants in order to speak about their projects or ask questions relating to the workshop’s sessions.

Although many were initially sceptical about the possibility of holding the workshop online, the participating producers all expressed themselves to be extremely pleased by how well it worked and how much they learnt from it. Go to the testimonials page of the ACE website for some quotes from the participants.

30.04.20 | Screen Talks with Don Hahn

Screen Talks is a series of webinars delivered by industry experts on a broad array of sector-related topics. Animation Skillnet, Screen Skillnet and Screen Skills Ireland are pleased to announce the seventh webinar in the series, which will be delivered by producer Don Hahn at 5pm onThursday 30th April

If you would like to join us for this free webinar, please register via this link.

Don Hahn has produced some of the most most successful animated films in recent history, including The Lion King and Beauty and the Beast, the first animated film to be nominated for the Oscar for Best Picture. His other films include The Hunchback of Notre DameAtlantis: The Lost EmpireThe Little Matchgirl (for which he earned his second Oscar nomination), Maleficent, and Tim Burton’s Frankenweenie, as well as the Disneyn feature films EarthOceansAfrican Cats, and Chimpanzee

Previous webinars in the Screen Talks series are now available to watch via the Screen Talks channel on Vimeo. 

Screen Talks is delivered in partnership with Screen Skills Ireland and Screen Skillnet.

ACE ANIMATION SPECIAL 1 – ONLINE

The ACE Animation Special was held online last week following the rapidly changing nature of the international health crisis. 

Due to take place in Dingle, Ireland, a new timetable and online system were set up in order to hold a revised version of the workshop online. This was made possible thanks to the invaluable help of ACE’s vice-president Martin Pope (Magic Light Pictures) as well as the programme’s incredibly supportive consultants and 13 enthusiastic participants.

The workshop was supported by Screen IrelandScreen Skills IrelandAnimation DingleBAIAnimation SkillnetUnreal EngineIDA and Animation Ireland.

Focusing primarily on the creative and financial aspects of animation production, the ACE Animation Special offered sessions by eminent professionals from the animation industry: Jean-Baptiste Babin (Backup Media), Tom Dercourt (Cinéma Defacto), Chris Dicker (JAM Media), Sarah Fell (Turner Kids EMEA), Nicky Gogan,(Piranah Bar), Peter Lord (Aardman Studios), Ben Lumsden (Epic Games/Unreal Engine), Roman Paul (Razor Film), Martin Pope (Magic Light Pictures), Simon Quinn (Big Fat Studio), Michael Rose (Magic Light Pictures), Lisa Marie Russo (Fly Film), Michael Ryan (GFM Films), Pavel Strnad (Negativ Film Productions) and Paul Young (Cartoon Saloon).

Besides the informative sessions, the workshop offered networking opportunities and group discussions, attempting to recreate the comfortable atmosphere of an ACE workshop. Although the experience far surpassed  expectations, the lack of physical networking and the need for close personal engagement was very clear. ACE will strive to gather the participants in person at the nearest opportunity possible to correct this, and offer them the true ACE experience. 

PUBLIC NOTICE: ANIMATION SKILLNET ACTIVITIES – updated 27.03.2020

Animation Skillnet is fully supportive of the Government’s efforts to effectively address and limit the spread of COVID-19 and to safeguard the protection of public health and that of our stakeholders. 

Animation Skillnet management team are continuing to work and are available to discuss any queries that our businesses or trainees have regarding our scheduled training programmes and supports for businesses. 

In support of this national effort and in line with Government recommendations, Animation Skillnet has postponed its public training courses until 19th April 2020. Where possible, alternative methods of programme delivery are being mobilised. 

Animation Skillnet will continue to take bookings for programmes commencing at a later date in 2020, and for our online programmes available at this link.

We are also available to discuss your queries about any other future programmes we offer to businesses within the Animation, Games and VFX sector. 

Our Network contact details are.

NAMES   Delphine Coudray & Gareth lee

EMAIL     admin@animationskillnet.ie

We would remind our stakeholders that the HSE website www.hse.ie is the authoritative source of information and advice on the situation regarding COVID-19 in Ireland. 

We will keep this information updated in the coming weeks. Further information is also available on the Skillnet Ireland website.

Z-Brush Course: past participants’ work & experience

In a couple of weeks, Animation Skillnet will be happy to welcome back Seán Forsyth for another ZBrush course, this time at intermediate level.

Seán is a ZBrush artist with over 20 years experience in the 3D content creation industry. He has worked with virtual and augmented reality, 3D printing, e-learning and the animation industry in various roles. 

This is what some participants of the last course (Beginners level) had to say:

“The class has given me a decent foundation of knowledge that I can continue to work upon. It also helped to explain the various paths that understanding ZBrush can provide.” M.F.

“I learned so much about workflow with regards to how to create 3D characters. His years of experience gave me insights I wouldn’t have learned on my own like how he did referencing and build up.” DH

“The tutorials overall and the follow up online support made available by Sean (…) were incredibly helpful. Being able to go over the material for the class after each session was very useful in learning the programme.” SMD

And here are some examples of the work created during the course by participant Veronica Grifa, who is currently on the CGI Technical Artist Apprenticeship with Brown Bag Films:

And below is work by Martin Fagan, Storyboard Revisionist at Brown Bag Films, who has been practising Z Brush in the few months since completing the course:

If you would like to find out more about the course and details on how to apply, please follow the link below:

21.01.2020 | INAUGURAL ACE ANIMATION SPECIAL SELECTION ANNOUNCED

Animation Skillnet would like to congratulate the sixteen producers that have been selected for the first edition of the ACE Animation Special. The programme will take place during Animation Dingle in Ireland this coming March.

The selected participants are all producers who want to diversify their activities to include, and/or deepen their knowledge of, developing and producing long form/feature film animation production for an international audience (cinema, broadcast or streaming). Producers were selected either with or without an animation project in the early stages of development, though each runs a company focusing its sights on animation. Eleven countries are represented in the selection: Austria, Canada, Croatia, Czech Republic, France, Germany, Iceland, Ireland, The Netherlands, Norway and the United Kingdom.

