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Who will win? Be there to fi nd out! Thursday, February 17 COME CELEBRATE! We would like to cordially invite everyone who’s registered for KidScreen Summit 2011 to help us celebrate the year’s best kids content and broadcasting efforts at our KidScreen Awards presentation event on the evening of Thursday, February 17. Hosted again this year by Canadian stand-up comedian Gerry Dee, our funny and fast-paced awards show will be followed by an after-party where you can mingle with winners and judges alike. WHEN: Thursday, February 17 from 4:30pm to 6:30pm WHERE: Trianon Ballroom, Hilton NY (3 rd Floor) ATTIRE: Business casual (no need to change) We really hope you can join us! Please note: You must be registered for KidScreen Summit to get into this event. summit.kidscreen.com | 416-408-2300 x650
Self-starters.com A decade after Flash-based toons started making waves online, they remain a gatekeeper-free outlet for animators. And in this excerpt from his new book, Directing Animation, David B. Levy explores the reasons why the web continues to serve as the ultimate arena for exercising one’s creative chops. 20 2010 10 New Ne New York’s Yo York rk’s ASIFA-East ASI SIFA FA-E -Eas ast cre- cr cree-ated an original 12-month wall cal- IN2010, endar as a fundraising device. It fea- more mo more re or less le less ss fully ful ully ly animated ani nima mate ted webtoon we webt btoo oon series se seri ries es for Scifi .com, The Existential Adventures of Astro- Chimp. I also did enough other freelance Flash tured artwork from some of the Big Apple’s top production work to have learned a lot about animation talents. Among the 12 artists was pio- how not to effi ciently produce webtoons. I neering web animation director Xeth Feinberg, worked solo and was able to turn out a fi nished who (at the calendar launch event) screened a webisode in a week or less. All this work was new series of self-produced web cartoons called getting seen, and though I was making a living Ugly Realities, a spoof on the “reality show” at it, web animation still seemed more like a genre. I’ve known Feinberg since the mid-1990s fl uke than a career.” and whenever he has a gap between paying A key part of Feinberg’s story helps set projects, he’ll crank out some new indie shorts, apart animation for the web from TV anima- which he’ll self-distribute on his websites xeth. tion. Because the director had created his com and mishmashmedia.com, in addition to early Bulbo series with the intention of self- sending them out as links to clients, network distributing it on the web, he didn’t have to executives, colleagues and friends. fi rst pitch the series to a traditional TV net- For Feinberg, making indie web shorts and work that might say no. The limitations of the series is not just a creative outlet, it’s the rea- late-‘90s bandwidths and modem speeds son he has a career in the fi rst place. As an helped set the simple style for the Bulbo independent animator and cartoonist with shorts, allowing a single animator/director a background in CD-ROM animation at the to create, animate and distribute the series dawn of the new millennium, he had been independently. Most importantly it helped mastering the potential of Flash (in his words, set up Feinberg to create his next series as a “the miraculous little computer application that paid project for Scifi .com. While the rules and makes webtoons possible”) for just over a business model of the internet are still being year––which practically made him a wizened written more than 10 years later, one thing old expert in the fi eld. The director explains, “In remains true—the web is still a place where 1999 I was already making my pseudo-silent- someone (like Feinberg) can create without era black-and-white Bulbo animations, had cut a “gatekeeper” blocking his path, post work my teeth on a series of children’s interactive on his own “channel” or website and spin storybook webtoons, and had created the fi rst such visibility into a larger success. Animation director Dan Meth of web series The Meth Minute 39 fame or Groundbreaker—Dan Gr Grou ound ndbr brea eake ker—Dan an Meth Met eth Many creators owe their start in the biz to Mr. Fred Seibert who has spawned oodles of opportunities for pitchers through his initiatives at Cartoon Network/Hanna-Barbera (What-A- Cartoon!) and Nickelodeon/Frederator (Oh- Yeah! Cartoons and Random! Cartoons). Webtoon director Dan Meth arrived on the animation scene in 1999 and gradually made a name for himself through his internet cartoons. Fred hired Meth in March 2006, and they both began to search for ways to work with one another on original content. What they came up with, The Meth Minute 39, was a very forward-looking series, a glimpse into the not-too-distant future of web series animation. A few years earlier, Meth was a struggling freelancer with a knack for short, punchy and funny web animations that happened to score millions of hits. When Meth came to work for Seibert, the director used his initial proximity to Seibert to pitch cartoon ideas for Random! Cartoons (an anthology of seven-minute standalone cartoons, each acting as potential pilots for series). Seibert wasn’t interested in any of Meth’s pilot pitches, but neither he nor Meth seemed discouraged by that. Eventually, Meth dreamed up a pitch for what would become The Meth Minute 39. His idea was to make a grab-bag series of unrelated short internet cartoons—one per week, JANUARY 2011 31
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