Friday, July 21, 2017

The Ogre & the Mermaid - thanks to my crew and others who lent their time and energy.


The Ogre & the Mermaid_10 min from Christopher Magee on Vimeo.

The short version of the film (10 minutes), hiding in plain sight. Is it over? I don't know, there's more that could be done, but this will in any case replace the long version that I have been sending out into the world. This 10-minute version was made to increase the possibility of seeing it accepted into festivals. Very competitive these days, what with the annual avalanche of graduating students and growing contingent of professionals, but you have to give it a shot. Hawai'i wisdom says: "If can, can. If no can, no can."



main_2017_05_29 from Christopher Magee on Vimeo.

The long version of the film (15 minutes). Cutting this version down, with thanks to Karl Staven, Lowell Boston, and Bob Lee for providing me with their edits, was very educational. I learned, in a short time after looking at the ways they cut down on the storytelling fat, a bit about economy in the service of moving a story forward. Valuable lesson. But getting to the point of receiving truly impactful critical feedback took a long time. I will be looking in the future to create more opportunities to gain from informed outside perspectives. We're all connected. Don't be afraid to ask for help.

Thanks to everyone who worked on the film. Hopefully you will reap some benefit from its completion - I am crossing my fingers on your behalf, looking at at least one year of focused festival submissions. Thanks in particular to Janelle Smith, who worked tirelessly on it for(ever), or what must have seemed like it, and whose line work makes it appear as if only one artist was responsible for the characters' movement, and Ellen Marcus, whose professionalism, efficiency, and beautiful background colors and textures are a critical component in the look of the film. Thanks also to Tetsuya Hori, whose contribution, though we never met in person, was also extremely important - the abstract, textured, and percussive nature of the music helps push the the film toward an artward, rather than cartoon-oriented, direction. Just what I was looking for.

Thanks to Bob Lee, who contributed music and the afore-mentioned editing acumen. We had fun recording - the "stars" shot is in the director's cut but did not survive the knife in the 10-minute version. Good memories doing the recording with Anders Hansen on flute, me and Bob plucking the bridge and headstock sections of string on a single guitar for our celestial mimicry.

Thanks to local artists, and interns and non-student interns:

Artists from beyond UArts:
Natalia Caballero (Arcadia University)
Gabrielle Patterson (University of Pennsylvania)

UArts student interns:
Fall 2012-Spring 2013
Amanda Bautista: assistant animator
Shannon Connor: assistant animator
Matt Gemino: colorist (blog)
Giselle Rosser: assistant animator

Fall 2013
Grant Ervin: colorist
Meghan Loeb: colorist
Evan Maron: colorist
Garion McCauley: colorist
Mark Pappajohn: colorist
Nishant Thelakkat: colorist, assistant animator


Spring 2014
Tim Albany: colorist
Natalia Caballero: colorist, special effects animator 
Ginelle Joseph: colorist
James McMullen: colorist
Ra'shon Sanders: colorist

Jun Hee Kim: test composer for Sequence 4

Summer-Fall 2014
Tahirah Pryor: colorist

Motion Heads initial team (in addition to Janelle):
Jessica Barnett (UArts Animation alum)
Maya Flemming (UArts Animation alum)
Eric Nielsen (independent artist/animator)

Special thanks to:

Daniel McGowan: composer on initial iterations of the film, my friend in music
Marie Huard: for her unending, support and encouragement
My family: for their belief in my capacities
Kahuna the cat: my soul brother




Wednesday, June 14, 2017

Submissions.

Current submissions:

2017_02_15
• Annecy   : (

2017_05_29
• Ottawa

2017_06_14
• Cinanima, Portugal

2017_06_16
• TAF Thessaloniki Animation Festival (submission incomplete, not sure why).
• TIAF: Taichung International Animation Film Festival
• PIAFF: Festival International du Film d'Animation de Paris
• New Chitose Airport International Animation Festival
• Abuja International Film Festival
• Festival du court-m├ętrage d'Auch
• Kuandu International Animation Festival
• Bucheon Film Festival




Thursday, June 1, 2017

Submitted to Ottawa.

Ok. No luck with Annecy. Ottawa submission made, with 2 minutes to spare.

Monday, May 15, 2017

New deadline.

May 27 deadline for the Ottawa Animation festival.

Thursday, February 16, 2017

Excerpt from Complete Film: Sequence 04


ogre_excerpt from Christopher Magee on Vimeo.

Still tweaking to be done, and some of it substantial, but the film has a beginning, a middle, and an end now, and plays all the way through from start to finish, with sound.

Crazy long process.

Tuesday, February 14, 2017

submitted!











This just the first (though most coveted) of as many festival submissions as is possible!

Wish us luck, ogre, mermaids, all...

: )

ps - what a relief.*

*although there's still tweaking to do.

Deadline.

One more day before the Annecy submission deadline. Regardless of the result, this has always been the ersatz target for completion of the film.

Thanks to Anders and Bob for coming over on Saturday to record flute for the mermaid. We had a good time in the living room recording studio.

Wednesday, January 4, 2017

Update.

It's been awhile since anything new has been posted here. The film is in the home stretch, with animation complete (or very nearly), and final work being done on sound effects and music. It still needs a title and credits as well.

Deadline is January 17th, 2017. What a story the production of this thing has been, like being pregnant for ten years...

Snippets of the final piece will be posted, and the process of submitting to festivals will begin.

My next film...will be a pony.