Page 39

productions with numerous creators or just the solo work of an individual. It has also been proved that the digital work environment can be useful not just to CGI animation, but to more classical forms of the art as well. A number of genres that are animation based by nature are undergoing a renaissance nowadays because of the digital technique – for instance just think about the fabrication and movement of puppets or how much the shooting and postproduction costs are lowered by it. anks to these, animation studies have a huge opportunity now to keep the genre alive and even to renew it. Moreover, the students who are involved in these kind of studies are not only creators - with the help of digital equipment, they are also the technicians and producers of their own works. is has considerable significance, as we don’t just teach talented dreamers who couldn’t function without a technical crew behind them, but creative minds who can also manage the whole spectrum of producing animation themselves. Beyond technical opportunities, having a projectbased educational system (which allows the students to experience the whole “plan-createexecute” package) also has the perk – unlike traditional studios - to facilitate a creative environment with exceptional possibilities. Usually the most expensive part during project development is the creative pre-production phase and to get from developing the story to creating a visual style. During their studies, students are constantly exposed to this very phase thus they get to practice it but without the frustrating pressure of time and budget. is way, institutions can even become initiators or co-production partners of different projects. It is also becoming obvious that these kinds of schools have great potential of experimenting

with visuality, narrative and the delivery and distribution of the films. This is for two reasons. e first one is that there is a “critical mass”, a considerable amount of concentrated talent, that raise a great number of questions and answers, allowing innovations based on them to come about more and more quickly. e second, perhaps more importantly, is that students get to test their concepts immediately in practice (short films, applications, games etc.) as they have the capacity not just to think in theory, but use the institution as a production company. In this way, both theoretically and practically speaking, prototypes can be created as “by-products” of education. In addition, there are exciting possibilities in the digital communication milieu that surrounds us professionally and personally as well. is affects the animated film as well; for instance the hierarchy which was typical during a production before is now surpassed, not just because

of the digital age, thanks to which nowadays geographical/physical distances are non-issues due to the virtual cooperation between creators. (This has been common practice at international productions for decades.) I would like to draw attention to the creative and developing processes which could also be great learning experiences if done together as a social activity. is applies to the usual genres (series, individual short films, etc.) as well as to edgy ones that are only made for online distribution.

WOSH by Daazo.com 37

Profile for Daazo.com - The European short film center

World of Shorts - the Berlinale 2014 issue  

World of Shorts (WOSH), the magazine published by Daazo.

World of Shorts - the Berlinale 2014 issue  

World of Shorts (WOSH), the magazine published by Daazo.

Profile for daazo
Advertisement