We seem to be getting later and later with the art blog deadlines, we’ll put it down to the crew being perfectionists and needing a little longer to give it that extra 10%!
Februarys “Favourite Computer Game Character” theme has got to be one of our most popular themes so far with tonnes of entries coming in which gives an insight into what the Boulder Crew are really doing in their spare time and they said the carpal tunnel was from animating, a likely story!
The votes were counted and verified and it was Sophia Dalys ode to Lara Croft that came out on top so massive congrats to Sophia!!
For her troubles she is now the proud owner of some super sweet Morph bookends.
Our very respectable 2nd and 3rd places go to Ross Dillon and Verna Jaaskinen and if
you wanna have a look at their homages along with the rest of studios please click here:
The?new art blog theme for March/April is “Animal Behaviour” so keep an eye out for new posts.
For any of you that don’t fancy clamouring around the Spire in freezing cold conditions straining to see the Garda Marching band do their thing for the hundredth time in this Sundays parade your alternative Paddys Weekend at the Dingle Film Festival awaits!
The International Film Festival returns to the beautiful Dingle Peninsula for its 7th year with one whole day this year being dedicated to Animation as the Dingle International Film Festival in association with MEDIA Desk Ireland and JAM Media bring together for one day a selection of some of Irelands top Animation companies, giving them a platform to showcase their current work and discuss their future plans.
The day will involve each company exhibiting their work in the atmospheric St. James’ Church in Dingle with an aim to making the animation element of the festival an annual
The event will include a showcase of Irish animation companies with our own Randy Cunningham: 9th Grade Ninja getting an airing. A panel discussion will follow the presentations with panelists including John Rice (CEO JAM Media), Gary Timpson (MD/Producer Kavaleer), Darragh O’Connell (Founding Director Brown Bag) amongst others.
In addition to this the great Jimmy Murakami will receive the Inaugural Murakami Award for his lifetime achievement in animation.
And all of this is happening in the stunningly beautiful Dingle, where the local celebrity is a dolphin and you can pop into the Hardware Shop for a pint, what are you waiting for??!!
Details for the animation event are as follows:
Venue: St. James Church Date: Saturday March 16th Time: 12noon – 5pm Cost: €10
Ticket Booking Line: 085 2330303 Email for tickets to: email@example.com
If you fancy finding out more about the Irish Animation industry?while brushing up on your Irish language skills just in time for Paddys weekend check out Imeall on TG4 this Thursday the 14th March at 10.30pm.
Boulder are featured along with other succesful Irish Animation studios so má tá spéis agus grá agat i Beochan bí cinnte chun far amach don cláir!
If you’re looking for somewhere to escape the downturn, why not make the move to cartoonland? Okay, it’s a little two-dimensional in places, but you’re bound to meet some colourful characters, and it’s the one place in the world of entertainment that doesn’t seem to have been
hit by recession.
It may be curtains for the music industry, and it could be a closing chapter for publishing, but for anyone in Ireland embarking on a career in animation, it seems you really can live happily ever after.
Earlier this month, Boulder Media scooped the top prize at the first International Emmy
Kids Awards for The Amazing World of Gumball, a co-production with Cartoon Network. It’s not the first time the series, about a small blue cat and his friends, has scooped an international award.
Last November, Gumball won a Best Writer and Best Animation award at the Bafta Children’s Awards for the second year in a row, and has picked up gongs at the 2011 British Animation Awards, the 2011 Annecy International Film Festival, the 39th Annie Awards, and the 2012
Kidscreen Awards, among others.
It’s the latest episode in the ongoing success story of animation in Ireland. Boulder isn’t the only Irish studio scooping awards and accolades. In January, Jam Media added another trophy to its mantelpiece – a UK Broadcast Award for its co-production Baby Jake. Jam also makes the
acclaimed children’s series Roy, featuring a cartoon boy trying to get along in the real world. Jam’s newest series, currently airing on CBeebies, is Tilly Friends.
Meanwhile, Brown Bag Films, which won an Oscar nomination in 2002 for Give Up Yer Aul Sins, continues to go from strength to strength. In 2010, the studio was nominated for another Oscar, this time for Granny O’Grimm’s Sleeping Beauty, and in 2011 was nominated for a Bafta for its
aquatic adventure series Octonauts. Brown Bag currently makes the most popular preschool animation in the US, Disney’s Doc McStuffins, and Disney Jr has just begun broadcasting the company’s latest series, The Happy Hugglemonsters, created by Irish children’s writer Niamh Sharkey. And it is also creating a new series featuring one of the best-loved characters in children’s literature, Peter Rabbit.
