Biography

Petrov was born in the village of Prechistoye (Yaroslavl Oblast) and lives in Yaroslavl.He studied art at VGIK (state institute of cinema and TV). He was a disciple of Yuriy Norshteyn at the Advanced School for screenwriters and directors (Moscow).After making his first films in Russia, in Canada he adapted the novel The Old Man and the Sea, resulting in a 20-minute animated short — the first large-format animated film ever made. Technically impressive, the film is made entirely in pastel oil paintings on glass, a technique mastered by only a handful of animators in the world. By using his fingertips instead of a paintbrush on different glass sheets positioned on multiple levels, each covered with slow-drying oil paints, he was able to add depth to his paintings. After photographing each frame painted on the glass sheets, which was four times larger than the usual A4-sized canvas, he had to slightly modify the painting for the next frame and so on. It took Aleksandr Petrov over two years, from March 1997 through April 1999, to paint each of the 29,000+ frames. For the shooting of the frames a special adapted motion-control camera system was built, probably the most precise computerized animation stand ever made. On this an IMAX camera was mounted, and a video-assist camera was then attached to the IMAX camera. The film was highly acclaimed, receiving the Academy Award for Animated Short Film and Grand Prix at the Annecy International Animated Film Festival.

After this, Aleksandr Petrov has maintained a close relationship with Pascal Blais Studio in Canada, which helped fund The Old Man and the Sea, where he works on commercials.

He returned to Yaroslavl in Russia to work on his latest film, My Love, which was finished in spring 2006 after three years' work and had its premiere at the Hiroshima International Animation Festival on August 27, where it won the Audience Prize and the Special International Jury Prize. On March 17, 2007, My Love will be theatrically released at the Cinema Angelika in Shibuya, (Japan) by Studio Ghibli, as the first release of the "Ghibli Museum Library" (theatrical and DVD releases of Western animated films in Japan).

Filmography :

Director1988—Marathon, Марафон (Marafon) (directed and animated with Mikhail Tumelya)

1989—The Cow, Корова (Korova) (after Andrey Platonov)

1992—The Dream of a Ridiculous Man, Сон смешного человека (Son smeshnovo cheloveka) (after Fyodor Dostoevsky)

1997—Mermaid, Русалка (Rusalka) (after Alexander Pushkin)

1999—The Old Man and the Sea (after Ernest Hemingway)

2003—Participated in Winter Days, 冬の日 (Fuyu no hi)

2006—My Love, Моя любовь (Moya lyubov) (after Ivan Shmelev)

Art director

1984 By a Wave of the Wand, По щучьему велению (Po shchuchyemu veleniyu) (directed by Valeriy Fomin, cutout animation)

1985—Tale of a Small Fry, Сказочка про козявочку (Skazochka pro kozyavochku) (directed by Vladimir Petkevich, paint-on-glass)

1986—Welcome, Добро пожаловать (Dobro pozhalovat) (directed by Alexei Karayev, paint-on-glass)

AWARDS :

1988—Ottawa International Animation Festival: Welcome, "Grand Prix"

1990—Berlin International Film Festival: The Cow, "Honorable Mention" in the category "Best Short Film"

1990—Academy Award for Animated Short Film: The Cow (nominated)

1990—Ottawa International Animation Festival: The Cow, "OIAF Award for Best First Film"

1992—Bombay International Documentary, Short and Animation Film Festival: The Cow, "Golden Conch for Best Animation Film"

1992—Ottawa International Animation Festival: The Dream of a Ridiculous Man, "Audience Award" and "OIAF Award for Best Production Between 10 and 30 Minutes in Length"

1993—Cracow Film Festival: The Dream of a Ridiculous Man, "Special Mention for the depiction of a crucial subject in the form of animation"

1997—Cinanima: The Mermaid, "Grand Prize"

1997—International Leipzig Festival for Documentary and Animated Film: The Mermaid, "Honorable Mention" in the category "Animated Films and Videos"

1997—2nd Open Russian Festival of Animated Film: The Mermaid, "Best Animator of a Drawn Film", "3rd Place Rating by Audience Vote"

1998—Academy Award for Animated Short Film: The Mermaid (nominated)

1998—Ottawa International Animation Festival: The Mermaid, "Craft Prize" in the category "Best Story"