“Animation was high on my list”, ACE director and head of studies, Jacobine van der Vloed said, “I’m thrilled to have established a partnership with Screen Skills Ireland and Animation Dingle and to be bringing such a great group of international producers to Ireland to discover the global potential of their animation projects.” The group consists of experienced producers from both inside and outside the ACE Network.

In close collaboration with Screen Skills Ireland and Animation Dingle, and support from other key Irish partners – Screen IrelandBAIAnimation SkillnetIDA,  Animation Ireland and Creative Europe Desk Ireland – the 5-day workshop will be held from March 17th to 22nd in Dingle, Ireland.

Focusing primarily on the creative and financial aspects of animation production, the ACE Animation Special will offer sessions on story development and the creative dynamics of animation production, the financing scheme in an international context, discovering the marketing potential and finding an (international) audience as well as budget, financing and production planning. The workshop will give the producers a chance to network with their peers and dive deeper into the different aspects of animation production.
 

ACE ANIMATION SPECIAL 1 – PRODUCERS & PROJECTS

Jonathan Clarke – Ireland – Distillery Films
“Sullivan Sails” series by Carol Freeman

Jérôme Dopffer – France – Les Productions Balthazar
“Diotime and the Lions” feature by Santi Minasi

Fabian Driehorst – Germany – Fabian&Fred
Attending without a project

Stephen Fagan – Ireland – Studio Meala
“Queen Méabh” feature by Elle Power

Sinisa Juricic – Croatia – Nukleus film
“Hello Isabel” feature by Anja Kofmel

Kristine Knudsen – Norway – Den siste skilling
“Checkmate” feature, director tbc

Vladimir Lhotak – Czech Republic – Hausboot
“Golem” feature by Jiří Barta

Galilé Marion Gauvin – Canada – Productions l’unité centrale
Attending without a project

Rebecca Mark-Lawson – UK – Tyke Films
“The Scarlet & The White: A Persian Love Story” feature by Fateme Ahmadi

Heather Millard – Iceland – Compass Films
“Ormhildur the Brave” series by Thorey Mjallhvit

Patrice Nezan – France – Les Contes Modernes
“War with the Salamanders” feature by Catherine Maximoff

Catryn Ramasut – United Kingdom – ie ie productions
“Candylion” feature, director tbc

Arash T. Riahi – Austria – Golden Girls Film
“Micromeo” feature by Jean Claude Carriere & Virgil Widrich

Nancy Florence Savard – Canada – 10th Ave Productions
Attending without a project

Marleen Slot – The Netherlands – Viking Film
Attending without a project

Denis Vaslin – The Netherlands – Volya Films
“Tracing Rita” feature by Tess Martin

Job Advertisement – Courses and Events Coordinator– Immersive Technology Skillnet

Immersive Technology Skillnet has recently been established to provide subsidised training solutions to the Immersive Technology sectors (Games, VR/AR/MR etc.) in Ireland through high-end, bespoke training courses that are designed and delivered by industry specialists. Immersive Technology Skillnet will also organise and support professional networking events and conferences for these sectors in Ireland and internationally.

Immersive Technology Skillnet is co-funded by Skillnet Ireland and member companies.

Immersive Technology Skillnet is looking to hire a Courses and Events Coordinator. This is a 12-month contract position (full-time or part-time).

Role – Details and Duties

The list below is not exhaustive and might be complemented by reasonable and related additional tasks.

Courses and Events Coordination

  • Carry out skills gap analysis on an ongoing basis with regard to the Immersive Technology industry and related sectors.
  • Design and implement industry relevant skills development initiatives which will address skills gaps and future skills. Skills development initiatives can include direct course provision, mentoring, shadowing and structured on-the-job learning.

Working with the Manager

  • Work closely and maintain a high level of communication with the Manager to achieve objectives of the organisation for the benefit of Immersive Technology Skillnet members.
  • Work closely with the Manager to design, develop and manage training programmes for Immersive Technology Skillnet.

Working with Stakeholders

  • Engage with all the various stakeholders in the Immersive Technology industry and related sectors with regard to the skills needs of the sector.
  • Build relationships with education/training providers linked to the Immersive Technology sector.
  • Promote skills development initiatives between third level and industry and work with the Manager to design bridging programmes for recent graduates.
  • Attend industry events to promote training and education opportunities in Ireland.
  • Build relationships with International organisations to promote the Irish Immersive Technology industry and encourage business opportunities.
  • Promote the network and its offering to attract new members and participants.
  • Organise networking events for members.
  • Continue to strengthen partnership and collaboration with key stakeholders such as Skillnet Ireland, DublinBIC, Screen Skills Ireland, IMIRT, Eirmersive, Technology Ireland, Enterprise Ireland, Industrial Development Authority and others.

Administration

  • Maintain a high level of communication with the manager & offer any administration and organisational support as needed (including general admin, event organisation, Data entry, and Data collection for funding applications).
  • Organise and coordinate Steering Group meetings to include sharing of agenda & with Steering Group members and completion and circulation of Minutes.
  • Assist the Manager with financial management aspects of the network including processing quotes, invoices, receipts and preparing documents for end of year financial reporting, audit and compliance visits.
  • Management of the Immersive Technology Skillnet Website and updating courses as required.
  • Management of the Immersive Skillnet Social Media accounts.
  • Carry out Data Entry tasks in relation to trainee profiles, training courses, training events, Member Company, tutor profiles and feedback forms.

Requirements – Qualifications, Skills and Experience

  • Experience of working in the Immersive Technology industry or a related area.
  • Experience of organising training courses/events.
  • Knowledge of the range of roles and skills required within the Immersive Technology industry.
  • An understanding of the various stakeholders within the Immersive Technology sector.
  • Excellent verbal and written communication skills.
  • An excellent team worker with a strong sense of autonomy and the ability to work on own initiative.
  • A forward thinker, ideas generator and solution driven.
  • A demonstrated commitment to equality and diversity issues.
  • The capability to interface confidently with Course Coordinators, Trainees and other stakeholders is a key element of the role.
  • An ability to prioritise tasks and projects and learn in a dynamic environment.

