As the Chair of the Computer Animation Festival at SIGGRAPH Asia 2024 this year, Yoriko Ito brings a wealth of experience and passion to the role, having spent over 30 years creating captivating animated films. From her early work on iconic projects like "The Prince of Egypt" and "Shrek" to her recent contributions to Netflix's "Ultraman: Rising" and "Tokyo Override," Yoriko's journey through the industry is both inspiring and enlightening. In this exclusive interview with Fox Renderfarm, a leading cloud rendering services provider and render farm in the industry, she shares her insights on the current landscape of animation, the significance of storytelling, and the importance of nurturing creativity in the next generation of artists.
Fox Renderfarm: Please briefly introduce yourself.
Yoriko: Hello, my name is Yoriko Ito, and I am the chair of this year’s Tokyo SIGGRAPH Asia Computer Animation Festival. I’m a new chair this year, but I was on the jury back in 2018. I have created animated films in the United States for 30 years. Nowadays, I focus solely on 3D animation. I am familiar with SIGGRAPH and know the community, but I haven’t attended many events. I know that those who enter their 3D animation projects often have a chance to work for major studios, especially those who win awards.
Fox Renderfarm: How do you feel about this year’s Computer Animation Festival (CAF)?
Yoriko: This year’s festival has been amazing. I reviewed the entire selection process, including the re-selections and final judging. It was a tough decision, but the top three entries were widely agreed upon. The selection in the Electric Theater was particularly challenging because there were so many outstanding works. I was pleased to see an increase in Asian submissions. Unfortunately, none of the top three entries came from Asian countries, but I believe it will come because there were many strong works.
Regarding the films, of course, the top three are incredible—there’s no doubt why they were selected. It's not just about the quality and technical skill required to achieve such results, but also how beautifully the narratives are told.
"Au 8ème Jour" did an amazing job creating a handcrafted, textured world, and the character designs are impeccably charming. The film is eight minutes long, which is quite long, but I didn’t get bored. It really depends on the viewer, but I thoroughly enjoyed watching the textures, camera movements, and how everything unfolded. Although it had a sad ending, it left an opening suggesting the world may live on somehow.
Au 8ème Jour © Carlos De Carvalho from Piktura
The student film was also beautiful. It conveyed a personal feeling, and the story could resonate with anyone. It highlights that even high achievers sometimes need to give up, but they should keep going. The graphic approach of the animation was impressive. Repeating ideas can be challenging, but executing them is a challenging task. The way they framed the graphics was quite strong, making it a remarkable piece for a student.
Courage © Philippe Meis from Supinfocom Rubika
In French schools, they support their students in creating outstanding pieces. I’m quite interested in how they’ve maintained this level of quality over the past few years. American schools, too, have produced a wealth of impressive pieces. I look forward to seeing more works from Asian countries in the future. In the past, I’ve been impressed by strong contributions from Korea and China. Notably, last year, a film from Singapore won the top award at SIGGRAPH Sydney. I hope to see diverse perspectives that reflect each country’s unique style. It's inspiring to witness creators from different backgrounds, and I'd love to see even more of that in the future.
Fox Renderfarm: What did you think of the live coding performance in the warm-up session?
Yoriko: Regarding the performer Atsushi Tadokoro, one of my colleagues from SIGGRAPH suggested him as a great fit for the pre-show. Since I live in the United States and don’t have many connections in Japan, we sought someone to bridge the gap between engineering and art in CG. Finding the right person wasn’t easy, but I was introduced to Mr. Tadokoro, and he has been a pleasure to work with. He was very accommodating, especially given the short notice.
His website is simply his name: tadokoroatsushi.com. Mr. Tadokoro is an engineer who began his career in the 1980s, working with coding, music, and digital vision. He has increasingly focused on algorithms, and while I’m not an engineer myself, I admire how he improvises on the spot to create music and stunning visuals. It’s truly amazing work! I encourage you to visit his website and enjoy the show. He also has a YouTube channel where you can explore more of his creations.
SIGGRAPH Asia 2024 Live Coding Performance © Atsushi Tadokoro
Fox Renderfarm: Returning to your personal projects, are there any that have made a significant impact in your life?
Yoriko: I have been in the industry for over 30 years. I started in 1998 with Dreamwork’s "The Prince of Egypt," then worked on "Shrek" and "Madagascar." I was with the company for quite a while. After that, I jumped around to different studios. In the last couple of years, I’ve been working at Netflix on "Ultraman: Rising." They are actually doing a speech at SIGGRAPH Asia and it was great to see them. Ultraman is obviously a Japanese IP, and it was exciting to work on it in the United States with Shannon Tindle, who is a big fan of Japanese IPs. Many Japanese talents in Hollywood gathered for this project, which was really nice.
Ultraman: Rising © Netflix
I also contributed to a Japanese Netflix series called "Tokyo Override," which was released last month. I worked as a lighting and color supervisor on it. The rendering and design of the cities are beautiful. Motorcycles play a significant role in the storytelling, with Yamaha motorcycles contributing to the design. The design team even created a model that was showcased at a motor show in Thailand.
Tokyo Override © Netflix
One of the biggest highlights of my career was working on "Mario Brothers" a couple of years ago, where I contributed as a designer and art director in the early stages. I’m happy to see that my designs, such as Bowser’s ship, Princess Peach’s palace, and the Mushroom Kingdom, have notably impacted the final product.
Super Mario Bros. © Nintendo
Fox Renderfarm: What tips would you offer to those new to the CG industry?
Yoriko: I know AI is coming, but it’s essential to understand the fundamentals—layout, design, color, and camera work. If you’re working on storyboarding, remember that while you can gather many images, the real creativity comes from your imagination. Using AI can help generate ideas quickly, but it’s often more beneficial to discuss your concepts with someone else. Asking questions like, "What works?" and "What doesn’t?" can provide valuable insights. It’s important to convey your ideas rather than just relying on software; there’s a unique satisfaction that comes from creating by hand.
I recommend taking classes and seeking feedback, as constructive criticism is crucial for growth. Unless you’re a natural genius, learning from others and exchanging ideas with peers is invaluable. Understanding the technical side of design is also important; when you have a solid grasp of both the artistic and technical aspects, you can elevate your work, especially if you aim for higher goals.
Fox Renderfarm: Who inspires you the most?
Yoriko: That’s a tough question for me, I’ve been in this field for a long time, and my inspirations have changed over the years. When I was younger, I found inspiration in various sources. I started as an illustrator in Japan and moved to the United States when I was 21. I was particularly influenced by American illustrators from the 80s and 90s—the golden age of illustration. Their classic approach, with beautiful compositions, color use, and lighting, had a significant impact on me.
Later, I transitioned into film and discovered great painters, which led me to start as a background painter. By the early 2000s, I had shifted into 3D design. I found that the differences between illustration and design weren’t as vast as I initially thought unless you’re working in an extreme style. I appreciate classic painting and the way light is captured—John Singer Sargent is a great example. When it comes to film, it’s hard to pick just one inspiration, as there are so many great artists.
Self-Portrait © John Singer Sargent
Yoriko’s LinkedIn: https://www.linkedin.com/in/yoriko-ito-3460365/