1998—Zagreb World Festival of Animated Films: The Mermaid, "Grand Prize"

1999—Academy Award for Animated Short Film: The Old Man and the Sea2006—11th Hiroshima International Animation Festival: My Love, "Audience Prize" and "Special International Jury Prize"[3]

2006—International Leipzig Festival for Documentary and Animated Film: My Love, "FIPRESCI Prize for Best Animation" [4]

2007—12th Open Russian Festival of Animated Film: My Love, "Grand Prix", "Best Direction" and "Best Visuals"

2007—XVII International "Message to Man" Film Festival: My Love, "Grand Prix"2007—Academy Award for Animated Short Film: My Love (nominated)

to learn more :http://www.imdb.com/name/nm0678154/http://animator.ru/db/?ver=eng&p=show_person&pid=735

wow !! that was quite an info !! :)

WHEN THE MENTORS FOUND THEIR MENTOR

Kolkata, 31^st March, 2009 : The word “Animation” is all about Soul as “Anima” means SOUL in Latin. Unfortunately, technology has obliterated the soul from our animation.

Some 15 odd mentors from Arena Park Street were to find this out over two days in the sanctum of academics at Jadavpur University courtesy the infallible, energetic, enthusiastic and adorable Prosenjit Ganguly aka PJ.

On 29^th March 2009 the day began with a quote of Brad Bird:

“The first step in achieving the impossible believing that the impossible can be achieved"

and this was enough to charge up everyone present.

Animation is an art of visual communication, based on conceptualization. Here Film is the Soul and Art is its Heart.

The essence of the program can best be summed up in the words of John Lassetter:

“Computers don’t create computer animation any more than pencils create pencil animation. What creates computer animation is the artist.”

Thoughts should always reflect the imagination irrespective of the field of application whether it be animation, screenplay writing or even graphic designing.

The core element of unique art form always needs a medium to express. And graphics or animation films (narrative / non narrative) are one of the finest mediums to communicate. Technology is only required to deliver the expression or to communicate the thoughts that we develop.

The entire bunch began the day by honouring legends like Charlie Chaplin, Satyajit Ray and few academy award winning filmmakers and made the day very nostalgic.

We all watched some great films including:

o I met the walrus

o Creature Comfort

o Every Child

o Balance

o Octupodi

o Cat came back

o An occurrence at the Owl Creek’s bridge

PJ also emphasized on the essentials of character design-its universe, treatment of films, screenplay, pitching, storyboarding etc. He explained brilliantly the importance of conceptualization, aesthetic sense and skills, in the process of film design with the help of these films.

The most interesting part of that two-day session was that both the days all the mentors were given assignments. They were given crayons and papers (the most fundamental tools) and they had to paint to the rhythm of sounds of flute and Tchaikovsky. The exercise was designed to cure the fear of colour from our minds.

PJ ended day 1 with an assignment on pitching ideas. He gave all of us a premise or brief wherein we were to prepare the concept and story for a PSA (Public Service Announcement) of 20 seconds to be aired on TV and whose message was that “Ghosts exist but we don’t have to be scared about them”

Day – 2 began with the pitches and turned out to be another brilliant session since the experience of pitching ones idea was new and unique for most if us.

The two-day long session was to discover the ART from HEART, ACT from ACTING and above all the SOUL from ANIMAtion (Anima means Soul in Latin). And to get the Soul we have to “Live in Animation.” Obliterated

We would like to thank PJ personally from the core of our hearts as he has made us learn the fun and artistic way of playing with colors- it’s all about “RHYTHM & SKETCH”… Thanks a lot and hope to see you again with few more assignments for us..!

- Arundhati Halder

Out in the Open… (Sorry PJ, we stole your line!)