Application Process

Interested applicants are invited to forward a detailed CV that highlights relevant experience and a covering letter in strict confidence to animationskillnet@gmail.com by Friday 31st January 2020.

Shortlisted candidates will be invited to interview for the role in February.

This is a full-time or part-time 12 month contract post with a salary of between €25,000-€30,000 depending on experience.

Annual leave is 20 days per annum.

There will be a 3-month probationary period.

The post will be based in Dublin though some national and international travel may be required. An aspect of unsocial hours may be a feature of this position.

Interview: Niall Laverty

Today, we meet Niall Laverty, Gesture Drawing for Animation Educator & Illustrator, who will be tutoring our Winter Evening Course: Essence of the Pose.

Hi Niall! How did you get into Animation?

I studied classical animation at Ballyfermot College of Further Education in the early 90’s and got my first break in the industry working for Curious Pictures in New York during the summer of 1994. I was an assistant animator on a short called The Louie N’ Louie Show created by Gary Baseman and it was such a fantastic experience working with so many talented artists in the Big Apple! After leaving college, I successfully applied to work for Don Bluth at Fox Animation in Phoenix, Arizona on the feature films Anastasia and Titan A.E. Later on I worked as a freelance animator on various television shows and shorts in Germany and Ireland.

You are currently teaching in The Animation Workshop in Denmark, but you also teach at Gobelins in Paris and Filmakademie in Germany. Can you explain the different courses you are teaching or undertaking in each country?

I teach gesture drawing to students of both 2D and 3D animation in the schools you mentioned but I also have an opportunity to teach character animation at The Animation Workshop. This gives me a great opportunity for me to link gesture drawing to an animation project. The students have gesture sessions each morning to warm-up for the day and to explore different graphic and animation principles to find the strongest story poses for their scenes. 

In your opinion, is drawing an ability that anybody can master?

Yes, I believe anyone can draw as creativity is in all of us. As children we all have that natural gift for drawing but often it gets lost along the way. Gesture drawing allows you to tap into your creativity again as it’s all about your personal expression of what’s inside you.

What is your favourite medium to use?

Charcoal is my preferred medium of choice as it allows me to get very expressive gesture drawings but I also use markers and brush pens in my sketchbook and for my book illustrations as it gives the drawings an exciting spontaneous quality.

What was your favourite learning/up-skilling experience in recent years?

A few years ago myself and my partner set up a creative business called At it Again! We write, illustrate and self-publish fun pocket guides to Irish literature (Ulysses, Dracula, The Picture of Dorian Gray) along with cards and prints. This was an exciting learning curve to upskill to be able to create a book from start to finish. The trick was to tell a story with single images as opposed to multiple ones for animation. Like gesture drawing, it was all about capturing the essence of the pose and the story! 

Finally, which artists inspire you in your work?

There are so many artists that inspire me. I’ve always looked to Ronald Searle, Miroslav Sasek, Sempé, Gruau and Rodin as influences in my drawing and illustration work.

If you would like to attend Niall’s course, please send an email to: 

dc.animationskillnet@gmail.com

and register before Wednesday 6th of November at 5pm.


***PLEASE NOTE THAT THERE ARE NOW ONLY 2 SPACES LEFT ON THIS COURSE***

Interview: Matthew Shaw

Today, we meet Matthew Shaw, Python Developer and Pipeline Engineer at Boulder Features, who will be tutoring our Winter Evening Course: Programming in Python 101.

Hi Matt! Can you tell us a bit about yourself and how you got into animation? 

I always loved movies, particularly the big epics, like Lord of the Rings. It was actually watching the behind the scenes of it and seeing the “big-atures” (big miniatures) they used for sets when I had the amazing realisation that it was possible to do that for a living. I knew I wanted to work on movies like these, but it was quite a winding road to get to where I am today.

I originally studied modelmaking, doing physical props and prosthetics for film and tv, but moved into digital modeling in the final year of the course. From there I took up an Escape studios course to learn the full vfx workflow, and was able to move from my job in architectural visualisation to a compositor position in Boulder Media. The studio didn’t have a dedicated pipeline team in those days, which is to say they didn’t have any programmers making tools for the artists, and I realised there was a lot of repetition in our day to day work. I’d taken up python as a hobby, and was able to make a few tools to speed things up. It turns out that technical knowledge is extremely useful in the animation industry! Since then I’ve been lucky enough to help design and build the pipeline used here in Boulder on Ireland’s first ever CGI movie.

What was the hardest thing about learning on your own?
Programming is a fun, but daunting thing to learn. There’s a huge amount of online resources that focus on teaching how to write the language, but there’s a lot more required for setting up and integrating what you’ve written. When I first started I wrote a sudoku solver as a challenge but had no idea how to go about making that a tool people could use. Similarly, there’s a lot of very specific terms in programming that are easy to mix up or not realise the significance of, so searching for help online was pretty hit and miss to start, but thanks to supportive friends in computer science, and being incredibly stubborn, I was able to get there in the end.

Do you find that creative people and artists can be a little reticent about learning code? 
For the most part, yes. Programming has an aura of mystery for a lot of people that can be a deterrent, but truth be told, it’s actually quite straightforward. Most people’s first thoughts when asked if they would learn code are of maths, or screens filled with 1s and 0s, but programming languages are designed to be very human readable, and maths is not required at all because the computer does it for you (certain graphics jobs are an exception to this). 

