Skip to main content

Call for Submissions: ANIMARKT Pitching, Branch of Polish Event ANIMARKT Stop Motion Forum, Extends 2018 Pitching Submission Deadline

Photo courtesy of Iwona Buchcic.

As of August 1st, 2018, ANIMARKT Pitching – a branch of ANIMARKT Stop Motion Forum, an annual puppet animation-centered conference based in Łódź, Poland, where producers, distributors, representatives of TV broadcasters, animators and other professionals in the stop motion industry share with those who attend the conference their experience and practical knowledge about working in animation industry, including pitching sessions, discussions, presentations, workshops, and individual face-to-face meetings, the first event of its kind in Central and Eastern Europe – has extended its pitching submission deadline for stop motion short film projects to August 5, 2018.

“We are excited by the substantial number of all submissions that have already been submitted. Nevertheless, in order to maximise the opportunity for creators to present themselves and their projects in front of professionals from many countries, we are pleased to extend the deadline for projects of stop motion shorts,” says Agnieszka Kowalewska, programmer of ANIMARKT Stop Motion Forum.

The regulations for pitching are as follows: The film being pitched must be at the development stage. It must not have a final runtime over over 26 minutes, and at least 80 percent of the film should be made with the technique of stop motion puppet animation. Projects may include animated shorts or television special episodes made with the use of puppet technique.

Furthermore, an additional asset of the project must include the artistic input of creators (Animation Director, Storyboard Author, Author of Artistic Designs, Composer, or an animator responsible for the realization of a significant part of the animation) from at least one of the following countries: Poland, Slovakia, Czech Republic, Estonia, Hungary, Germany, Ukraine, Lithuania, Latvia. However, the event’s organizers welcome creators from all over the world.

The full list of pitching regulations are accessible on www.en.animarkt.pl/pitching. Applications are to be submitted by an online application form at: https://goo.gl/forms/jrbY9FSjEI0fmagJ3 until August 5th, 2018.

ANIMARKT Stop Motion Forum 2017. Photo courtesy of Iwona Buchcic.

From all the applications being sent, the Selection Committee will choose 15 projects which will be presented on October 11th, 2018 as part of Pitching during the ANIMARKT event. The selection committee includes: Agnieszka Niewadził (CeTA, Poland), Nikodem Szlęzak (CeTA, Poland), István Mráz (Mozinet Ltd., Hungary), Michal Podhradský (ASAF, Czech Republic), Andrej Gregorčok (Fest Anča International Animation Festival, Slovakia), Agnieszka Kowalewska-Skowron (MOMAKIN, Poland), and Paulina Zacharek (MOMAKIN, Poland). The pitching jury will be announced later this month.

The person responsible for presentation of the selected project will be provided with a hotel accommodation (7 nights) and a reimbursement of 80% of travel costs (up to EUR 150). Moreover, they will participate in two training sessions. The script session with Wim Vanecker – a producer, screenwriter, director, script consultant, and the project manager of European Short Pitch – will be organized in a form of individual meetings focused on a given participant’s projects. Training sessions with Nancy Denney-Phelps – an animation historian and journalist who cooperates with the prestigious AWN.com publishing group – will have a similar form. Nancy will conduct a training sessions that will aim at improving the participants’ skills connected with presenting projects.

Among the projects presented during the ANIMARKT event, the Pitching’s jury will select two main winners. Information concerning the awarded projects will be announced on October 13th, 2018 during the Closing Gala of the Łódź Animation Festival LAL.KA.

The prizes in the contest are the Audiovisual Technology Center contribution in kind in the amount of: 60.000 PLN (ca €14.000), 40.000 PLN (ca €9.300) and additional awards, such as accreditation to Mifa 2019 and sound post production including studio and sound engineer for 5 days (offered by Playade Sound Studio).

The organizer of ANIMARKT is MOMAKIN (www.momakin.pl) – a multi-tasking unit working for popularizing and propagating animation and supporting creators in Poland
and in international arenas. The partners of ANIMARKT include: Audiovisual Technology Center (CeTA) from Wroclaw which is also the founder of the awards for pitching winners, ASAF (Czech Republic), Mozinet (Hungary), Fest Anča International Animation Festival (Slovakia). ANIMARKT is partially funded by the International Visegrad Fund
and co-financed by the Polish Film Institute.

ANIMARKT Stop Motion Forum 2017. Photo courtesy of Iwona Buchcic.

ANIMARKT Stop Motion Forum – which includes ANIMARKT Pitching – will take place in Łódź, Poland from 8th to 13th October, 2018.