It seems you can’t turn on a children’s TV channel without coming across an Irish animated production or co-production. It’s small wonder that it’s been dubbed the Celtic Tigger.
Over the past six years – since the beginning of the credit crunch – Irish animation has bucked the trend and seen an increase in revenue, employment and international profile. It helps that the industry is being supported by Section 481 tax breaks, plus funding from the Irish Film Board and support from Enterprise Ireland.
The animation boom has also brought an increase in applications to third-level animation courses run by Ballyfermot College of Further Education and the Dún Laoghaire Institute of Art, Design and Technology.
Back from the dead
It’s a second act for an industry that faced extinction in the mid-1990s following the closure of Sullivan Bluth studios, which made Irish-animated feature The Land Before Time, co-produced by Steven Spielberg and George Lucas. Set up in 1985 by Don Bluth, who had jumped ship from Disney in 1979, and Morris Sullivan, the studio was attracted to Ireland by the generous tax breaks and funding offered at the time by the IDA.
But things didn’t evolve as planned, and the studio’s subsequent features failed to replicate the success of The Land Before Time.
“What happened with Sullivan Bluth was it closed down, as companies do, and a lot of people were left unemployed, around 300 were let go,” recalls Prof Gareth Lee, who runs the Irish School of Animation in Ballyfermot.
“But a lot of people who were let go, or were graduates at the time, they became the seeds for what’s currently in existence. So graduates from that period set up studios that are still going now. They’re all small studios – the biggest would be Brown Bag with 100 to 130 staff, Jam Media with around 67, and Boulder would be quite big too, but a lot of the other ones have between 10 and 15
staff members. So a lot of studios, a lot smaller, which makes [the industry] more robust. You don’t have the whole industry reliant on one big studio or one big project.
“They’re also very export-focused, doing stuff for Disney and others, and for the US and Europe, which means they’re not relying on the domestic market, which is depressed right now.”
Lee runs the annual Irish School of Animation Conference (ISA Con), which had its fourth outing earlier this month at the Printworks in the Morrison Hotel in Dublin. Of the four guest speakers, three had studied in Ireland before moving into high-profile jobs in the international industry.
Simon Kay graduated from Ballyfermot Senior College in 1999, and now works as a motion-capture supervisor, using his specialist skills to create realistic animated characters for films such as Paul and John Carter.
It’s the same technology that was used to create Gollum in the Lord of the Rings and Hobbit films, and it’s increasingly used to allow animated characters to rub shoulders with real-life actors.
“I started off in traditional animation, and there was a massive boom around that time. The Lion King was coming out, and Beauty and the Beast, and we were going, great, when we come out of here, we’re going to go straight into jobs. But then everything started closing up. Then it all started coming up again with Pixar.”
When people thought computer-generated animation was going to make traditional animation obsolete, the focus shifted back to hand-drawn features. “It all mixes and matches. The principles that you learn in animation still apply – once you have the basics you can move it on to anywhere you like.”
Brendan McCarthy (23) is a first-year animation student in Ballyfermot. He got the animation bug after doing work experience in Cartoon Saloon in Kilkenny, makers of the Oscar-nominated feature The Secret of Kells.
“My lecturer says you can make a good living out there. He jokes that animators have loads of money because they have no time to spend it.”
Most of the students I speak to at ISA Con agree that you need patience, skill and attention to detail to be an animator – but you also need to specialise. With studios becoming bigger, there’s an increasing need for animators in particular niche roles, whether it’s motion-capture, 3-D modelling or knowing all about anatomy and biology so you can create believable flora and fauna.
For students setting out on a two- or four-year course in animation, the big question must be: will the ink run dry for animators in Ireland? “It has the potential for that, but I think it’s a more robust industry than it was back in the days of Sullivan Bluth,” says Prof Lee. “It is a fantastic time for animators. There are a lot of opportunities out there. The studios are good, and they’re doing good work.
“My bugbear would be that not enough is being invested in education and training, which
is a big part of bringing people into employment. What bothered me about the recent Budget was, yes, they extended the section 481 tax incentive, which was brilliant, but at the same time they’re
cutting education. So the feeder for that industry that they want to keep going is being cut. They’re not thinking widely enough about the industry. The industry has the potential to grow and create even more jobs. And the talent is definitely there.”