Can you give us examples of the practical uses of code in an Animation Studio or in a specific animation role?
Every studio runs on a pipeline, which is the code that handles moving data between departments. Some common examples would be services such as databases for tracking the status and progress of assets and shots, or tools which artists use every day, such as publishers for submitting their work into the database so that other departments can pick it up. Obviously most of these tools are studio managed, but there is plenty of opportunity for artists to make tools for their own workflows. TDs (Technical Directors) write department tools, but artists with technical knowledge are by far the most valuable in a team. They are able to help decipher issues with tools, or even write some of their own.

Can you please briefly tell us a little bit about the software you will be using during the course?
We’ll be using an IDE (Integrated Development Environment) called PyCharm. It’s specifically designed for writing python, and has a lot of features for detecting and debugging errors that make it great for learning in. Unfortunately, python is such an expansive topic that we won’t be able to cover how to work with any particular animation programs, but we will cover how to access and get started with their APIs (Application Programming Interface) for those who want to delve further into it. Python is used by nearly all the software used in animation, eg, Maya, Nuke, Houdini, Katana, etc… and so is perfect for animation workflows.

Are there any changes or improvements you would like to see in future versions of the software?
Thankfully, a major change is coming up over the next couple of years. The current version of python used in animation is version 2 which was released in 2008. It officially is no longer supported from 2020, and the vfx industry is upgrading to the newer and much better python 3. This forces a lot of the software used to update their code, which means we’re hopefully going to see a lot of nice changes. This is a big time for the industry and a great time to be learning python 3.

What was your favourite learning/upskilling experience in recent years? 
Honestly, starting here at Boulder was a great opportunity to work on ideas that wouldn’t have even occurred to me before. Working on GoJetters, I was able to explore Blink script for making graphical tools like sandstorms and fog effects. I find that there’s always something more to learn in any job, and lots of opportunities to upskill if you’re willing to have a go at something new.

Finally, is there some links you would like us to discover ahead of the course?
I have a lot of useful links for python learning, but they might be a bit daunting as this course is aimed to teach those with no previous knowledge. One great resource that I used to start learning python is codeacademy. They have a lot of different courses, and although parts of it aren’t free anymore, it’s still a great resource. What’s particularly useful are the discussions related to each topic, as there’s a whole community of people who are also learning or able to help.

If you would like to attend Matt’s course, please send an email to: 

dc.animationskillnet@gmail.com

and register before Friday 25th of October at 5pm.

Certificate in Production Management for Animation

Animation Skillnet is delighted to launch a new Certificate in Production Management for Animation in association with IADT and Screen Skills Ireland via Springboard+.

Developed with our industry partners in Ireland and the state agency with responsibility for skills development for the screen sector in Ireland, Screen Skills Ireland, this new fourteen week certificate course is available via Springboard+.

Learning from industry leaders, Ian Hamilton of Elk Studios is the lead tutor and will be supported by Lindsay Adams of Daily Madness and Stephen Fagan. 

This certificate offers the skills to manage animation productions from concept development to final delivery – and everything in between, providing learners with a command of the practical management of industry standard digital animation productions, primarily 2D animation but also 3D and VFX.

This course presents the opportunity to gain and develop practical production skills specifically for the animation industry, to keep pace with the ever-changing technology and practices and its use in animation production.

Rónán Ó Muirthile, Head of Department of Film & Media at IADT explains, ‘It is clear from our dealings with industry that there is a dearth of production managers and coordinators focused on Animation. Here we are responding to that need and with the help of Screen Skills Ireland and Animation Skillnet we have developed a programme that responds to that gap. We are building capacity and educating future industry leaders.’

Gareth Lee, Manager at Animation Skillnet and Screen Skills Ireland, added; “As the Animation and related sectors have grown in Ireland, an obvious need for production managers has arisen to oversee productions through pre-production, production and post-production. This programme will go a long way towards addressing this skills gap and will support the continued expansion of the sector.’

This course is free for eligible job-seekers and offered at a significantly subsidised rate of €108 for those in employment via the Higher Education Authority Springboard+ initiative. 
Springboard+ is open to eligible job-seekers, home-makers and individuals in employment.

Interview: Terrence Masson

Ahead of his visit to Dublin next Monday, Terrence Masson kindly agreed to answer a few of our questions, as we are impatiently waiting to ask meet him in person and ask him a lot more!
Chair of the MFA Computer Arts department at the School of Visual Arts in NYC, Terrence is an animation and visual effects artist and producer with 30 years of production and education leadership experience. He came up through the ranks on more than 20 feature films including Hook, True Lies, Interview with the Vampire and three Star Wars movies; his work also includes short animated film, broadcast, video games and interactive media. He developed the original CG animation method for South Park in 1996 and his short film ‘Bunkie & Booboo’ won first place in the World Animation Celebration.

Hi Terrence! Who are the artists or artworks that inspire you the most, within or outside the film & animation realms?

I have an Art History minor with my undergraduate degree, so learned early to appreciate the masters including abstract expressionism, surrealism… Leonado DaVinci always.

What skills do you think will be important for the Animation and Visual Effects industries in the future?

Fundamental skills like figure drawing, color theory, composition, lighting, etc. will always be critical, combined with the ever changing new tech, like AI and Machine Learning, VR/AR/MR …

How important is it to stay ahead of the curve with regards to learning new technology in the Animation and Visual Effects industries?

Very! (See above) But always along side fundamentals!

What does lifelong learning mean to you as an Animation/Visual Effects professional?

For me, I get bored easily doing the same thing so I’m always looking our for newer, unsolved problems, so-called “impossible” tasks, combining things in new ways … and learning from my students as they explore, fail and discover ‘happy accidents’.

What are the areas of growth in the Animation and Visual Effects industries? Comparatively, what are the areas of decline?

While not new, the various XR tech (VR/AR/MR) are becoming mature in many ways both tech, creative use and application … but on the very near horizon is AI and Machine Learning which will have a massive and profound effect on everything we do.

In terms of your own experience of interdisciplinary collaboration, can you tell us about your most memorable experience?