To learn more about ANIMARKT Stop Motion Forum you can visit their website by going here. For additional information concerning ANIMARKT Pitching, please email Iwona Buchcic, ANIMARKT PR and Marketing Manager, at i.buchcic@momakin.pl, or at +48 502 598 925.

You can stay tuned for upcoming interviews and articles by subscribing to Stop Motion Geek via the “subscribe” button at the top right corner of our homepage, by following us on our Facebook @StopMotionGeek, or by following us on our Instagram @stop.motion.geek.blog.

Comments

Popular posts from this blog

CGI/ Stop Motion "The Little Prince" Trailer is Here

Mark Osborne's ( Kung Fu Panda ) has released the first trailer for his next movie The Little Prince.  The trailer is spectacular.  The film is a mix of 2D hand drawn, paper cut-out Stop Motion, puppet Stop Motion, and CGI.  Which is pretty risky in this day and age.  Now, anything with 2D or Stop Motion is an immediate red-flag; needless to say, this film (the Stop Motion side of it) will be beautiful.  Although in the trailer we see a CGI little girl imagine a hand drawn plane, which turns into a paper cut-out plane, and then morphs into a Stop Motion puppet that becomes The Little Prince.  CGI, in my opinion, was not the way to go with this project -- or so I thought.  Now that I see the fusion process in realtime my view has shifted a little.  Although my rule still stands, if you don't have a huge budget for CGI then don't do it !  The Little Prince trailer, though, did still pull it off; yes, it could be tweaked, but I have confidence ...

A Screen Novelties Christmas Present, to Us!

I check my email and I see... Property of Screen Novelties  This gets an ' ohmygosh ' reaction from me; which doesn't happen every day for one who loves his internet tidbits.  Oh, I almost forgot, I have been deprived my internet due to an ice storm that happened last morn, just thought I would throw that in there... For those of you who know me personally, you will notice after watching this [Screen Novelties] is breaking new ground.  I have been saying that if Screen Novelties works hard enough they will be the next Laika.  I believe in you guys! So anyhow check it out right here:  http://screen-novelties.com/greetings-from-krampus/#.UrjRCNJDuuJ Screen Novelties website:  http://screen-novelties.com/ "A Krampus Christmas" eCard from Screen Novelties on Vimeo .

Interview with Mark Smith, Director and Writer of Stop Motion Short Film, "Two Balloons"

A still from Two Balloons featuring the character of Elba. Photo courtesy of Mark Smith. As I sit, listening to Peter Broderick’s moving composition for piano  More Of A Composition , I close my eyes and envisage an enormous funnel cloud skimming across the crystalline face of an ocean – the skies are murky and unusually dark, lightning crackles, spider-webbing across the darkened skies before then vanishing, and still, after its gone, an electricity continues to hum in the air and I simply  know  that it’s going to soon strike again. And as the scene presents itself to me, I suddenly feel something similar to what director Mark C. Smith felt when he saw the same image as he sailed to a small island called Grenada along with his wife in a timeworn sailboat. For him, in that moment inspiration struck, and the idea suddenly came to him for his heartfelt stop motion film,  Two Balloons . For me, I open my eyes and feel as I did the instant  Two Balloons  ...

Vincent & Puppet Scales

Tim Burton's Vincent  is a masterpiece; the short was animated by the brilliant Stephen Chiodo .  I do love that the short was shot in black and white film, ask any true film-lover and

Interview with Bradley Slabe, Co-Director of Stop Motion Love Story, "Lost & Found" (Part 1/2 of Interview with "Lost & Found" Directors)

Knotjira (foreground) and Knitsune (background) in Lost & Found . Photo courtesy of Andrew Goldsmith. The true essence of art – a reflection of life itself – is very much akin to the Japanese aesthetic of “wabi-sabi”: it’s imperfect, impermanent, and, at times, profoundly...incomplete. It is both at once a fundamental truth, and, curiously, more often than not, a thing incredibly hard to acknowledge, to make peace with. Yet perhaps our resistance is justifiable, for once we admit that the world is full of unknowns – unknowns that aren’t ideal, that aren’t perfect – we are just as soon confronted with the actualization of a deep, intrinsic, and very human fear: the fear of a future full of...unknowns that aren’t ideal, that aren’t perfect. Yet it’s the confrontal of that fear that is the most terrifying reality of all, for the moment we make peace with it we have just as soon have acknowledged that our paths in life aren’t in our own hands, or something we can contro...

