As Manchester Animation Festival marked its 2nd year of existence, I managed to enhance bits and pieces of my knowledge through the versatile and vivacious panels that featured animations, talks, masterclasses, and films. Every animation that I watched had relevance in context of technique, but also of idea, as I pensively analyzed every animation I liked in order to self-didactically discover the technique and generate an idea. Luckily, I came back from the festival full of inspiration but also confidence hence I differentiated between the student and commissioned animations and compared them to my current skill. Nevertheless, since I am much more immersed in the world of animation, every panel provided a segment of knowledge relevant to my practice - something that I had not known before.
Masterclass: Phantom Boy (Folimage)
During this masterclass the narrative importance of sound was highlighted. In other words, it emphasized the workload of narrative sound can minimize if done effectively, hence it can tell what needs not to be animated in order to drive the diegesis. Furthermore, I got an insight in the dynamic of the sound and how it can insinuate the location of actions within the animation, how close they are happening to the POV, and how big of a driving force they are.
Masterclass: Studio AKA
Although I wasn't interested at first, this masterclass gave a thorough perspective on commercial animation conducted by professional studios that specialize in crafting short animations that fit advertisement briefs. I believe that being able to tactically work within given parameters is an effective skill for an animator since it improves the chances of working flexibly within studios. I was amazed at the polished and smooth embrace of both 2D and 3D animation by this studio, as well as the colloquial straightforwardness of the speaker
Fellowship Award: Aardman
Most important idea I pulled out of this was: "have a crack at something, see where it goes". Other than that, I was profusely inspired by the old stop-motion animations that Aardman have done, specifically the ones that intertwined pixilation - I love that aesthetic because it is more reminiscent of the art of film than any other technique, along with the olden "noise" of quality and the effect it brings.
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