I have so many, but building and running the “Image Engineering” group for Douglas Trumbull on the Luxor project was insanely cool … taking art department sketches, developing them in 3D with Alias, outputting files to stereolithography for the modelshop to use in building miniature sets, working with Doug to refine and previsualize camera moves that would drive the massive gantry motion-control camera and match move with the CG elements … all in 1992!

Finally, is there an upcoming artist you would like to mention, someone we should keep an eye out for?

One that comes to mind is Goro Fujita who not only is a brilliant artist but someone who is using the latest tools and applications and making a huge effort to share everything he does online to inspire others.

Animation Skillnet are delighted to be partnering with Screen Skills Ireland and Animation Ireland to host a discussion with Terrence Masson on Monday the 8th of April from 6pm to 8pm.

Please apply/register online through Animation Skillnet http://animationskillnet.ie/event-registration/?ee=248 by 12pm on Friday the 29th March 2019. For further information, please email Sorcha.scully@screenskillsireland.ie

Interview: Stephen O’Keeffe

Today, we meet Animator and Rigging Department Manager at Boulder Media, Stephen O’Keeffe, who will be tutoring our April course: An Introduction to Toonboom Harmony – with a focus on rigging.

Stephen, the only Irishman in Pune

Hi Stephen, Can you tell us a bit about yourself and how you got into animation?

From an early age I was mad about cartoons, comic books and anything that inspired my imagination. Some of my earliest memories are watching Rugrats and the original Batman Animated series in the early 90’s. I used to sit and draw them from the television and I remember my grandmother made me some VHS tapes which I figured out I could pause and then trace the images on screen to make little flip books, at the time not understanding that I was animating. I remained passionate for creativity, and after a brief period of wanting to be an accountant for some stupid reason, I decided I was determined to study art. My parents were understandably hesitant in the beginning due to the limited career opportunities but I think once they’d seen how passionate about it I was and that it wasn’t just “a phase”, they supported me through college and continue to support me today which I will always be so grateful for. I studied fine art, but after understanding the difficulties of supporting myself as a fine artist (which I’m sure my folks would have had to bite their tongue on a big phat “I told you so” upon hearing), I decided to move to the animation course. Luckily I felt immediately at home there and have never regretted my decision.

When and why did you start work with Harmony? Did you get a specific training?

I was working for Magpie 6 Media from 2012 to 2013 on a production “The adventures of a young Marco Polo” in Anime Studio Pro. It was my first gig and at the time I was probably one of the youngest people in the industry. I still had no idea what I wanted to specialise in in the industry but I was just so hungry to learn as much as I could everyday. Our next production “Inis Spraoi” was to be made in Toon Boom Harmony and we received some general training from a now Toon Boom Legend, Stacey Eberschlag as well as plenty of training from the more experienced staff in Magpie 6. I was very lucky to be surrounded by a group of people willing to put time into a younger member of the team like myself. That kindness and belief has shaped the person I am today and is a large part of why I am so passionate about sharing knowledge with others. The image I’ve chosen to go along with the interview is heavily related to this. In April of last year I was lucky to be selected by Toon Boom to travel to Minte Studio’s in Pune, India. There I provided a week of introductory training to the staff. It was incredible to see people in a culture so different to ours here in Ireland, share the same passion for creativity and specifically animation that we do. As much as my Mammy will hate this, I hope I get to do a lot more travelling through work like this in the future.

Can you tell us about the main similarities and differences between other software and the version you will be using during the course?

I think it is its own beast really, but, if I had to label it for someone who’s never used it before I would say Toon Boom Harmony is sort of a hybrid of Autodesk Maya and Adobe Flash. Harmony is similar to Flash in that it is a 2D animation tool with primarily vector drawing tools and similar to Maya in that it has a node view and deformation tools. As artists, we’re visual people and the node view can be an easier way to understand complexity than layers stacked on a timeline. The deformers are also a very powerful tool that sees improvement in every new version of the software. Deformers are just more refined shape tweens and the “dad joke” I always make is that the deformers are like shape tweens… but they actually work (Sorry Adobe). The main thing when learning Toon Boom Harmony however, is you can’t really compare it with another software like Adobe Flash or TV paint. Yes there are similarities and techniques that can be translated; But you need to have a fresh perspective and, although they are solving similar problems, they are not designed to be used in the exact same way. When I’m teaching Harmony, whether it’s to a class for Animation Skillnet, a college or consulting; I try to understand how you would achieve a result in software you are more familiar in, and then show you how to achieve the same result in harmony. For example, the shape tweens in Adobe Flash have a similar purpose to reformers in Harmony, but they way they need to be set up to be used effectively are vastly different.

Have you had a chance to try Harmony 16? What are your thoughts on the new features?

I imagine this is complete gibberish to anyone who’s not used the software, so apologies in advance: Harmony 16 is great. In terms of rigging, not a lot has changed as there were already significant improvements going from Harmony 14 to 15 But the subtle improvements are what I get most excited by. There’s a lot of techniques we developed as a team in Boulder to work around some of the shortcomings in previous versions of the software that we no longer need. This improves our workflow vastly and frees up some headspace for the more complex problems riggers need to solve as well as making life for animators easier. As a rigging nerd; my favourite improvements are the addition of the “Easily Modify Deformers” function and the ability to strategically manipulate the cables in the node view so they don’t appear tangled like a pair of headphones that have been in your pocket for too long. The ability to create gifs easily is also amazing, especially as I am soon expecting the written word to be replaced by gifs and emojis.

Are there any changes or improvements you would like to see in future versions of the software?

The addition of the Master Controller in version 15 was a game changer for me. We have a pipeline team here in Boulder meaning we could utilise this feature, however not every studio is so lucky. I had been working with some colleagues in Boulder to develop something like this in the lead up to it being announced in Harmony 15 which also made this particularly exciting. This was not really possible without having a decent knowledge of some software development languages which at the time we were lucky to have in Boulder. In Harmony 16 they have added some some “pre-packaged Master Controller Setup Wizards”, this means the Master Controllers can now be utilised by a wider audience, which I think Toon Boom deserve a lot of credit for. So my hope is that they continue to improve the software and make it as accessible to as large audience as possible.

via GIPHY

What was your favourite learning/up-skilling experience in the recent years?