Short Flicks: Bent Image Lab's "Fruity Pebbles"

What could be better than starting your day off with part of a whole breakfast, Fred Flintstone, and Stop Motion?  We couldn't think of anything either.  Nevertheless, these awesome commercials/BTS will bring out the kid, and nerd, in all of us.  Directed by Rob Shaw for the incredible Bent Image Lab (a studio that just moved to Manhattan , by the way), these TV spots encapsulates everything we know and love about the modern stone-age Flintstone family who establish how we now think of Prehistoric times. Fire House :  http://vimeo.com/45991027 Cocoa Pebbles "Fire Hose" from Bent Image Lab on Vimeo . Cop Rock :  http://vimeo.com/42010097 Cocoa Pebbles "Cop Rock" from Bent Image Lab on Vimeo .

Interview with Victor Haegelin, Director and Animator of Stop Motion Action Mini-Movie, "Captain 3D"

Captain 3D in Haegelin's  Captain 3D . Source: Vimeo. Snatching a moment’s respite, a moment now drawing to a close, animation director Victor Haegelin—sporting wide-rimmed 3D glasses with big, red and blue lens—flips through the last few pages of a comic book boasting in big, red letters, “Captain 3D.” He reclines in a leather-backed computer chair, sitting at his desk, every inch of it crammed with something , though what exactly is anyone’s guess, stocked as it is with an animator’s lightbox, a glass jar filled to overflowing with colored pencils that lies an arm’s distance from of a litany of neatly stacked books and magazines—complete with a smattering with glossy comics coated in celluloid—the array finished off with every creator’s most essential companion: a sketch-pad and pen, the items lying closest at hand. Victor Haegelin in Captain 3D . Source: Vimeo. Victor Haegelin closing the cover on the "Captain 3D" comic in Captain 3D . Source: Vi...

Interview with Samuel Lewis - Animator, Character Designer, and Sculptor on Stop Motion Short Film, "Lost & Found"

Knotjira, a clumsy dinosaur made of wool, as seen in Lost & Found . Photo courtesy of Andrew Goldsmith. “If I had to pick a starting point for my career as a stop motion animator I would have to say it was my obsession as a six year old with a book called ‘Playing with Plasticine’ by Barbara Reid,” Samuel Lewis – a London-based stop motion and 2D animator and director, whose most recent labor of love can be seen in his contribution to the Australian stop motion short film, Lost & Found – tells Stop Motion Geek. Upon reflection, Lewis explains that his love for the medium of stop motion began very early in life, and has merely managed to burn ever brighter in his fervor to master the craft. “I would spend countless hours fixated on sculpting tiny snails, fruit bowls and dinosaurs to the point where I would stay inside on family holidays sculpting a surfer in a beach scene rather than going to the actual beach that was only a short walk away,” Lewis recalls wistfully. “...

Interview with Matt Bollinger, Painter and Animator Behind Stop Motion/Painting Hybrid Short Film "Between the Days," a Beautiful Portrait of Routine, Unfulfillment, and Despair in Middle America

"Before Work" finished painting featured in  Between the Days . Photo courtesy of Matt Bollinger.  Often – far too often – we forget the true weight of our actions, our everyday decisions, ranging from those big to small. And, in forgetting, we forget ourselves – who we truly are, where we have been, what we have done, how we have gotten here, to this very place in this very moment. For we are nothing if not the sum total of all our decisions, our actions…even the most minute, even those – perhaps especially those – made in the thrumming humdrum of the everyday: the act of rising from our bed and reaching over to flick off the alarm resting on our bedside table, lighting a cigarette, collecting yesterday’s trash before moving on to more, equally menial tasks. Moments spent alone, in ostensible comfort – the comfort provided us by 21st century accoutrements so many of us have grown to take for granted. Whether we are aware of it or not, each of our actions leave a ma...

Interview with Filmmaker Hans Weise – Part of the Team Behind National Geographic's "A Fearsome Fleet: Secrets of the Vikings"

A frame from A Fearsome Fleet: Secrets of the Vikings featuring the shipbuilder hero, Harald. Source: Vimeo. More often than not, manmade beauty, art in general, and stories themselves make very little practical sense. For art, like beauty, is subjective. More often than not, if we are truly honest with ourselves, our art, our stories will not stand the test of time. Thus, art, stories, and beauty do not provide one to leave very much of a legacy – at least an infallible one – through using it as a means. Often, manmade beauty, stories, and those daring choices we make in putting pen to paper, brush to canvas, camera to subject, more often than not can only be justified for the sake of beauty, the sake of telling a story, the sake of art, whatever “the sake” of something actually means. It seems paradoxical, though perhaps it is not: Perhaps, innately, we as humans need stories, need art, need beauty. Not for any utility they propose, but simply so that they can be, quite ...