Author: Ramin Zahed

  • ‘Henry Hugglemonster’ Pops Up on Disney Jr. in April

    ‘Henry Hugglemonster’ Pops Up on Disney Jr. in April

    A charming new monster family will be playing in the Mouse House this spring. Produced by Dublin’s star toon shop Brown Bag, the new preschool show Henry Hugglemonster is slated to premiere on Disney Junior in the U.S. on Monday, April 15 at 5 p.m. Based on the book series I’m a Happy Hugglewug by award-winning children’s book author/illustrator and Ireland’s Children’s Laureate, Niamh Sharkey, Henry Hugglemonster follows the adventures of five-year-old Henry Hugglemonster, the middle child in a happy, close-knit monster family, as he shares everyday life lessons that are relatable to kids age 2-7. The series premiered on Disney Junior in the U.K. in February and will continue to rollout internationally to over 150 countries worldwide throughout the year.

    The series models positive life lessons about family and community relationships specifically designed for young viewers who are discovering along with the enthusiastic lead character. Whether it be learning to work as a team, helping others, persisting in tasks or understanding what it means to be part of a family, Henry showcases many of the emotions that young children feel as they learn to navigate their own lives, along with an added dose of humor to the everyday challenges that arise.

    The series is directed by Emmy Award-winning Norton Virgien (Rugrats, Doc McStuffins). Brown Bag co-founders Cathal Gaffney and Darragh O’Connell serve as executive producers, along with Niamh Sharkey. The story editor is Sascha Paladino (Wonder Pets, Ni Hao Kai-Lan); the producer is Gillian Higgins (Doc McStuffins, Octonauts), and the educational consultant is Dr. Laura Brown (Jungle Junction, Third and Bird).

    The voice cast includes Lara Jill Miller (Doc McStuffins) as Henry; Tom Kenny (Spongebob Squarepants) as Daddo and Grando, and Lori Allan (Family Guy) as Momma. The guest voice cast includes Geri Halliwell (Spice Girls) as Isabella Roarson, a spirited and popular monster popstar Brenda Blethyn as Ernestine Enormomonster, the mother in a family of giant monsters; Brian Blessed (Robin Hood: Prince of Thieves) as Eduardo Enormomonster, the father in a family of giant monsters and Rob Paulsen (Doc McStuffins) as Henry’s best friend Denzel Dugglemonster, a monster with scoop-shaped hands perfect for digging.

    On Monday, March 18, DisneyJunior.com will debut a Henry Hugglemonster supersite featuring a Monster Family Maker activity where kids can create their own unique monster family. A Henry’s Roaring Racers game will launch in conjunction with the television premiere on Monday, April 15. A preview of a full 22-minute episode of the show will become available for download on iTunes beginning Monday, April 1. An 11-minute sneak peek episode will be presented Friday, April 5 on Disney Channel (8:55 a.m., ET/PT) and will also air on Disney Junior multiple times throughout the weekend (April 5-7).

    Henry Hugglemonster
    Henry Hugglemonster
  • Jon Landau to Keynote NAB 2013’s Technology Summit

    Jon Landau to Keynote NAB 2013’s Technology Summit

    Jon Landau, the Oscar-winning producer of blockbuster epics such as Avatar and Titanic, will deliver the keynote to this year’s NAB Technology Summit On Cinema on Sunday, April 7 in Las Vegas. The Summit is co-produced by the Society of Motion Picture and Television Engineers, the worldwide leader in motion-imaging standards and education.

    Kevin Gage, NAB chief technology officer and head of NAB Labs said, “Jon Landau constantly works to improve the filmmaking process, even after having achieved enormous success. Attendees at NAB Show’s Technology Summit on Cinema will benefit from his knowledge of how cutting-edge technologies enhance the art of storytelling.”

    NAB Show and SMPTE’s Technology Summit on Cinema brings together the world’s leading motion-imaging researchers, scientists, practitioners, manufacturers, filmmakers, movie theater operators and other experts focused on advancing the state of the art in cinema. The two-day summit will address critical topics such as the latest on higher-frame-rate cinema, perceptual requirements for higher quality image and sound, new technologies for exhibition and advantages and pitfalls of 3D film conversion.

    This year’s NAB (National Assoc. of Broadcasters) Show will be held April 6-11 in Las Vegas. More than 90,000 attendees from 151 countries and 1,600+ exhibitors are expected to show up at this year’s confab which is billed as the ultimate marketplace for digital media and entertainment.