I get asked this kind of question a lot in colleges when I provide training and my answer is always the same. 2D Harmony rigging has only really come to prominence during my relatively short career. I was lucky enough to get in early and when Boulder expanded a couple of years ago, I was tasked with building and structuring a department that didn’t exist before. I often get asked “What is your favourite project you’ve worked on?” and normally the answer is a specific show like “Wander Over Yonder” or “Danger Mouse”. But for me it’s been building a department from the ground up. 2D Harmony Rig Artist’s weren’t exactly common when we began the project so most of the team have only worked as a Rig Artist here in Boulder Media, coming in straight out of college or from a different department that had transferable skills like animation. While the team was in development, I too learnt and continue to learn so much both as a Leader and Rig Artist. I am so proud of the work I have done with my team and I am even more proud of how they have developed into one of, if not the best Harmony Rigging team’s Globally. I cannot speak highly enough of them both as a team and individuals.

Finally, is there an upcoming animation artist you would like us to discover?

Check out the Boulder Media Art Blog; this place is full of stupidly talented people that it would be hard to pick one! It’s one of the things I enjoy the most about working here, everyone is so talented but also for the most part humble. This creates an environment where everyone strives to improve and exceed expectations while helping each other to develop along the way. I’m not as naturally artistically talented as most of the studio, but I’ve never felt intimidated to create or share my art with anyone. I would even go as far as to say they’ve pushed me to create more.

If you would like to attend Stephen’s course, please click here: 

An Introduction to Toonboom Harmony – with a focus on rigging

and register before Friday 22nd march at 5pm.

Interview: John Peavoy

Today, we meet Animator and Lecturer John Peavoy, who will be tutoring our April course: Moho Dojo: An insight to Moho™ Pro Animation Software.

Hi John! Can you tell us a bit about yourself and how you got into animation?

I really got into animation as a teenager as I had seen lots of great animated shorts on TV. They where so much more different and interesting than the regular film/TV stuff I thought; Yeah, I’d love to do that for the rest of my life. Well, it wasn’t the easy road my 16 year old self imagined but I was lucky enough to meet some great people along the way who gave me advice and guidance. My first real breaks into the industry were working on short films with Steve Woods, who had been a lecturer of mine, and really enabled me to get a start with my career. 

When and why did you start working with Moho™? Did you get a specific training?

I started working with Moho, or Anime Studio Pro as it was called at the time, back in 2011. I began work as an animator in A Man And Ink with Jeremy Purcell and Lorraine Lordan. Jeremy had used Moho as digital animation solution on Cartoon Saloons’ The Secret of Kells. I got training with A Man and Ink who were using it then as an animation production software and had animated Miss Remarkable and Her Career, which went on to win a crystal in Annecy. When The Song of the Sea began at Cartoon Saloon, Moho was needed again for the production and since then Moho has remained the vector 2D software of choice for in-house productions at the studio, which is the reason I was needed up there.

Can you tell us about the main similarities and differences between other software and the version you will be using during the course?

Moho differs from other 2D vector software in that it is largely weighted to the creation of animation on a bone rig system. Think of it as 2.5D! Other software can offer the flexibility of the creation of vector graphics and the setting of graphics to bones for manipulation of such, however Moho is specifically designed to do this with the entire animation. It has a dynamic set of tools for IK rigging with mesh and vector manipulation, coupled with a robust set of drawing and creation tools that can compliment the artwork. On top of that, it also offers the ability to work frame by frame drawing by hand, as well as a set of physics and particle tools built in, giving you a choice of doing fx in camera instead of having to rely on cumbersome compositing solutions. 

Are there any changes or improvements you would like to see in future versions of the software?

I am working with the developers right now on the upcoming release, and I can say there are some new creative tools coming online that should really move the software toward the idea that it is becoming an all-in-one creative solution!

What artist inspires you the most at the moment?

Animation-wise it has to be The Line animation studio, they always seem to do incredible work!

Artists that are really inspiring me right now have to be Andrea Serio warm pencil work and astonishing light. Sydney Smith has been doing some beautiful dreamlike work… 

Finally, is there an upcoming animation artist you would like us to discover?

I am have become more convinced of late Kim Kelly is some form of magical wizard as there is little she can’t do.


A short video that shows what can be quickly done in Moho…
you should be able to understand and create something like this by the end of the course!

If you would like to attend John’s course, please click here: 

Moho Dojo: An insight to Moho™ Pro Animation Software.

and register before Friday 22nd march at 5pm.

Interview: John Dawson

Today, we meet screenwriter, story consultant, script editor and speaker John Dawson, who will be tutoring our April course: Writing Comedy.

Hi John, Can you tell us a bit about yourself and how you got into writing for animation?

When I was an art student at Sheridan College in Ontario, I hung out with the animation course students and got them to sneak me into their lectures. My initial foray into the dramatic arts was studying improvisation at the famous Second City Theatre, the Toronto company, which, like its Chicago counterpart, became the principal casting pool for ‘Saturday Night Live’.  While I lived in Toronto, I wrote and performed regularly with numerous comedy troupes as well as served as art director on films and theatrical works including an Off-Broadway production in New York.

I started to focus on writing and was asked to write a screenplay for an animated feature film that was supported by Screen Ireland (formerly the Irish film Board). That brought me to Ireland and steered me into writing for animation as well as live action. I’m still very involved in improv and probably always will be because, as a mode of instantaneous, live storytelling, it keeps my creative juices constantly flowing.

You have worked on several projects in the industry over the years; can you tell us about the roles of screenwriter, story consultant and script editor?

As a screenwriter-for-hire, I’ve been engaged to work on pre-existing story outlines as well as developing a story from the ground-up into a screenplay. I also write my own stories, developing them into spec scripts.

