Jaarverslag 2012 - NIAf

Peta Ridley (Verenigd Koninkrijk)
editing: 29 en 30 mei
Brian Horgan (Ierland)
rigging: april, mei, juli en december
Guido van Gennep (Nederland)
camera en belichting: 12 april
Naast begeleiding, masterclasses en workshops
zijn de gemeenschappelijke activiteiten van
de artists-in-residence belangrijk tijdens hun
verblijf aan de Animatie Ateliers. In 2012 is het
Internationales Trickfilm Festival in Stuttgart
bezocht evenals het Holland Animation Film
Festival in Utrecht. Er is gemeenschappelijk
gewerkt aan de presentatie op de Dutch
Design Week in Eindhoven. De voortgang van
de verschillende projecten is regelmatig in
groepsverband aan de orde geweest. Dit jaar
is voor het eerst substantieel aan de productie
van de deelnemers bijgedragen door stagiaires
en animatoren van buiten het NIAf. Dit bleek
ook een goede training in het geven van
opdrachten en het verdelen van werk.
D E D E E L N E M E R S
Frauke Striegnitz (1976, Germany)
(september 2010 - december 2012)
In 2012 Frauke continued working on her short
film THE FAMILY which has been her main project
during her time at the NIAf. The animation of
the film served as a detailed basis for mentoring
talks, for example with filmmaker Igor Kovalyov
and film editor Peta Ridley. The talks resulted in
some changes being made to the story structure
and also in the reduction of any “unnecessary”
props and details in the story. The characters,
a house, a horizontal line, a box, a banjo, a
couch and a dot are all that remain, all the
story that needs to be told. For the animation
production phase Frauke teamed up with
German animator Urte Zintler. Frauke made the
layout and precise blocking of the characters
for each scene. Then she handed the scene
over to Urte who made the animation. Later
in the year HKU animation student Martijn
Calkhoven started his internship at the NIAf. He
contributed to the production of THE FAMILY as
an inbetweener, which means that Urte then
animated the scene roughly and left frames
blank for Martijn to draw those in-betweens.
Frauke decided to work with the sound
designers Craig Bjerring and Jonas Giger from
Germany. Since the sound is created parallel
to the animation process, image and sound
influence each other. For example, did the
guitar that Father played in the film change to
a banjo because the banjo sound fitted better
to the girl`s dance
Ru Kuwahata (1981, Japan/United States)
(juni 2011 - december 2012)
During the first half of the year, Ru worked with
her partner, Max Porter, on the pre-production
for their animated film, A VERY LONG SECOND.
The story tells the passing of time during one
transformative day as understood by a clock
on the wall. It was important for them to create
a finished test shot to figure out the technique
and workflow for the production. There was a
lot of trial and error since it is a combination of
stop motion and CGI. At the same time, they
worked intensely with a voice actor and sound
designer to create a scratch soundtrack and
finalise the animation. Once the pre-production
was completed, they prepared all the puppets
to be animated in CG. The challenge was to
take the clay-made maquettes and transform
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