19 March, Prinsep Ghat, Kolkata: The recent Holi celebrations seemed to have had a Santiniketan-effect on Arena Park Street as the entire T-T-S (Tuesday/Thursday/Saturday) batch were taken out of doors for their classes. All the mentors and their students met in front of the CAB Club House (Eden Gardens) at around 9 in the morning to kick start the day with some Perspective-drawing at the Customs Grounds.

the group assembles

The day began with an hour of intensive drawing sessions with the mentors helping, guiding, sometimes rectifying mistakes of the students as they tried their hands at live perspective drawing. It was a welcome break from the mundane routine of indoor classes. Trying to visualize landscapes, buildings and different structures from the confines of a classroom gave way to a much more effective and helpful way of drawing-as-you-see-it from different angles. Initially the mentors had to explain the purpose of an outdoor study such as this and gradually the interest level of the students started to grow. It was interesting to see a few students breaking away from their group of friends to get a better view of their subject of interest. Every student was armed with their sketch books and pencils and it was a treat to watch the budding animators getting a first-hand experience of field study.

 '

explaining the purpose

the most popular object of interest

    

budding animator 1

budding animator 2

budding animator 3, 4, 5 and more...

more animators

By 11.30, the team reached the next stop where the rest of the day was to be spent.  A long walk to reach the Prinsep Ghat helped the students get into the mood and a ‘learning is fun’ kind of an atmosphere built up gradually. After a short break of fifteen minutes, the group was divided into two halves. The first semester students made up Group One, while the second, third, fourth and fifth semesters constituted Group Two.

While both groups studied the same topics through the day, the treatment had to be different for the new students of the First Semester as they have not yet been introduced to the nuances of animation. As the mentors posed for them, they drew stick figures and got their queries answered.

perspective drawing lessons

the perspective of a train

our destination of the day

what a sight!

After the much awaited lunch-break, everyone came back for another session of classes. While the first semester students were introduced to The Principles of Animation, the rest of the group had a thorough revision of the same topic. The students acted, posed, mimicked and showered queries on their mentors for this interactive session. The topics covered in the day were as follows -

1.       Nature Study:

a.                   Perspective

b.                  Composition

c.                   Texturing 

d.                  Colour Tone

e.                  Light And Shade

2.        Action and Posing:

a.                   Line of Action

b.                  Stick Drawing

c.                   Principles Of Animation

d.                  Acting

 

when students and mentors posed alike!

The students thoroughly enjoyed the sessions because of the vast difference in the learning environment from the day-to-day 2 hour classes. For once, there were more than 8 students in a class, hence there were different kinds of queries that the students were exposed to by their peers. Second, there was more than one mentor explaining one topic; hence students received more knowledge on every topic.

 

principles of animation for sem - 1

The day ended with a session on Colour Theory with a practical demonstration on Colour Tone and Light & Shade as the sun set behind the huge monument erected in honour of James Prinsep. As the students dispersed for the day, the mentors sat down for a review of the entire day’s proceedings; to take feedback, to discuss and to chalk out a plan of the step of action.

colour theory @ sunset!

Every person on this trip realized that there is a lot more to animation than Max and Maya, a day out in the open had managed to open a lot of eyes to the reality that the Holistic Animation Training Methodology has been trying to drill into these minds for quite some time now.  

Looking forward to the next trip…

Alternate Forms of Animation

In Latin ‘ANIMA’ means soul. So animation is all about giving soul to a character or literally ‘to give life to’.

Walk, talk, sing, and dance… so you thought only humans ….and animals in animation films…could do it? Do you think MAYA and MAX are the only ways to create animation? Think again!

It’s time to get introduced to a whole new world of animation with sand, clay, paper, matchsticks, cloth and even vegetables!

Ever imagined a matchstick walking through a busy street?

Ever wondered what the fruits talk about when left alone in the refrigerator?

Ever put in a thought about what your nail polish bottle is up to when you are fast asleep at night? 

At Arena Animation, Park Street alternate forms of animation are taking over: 

Our students are learning how to create characters out of every innate object around them and literally breathing life into them.

Animation is FUN; it’s all about turning your stupid, crazy and mad feelings into reality…

Experiencing creativity the alternate way, the fun-way.

If you are interested in attending a Free Workshop on Alternate Forms of Animation all you have to do is log on to www.arenaparkstreet.com...

TEACHING THE TEACHER TO TEACH THE TEACHER…

August 15 2008, the day I first stepped on the banks of the Arabian Sea, I never knew that when I would be coming back, I would be enriched with knowledge and memories galore. No, I am not talking about the technical skills only...To internalize all the moments of technical knowledge imparted, ideas shared, concepts cleared, production exposure, and current market trends the three days were not enough. There were so many things to learn. During those three days, the IIT campus was buzzing with talent- both existing and upcoming.