My work as a story consultant and script editor evolved over the years, probably because of my theatre experience and what I gleaned from all the great development people I’ve worked with on my own projects.

As a story consultant, I work with writers at the outline stage on their story’s basic structure and all the necessary components; i.e. strong theme(s), character journeys, plotting, genre and tone, etc.

As a script editor, I give notes on a completed draft of a screenplay, sometimes assisting writers and/or producers to develop it further to the next draft with me acting as a sounding board.  

Can you tell us about the main similarities and differences between writing for animation and writing for live-action?

In terms of ‘story’, personally, I don’t see any difference as both require the same things: a solid structure, conflicted characters on journeys of change, logical yet unpredictable plotting, all in service of strong, universal themes that will therefore make the story memorable.

Where they differ is more in the actual screenplays. Animation scripts are more detailed in describing visuals, sounds and action beats, therefore making them longer. The ‘one page per one minute’ rule a writer strives to adhere to in live action does not hold in animation; i.e. the screenplay for the original ‘Toy Story’ is 126 pages, yet the final film, which follows the script very closely, is only 84 minutes.

Do you have a work routine? Can you describe your ideal workspace set-up?

It’s said that a writer must write each day. I actually do! I’ve grown into being an early riser so I usually write in the quiet of the early morning until mid-day. Then for a few hours later, depending upon deadlines. I kick-start each day’s writing by editing what I wrote the day before. That gets my mental wheels turning.

I have two contrasting workspaces: in total silence, alone, at the computer and I write in long hand (usually at the story development or editing stages) in a busy, public place, enveloped by the din of a crowd. Years ago, I used to write through the night at punk rock clubs. Ah, the madness of youth…

You probably read a great number of scripts through your work; if there was one thing you would like to see more of, what would it be? And what about one thing you don’t want to see ever again!?

What I never want to see but fear that I will are more screenplays by writers who are more concerned with promoting their personal politics and ideologies rather than telling universally appealing stories where all the characters are conflicted and imperfect.

Plus, thanks to political correctness, everyone is now so afraid of offending that writers censure themselves. That is the death of creativity, especially in comedy writing, comedy being subversive by nature. Being offended is a matter of choice on some level. One takes offence – it is never given.

I want to see screenplays where the story structure is far more solid, the dramatic stakes higher, the conflicting forces stronger and therefore the essential journey of change that the protagonist(s) are on are greater. Weak screenwriting occurs when a writer, one who is usually improperly and/or inadequately trained, lashes into the screenplay too soon without developing the story first. It’s like setting out to build a house without a proper, well-developed blue print: the result will be not hold up.

What was your favourite learning/upskilling experience in the recent years?

The best learning experience I’ve had was when one of my screenplays – a feature length, live action, darkly comedic crime story, was one of only 10 scripts in the world to be accepted into the 22nd Annual eQuinoxe Europe Screenwriters’ workshop. There, in Essen, Germany, I was surrounded by like-minded international writers and filmmakers. I had the honour of working one-on-one with six, high-level advisors for the purpose of honing my screenplay. One such expert was the amazing writer Lorenzo Semple Jr., best known for his scripts for films like ‘Papillon’ with Steve McQueen and ‘The Parallax View’ with Warren Beatty. But he said the most fun he had was creating the original ‘Batman‘ TV series which had its premiere in early 1966 and became an instant hit. We connected instantly on many levels and he taught me a lot.

Finally, is there an upcoming writer you would like us to discover?

I’ve had the pleasure of teaching a number of fledgling writers from Irish animation studios like Brown Bag Films and Cartoon Saloon and many of their ideas were incredible. One such writer is Richard Keane, a director at BBF. He’s developing some very exiting live action stories. Check him out at Out Left Productions and on their Facebook page.

Cartoon Saloon is doing amazing things in animation. Nora Twomey’s Academy Award nominated masterpiece ‘The Bread Winner’, written by Anita Doron and Deborah Ellis, blew me away. The world needs much more of that kind of rich storytelling, maybe more now than ever.

You can learn more about John and his work on his website.

If you would like to attend John’s course, please click here: 

Writing Comedy

and register before Friday 22nd march at 5pm.

Interview: Kayvon Darabi-Fard

Today, we meet story artist Kayvon Darabi-Fard, who will be tutoring our April course: Starting out in Storyboarding.

Hi Kayvon! Can you tell us a bit about yourself and how you got into storyboarding for animation?

I was born and raised in the U.K to a varied heritage of mixed up British and Iranian roots, while growing up with a fascination in drawing and watching animation. Thanks to the ‘making of’ Disney documentaries of the 90’s, I was lucky enough to realise that there were actually people working behind the scenes on these animated t.v shows for a living! – My future career was decided!

Although my family didn’t hail from creative backgrounds or roots, I always felt that they were great storytellers and growing up around them meant that the storytelling bug was destined to rub off on me eventually. But paired with the Persian culture I grew up with and the expectations of a family that came out of a revolution with very little, there was the pressure to abstain from pursuing a career in animation and instead doing something more culturally accepted and ‘serious’. So inbetween being ushered (and partially forced) to attend Medical school interviews, open days and work experience – I quietly slipped away to commit to the love and appreciation I had for drawing and telling story’s – And here I am!

I started out Storyboarding in animation thanks to a friend named David Delaney, who I studied with at university and had moved to Dublin, Ireland. He luckily remembered that I was interested in Storyboarding, so he got in touch asking me to undertake a storyboard test for a short term freelance gig. I passed the test, got the job and began my Storyboarding journey from there!

Do you need to be exceptionally good at drawing to be a storyboard artist? Do you need some specific training?

I would say that you certainly need to be relatively comfortable with drawing and making a habit out of doing lots of observational, personal and story sketches. All the while being adaptive and willing to take on various challenges in drawing things that may often, put you outside your comfort zone/ personal style. 

I have met some incredibly talented and hardworking folks who came from different paths and disciplines into storyboarding, through courses, being mentored or starting as storyboard revisionists. I personally believe it’s not a matter of specific training that is the commonality of Story Artists, but it is rather their genuine flair and passion they share in wanting to tell stories.

How much collaboration goes on between story artists & writers/directors?

There’s often quite a lot of collaboration going on between these roles depending on the studio, project-type and the budget. But within the parameters of a studio, as I prefer to be and as I currently am at the moment, the story team is sat side by side while the director is merely a stone’s throw or Skype message away. 

We show and tell often, running ideas by each other to get the Storyboards working as best as they can. The scriptwriters are unfortunatley not always on-site so we do our best as an in-house team to collaborate, brainstorm, pitch and ‘plus’ what’s been given to us, to work with!

Is there good job availability in Ireland for those who choose storyboarding as a career?

Yes, from my past 6 years experience of living and working in Ireland, I would say the demand for good storyboard artists has been quite high and Irish animation studios are in constant need of people to be able to board for them – both in and out-of-house. There is certainly opportunities for advancement, since as the industry continues growing – so should the pool of artists to serve and fill those vacancies!

5- What are your favourite tools to work with? Can you describe your ideal workspace set-up?

I actually love to work traditionally on paper, to take that break from the humming computer and bright Cintiq. My favourite tools are Palomino Blackwing pencils and Canson Paper, while my ideal workspace/ set-up would be working in a studio space filled with all the people I love working with most, on exciting and fun driven projects… and maybe a Dog – or several?

What artist inspires you the most at the moment?

That’s a hard one, I’m always inspired by many artists in rotation. But having to choose; I’d have to say that I am forever drawn to one of my all-time-favourite illustrators – Richard Scarry.

Finally, is there an upcoming storyboard artist you would like us to discover?

Yes! I’d love to share the artwork of an up and coming Storyboard Artist, Elisa Bindi. Check out her instagram!

You can see Kayvon’s art work and storyboards here:

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If you would like to attend Kayvon’s course, please click here: 
Starting Out in Storyboarding

and register before Friday 22nd march at 5pm.

Interview: Fran Johnston

Today, we meet concept artist Fran Johnston, who will be tutoring our April course: Background for 2D Animation.

Fran (the one without the hat)

Hi Fran! Can you tell us a bit about yourself and how you got into animation? Was Background the area that initially appealed to you or did you have other ambitions?

Well I got into animation because when, it was time to apply for colleges after school, it was the closest thing to comic books. I had wanted to draw comics from a young age but when I got into the animation course in Ballyfermot I realised I really just wanted to draw. I even worked in graphic design for a bit after college and that just enforced to me more that I needed to be drawing. That’s when I sought to make a career in animation. Luckily my friend was working for an animation company and was leaving. I asked him to put my name and portfolio forward as his replacement and they hired me. That was 14 years ago!

What is the role of the 2D Background/Layout Artist in a studio? How do you collaborate with other departments?

The role of a background artist is to create environments that help tell the story and act as a stage for the animation to perform in on a show. It is important that they keep the style and continuity of a show and act as a team member.

They need to keep in mind how the animation will interact with the scene so there can be some back and forth with the animation department. Also they need to make sure their background files are set up properly for the compositing department.

Can you tell us about the main similarities and differences between designing Backgrounds for TV and for feature films?

It’s easier to start with differences as that’s an obvious one. Time and money are the major differences to these types of productions. Film budgets are higher so background artists get more time to invest in their work and add little details etc. With TV animation, show deadlines can be very tight and we don’t have as much time to spend on creating masterpieces. In saying that the similarities are that we still have the same objectives and ,mostly, use the same techniques.

What are your favourite tools to work with? Can you describe your ideal workspace set-up?

I mostly work with Photoshop on a Wacom cintiq. Most studios I’ve seen though have background artists work with a regular drawing tablet. A cintiq is in no way essential to creating backgrounds. It’s just a different and, arguably, a more natural way of drawing digitally. I also have an Ipad pro for personal work. I use Procreate on that which is an amazing app for the price you pay for it. Photoshop should be coming out on the Ipad this year so I’m looking forward to finding out what that’s like. I’m seeing more and more professional artists use the ipad pro for their daily work and my dream workspace would be having my feet up by a pool in a sunny location while working on a mobile device like that 😀

You probably see a great number of portfolios through your work; if there was one thing you would like to see more of, what would it be? And what about one thing you don’t want to see anymore!?

I’d like to see more tailored portfolios. A lot of portfolios I see have a bit of everything in them. While it’s fine to show what else you can do in a portfolio it should be predominantly made up of pieces that are related to the position you’re applying for. I’ve had multiple people apply for background positions in the past and send me links to portfolios which have little or no backgrounds in them. One thing I don’t want to see anymore are portfolio pieces that don’t show knowledge of background basics such as perspective and composition. These are the essentials and while I’d be willing to take on someone I can see is not quite there yet but trying, sometimes I see pieces where there’s been no thought put in at all.

What was your favourite learning/upskilling experience in the recent years?

My favourite upskilling experience in recent years was to do a workshop with Armand Serrano at the Idea Academy in Rome. At the time he was head of Visual development at Disney. He was such a nice man and very forthcoming with critiques and tricks of the trade. Also it was in Rome so I got to stuff my face with delicious Italian food for 3 days! You can see Armand’s work here.

Finally, is there an upcoming background artist you would like us to discover?

I don’t have a single one in mind but I think, like most people, I was blown away by Spiderman : Into the Spiderverse. Any of the environment artists on that are amazing. If I had to choose one it would be Robh Ruppel. He’s been around for a good while now so he’s hardly upcoming but I think the movie has opened more people’s eyes to his amazing work. He has an Artstation page here.

Also here‘s a great article with lots of examples of artwork from Into the Spiderverse.

You can see some of Fran’s work here:

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If you would like to attend Fran’s course, please click here:
Background for 2D Animation

and register before Friday 22nd march at 5pm.