Each and every session was very helpful for the students who are preparing themselves for the Industry. Few sessions like Comic Art, Production
management, 2D Principles of Animation, Acting For Animation and Animation Art
Appreciation there were no such technical discussions (in other words, ‘Software oriented’) but still they are very much technical. Because an Animator should not only have expertise in Tools or software but they also have to know the other important factors which make any film successful.

In this context I can quote Manu Ittina: Animation is a 4 dimensional art form, the 4 dimensions being - design, visuals, emotion and art.

The platform may be 2D or 3D, the basic foundation like idea generation; research work, principles of animation etc. are the secrets of perfection. It is mentioned that story telling is an urge of communication and perhaps Animation is the best way. We must remember the words of Prakash Moorthy. According to whom, through Animation we can express the subjective emotion not objective reality.

So what would be the points to remember?? Students have to study the Method acting, Figure drawing, color concept, human characteristic etc. It is not just the suggestion or comment or a mere observation from the industry experts, the entries chosen as the nominations for TVCA Film Screening Session clearly differentiated the PERFECT from the GOOD or the MEDIOCRE.

Note: This piece will remain incomplete unless I mention the enthusiasm or the interest of our students who went to the platform to share the experience of Sand Animation. It is doubtless a good symptom.

- Arundhati Halder

"CHANGED"

Our train was scheduled at 2255 hours on the 13th of August 08 and I really did not understand why I started getting calls on my cell phone from 8 pm that night. When I set foot in Howrah Station at around 10 in the night, I was nearly mobbed (I’m not exaggerating on this) by our students and their parents. One look at the parents’ faces and I knew they were anxious. One look at the students’ faces and I knew why they had reached the station as early as 8pm! They were excited.

This was the first-of-its-kind trip that students of Arena Animation Park Street were undertaking – the trip to Anifest 2008. This was one of our steps towards exposing our students to the realities in the world of animation…realities they were still unaware of.

Anifest 2008 turned out to be much more than just an eye-opener. It turned out to be a teacher, a thought-provoker, a constant nagging voice inside our hearts telling us to raise the bar of our expectations from ourselves.. The festival ‘by the animators, for the animators’, introduced us to a new perspective – a whole new way of looking at animation.

I had always known that animation is not just about anything and everything that moves. Mr. Prakash Moorthy, added much more to that by his statement - "Animation is the art of movements that are drawn; not drawings that move." From this point onwards, our way of following the sessions of the fest definitely changed course. I won’t try to put three days of Anifest 08 at a single bit of space (they say half knowledge is dangerous.) Rather, I’ll just put up one-liners by people whom we animation lovers look up to… people who’ve been there and done that… the esteemed speakers at Anifest 08.

· It is not enough to tell a story. It is IMPORTANT to tell the story with artistic visualization.
· Even when you sit to write a story for animation, you need to know animation inside out.
· One just can’t go to the computer and start designing when one is not clear about it in the mind. It’s like going somewhere and not knowing the way!
· It’s important to learn to see things differently. To see differently – learn to see what others ignore.
· Software is like pen and paper. Anything you write doesn’t automatically become good. To be able to communicate well, you must have something to say in the first place.
· To reach the specific shot that you want from a general aspect of something , you need a unique idea. There might be a single story and there may well be a thousand ways of telling it. That’s the fundamental difference between story and story-telling.
· Take care about the APPEAL of the shot. It is very important to hit the emotional core of the shot.
· Analyze your strength and work with it. Don’t try to do everything at the same time.
· Whatever is your software or technology (2D/ 3D/ Motion Capture/Motion Control etc) used for your animation, PRE-PRODUCTION and PRE-PLANNING is very important to maintain the correct FEEL of every shot taken.
· The best way to design an original character is to go a little CRAZY while visualizing it!
· Patience till one “HITS THE RHYTHM” is the key to any good animation.
· Love what you are doing – love the process – but never fall in love with your creation… it arrests your improvement.
· Have FUN – it shows in your work!

If I’d have to make an attempt to put my experience of the festival in one line I’d say that – it all begins with the idea, which is very personal and if you are really passionate about it, the ways to execute your idea are endless.

OR

If you know your “why”, you will find the “how”.

- Atreyee Kar