    The event will also include a special focus titled The Creative Master Series (Monday, April 8 – Wednesday, April 10). The series brings together key players in the motion picture, TV, advertising and online communities to shine a light on the craftsmanship of content. Various panels will spotlight award-winning directors, producers and showrunners; key creative crew and artists; and studio and network production and post-production executives for a deep dive into the content creation process. Topics will include creating original web content, advancing the story through sound, on-set pre-viz and the role of cinematography in post-production.

    More details are available at www.nabshow.com.

    2013 NAB Show
    2013 NAB Show
  • Animation Mentor Accepting New VFX Program Applicants

    Animation Mentor Accepting New VFX Program Applicants

    Online animation and visual effects school Animation Mentor is now accepting applications for the inaugural Summer 2013 term of its new VFX Fundamentals program. Students are encouraged to visit the Registration Portal early to ensure their choice of industry professional instructor and class time.

    The VFX Fundamentals is a series of three 12-week courses — CG Basics, Lighting Basics, and Compositing Basics — taught by industry professional lighters and compositors from Pixar Animation Studios, DreamWorks Animation, Weta Digital, and Industrial Light & Magic (ILM). VFX Fundamentals teaches the exact visual effects skills that studios seek: The ability to professionally collaborate and apply studio best practice workflows within a studio production pipeline and across multiple disciplines. Animation Mentor’s instructional design emphasizes collaboration within a production as enabled through its state-of-the-art, AMP studio production pipeline. This design replicates the current industry trend of making films within a fully distributed pipeline.

    The curriculum teaches students how to produce great work as a team under demanding circumstances — with Lighting Basics and Compositing Basics further emphasizing collaborative workflows among students of different disciplines. Students also learn how to synthesize technical and aesthetic skills within the world of visual effects — and to secure the familiarity, comfort, and confidence to contribute within a pipeline-based workflow. Students learn how to work with leading-edge vfx software, including Nuke, Katana and Mari from The Foundry and and the Arnold renderer from Solid Angle.

    After completing the classes, students are steeped in the best practices found in most top studio pipeline workflows. Students learn to work through the same challenges studios experience when multi-discipline talent is involved to create the final image. This real studio production experience offers students authentic studio experience, and allows studios to be confident that Animation Mentor grads are truly prepared for the high demands of studio quality work.

    Students receive a diploma upon completing each respective program — VFX Fundamentals, CG Pipeline Production, and VFX Pipeline Production.

    Animation Mentor has assembled a top-notch VFX Advisory Board and worked closely with industry professional lighters and compositors from Pixar, DreamWorks Animation, Weta Digital, and Industrial Light & Magic (ILM) to provide ongoing consultation of the VFX curriculum and fully-distributed pipeline. Animation Mentor also partnered with leading software developers (Autodesk, Inc., The Foundry, and Solid Angle), character riggers (CG Monks), and VFX media partners (fxphd).

    For more info about the program, visit www.animationmentor.com.

    Animation Mentor Accepting New VFX Program Applicants
    Animation Mentor Accepting New VFX Program Applicants
  • Comic Dane Cook to Voice Planes’ Rusty

    The final pieces are coming together for Disney’s upcoming summer feature Planes as the studio announced that comedian Dane Cook has signed to voice its central character Dusty. Cook will voice a small, go-getter plane who dreams of being a pro racing plane but must overcome both a lack of experience and, more important, a fear of heights to achieve his goals. He turns to a seasoned naval aviator who helps Dusty qualify to take on the defending champ of the race circuit. Jon Cryer (Two and a Half Men) was originally set to voice the character.

    The 3-D pic is being directed by animation veteran and huge aviation fan Klay Hall (Tinker Bell and the Lost Treasure, The Simpsons, King of the Hill), exec produced by John Lasseter and produced by Traci Balthazor-Flynn.

    The Disneytoon production is set to soar in theaters on August 9, but it will face tough summer competition from Fox/Blue Sky’s Epic (May 24), Pixar’s Monsters University (June 21), Universal/Illumination’s Despicable Me 2 (July 9), Fox/DreamWorks Turbo (July 19) and Sony’s Smurfs 2 (July 31).

    Planes
    Planes
  • Third Season of ‘Teenage Mutant Ninja Turtles’ Is a Go!

    Third Season of ‘Teenage Mutant Ninja Turtles’ Is a Go!

    Nickelodeon has officially picked up a third season of its hit animated series Teenage Mutant Ninja Turtles. The announcement was made at the cabler’s upfront presentation in New York City on Tuesday (Feb. 26). Nickelodeon Group president Cyma Zarghami acknowledged that 2012 had been a tough year for her company, in which “new competitors came on strong.” She also added that Nick has hit the reset button and is reinventing itself with a strong focus on animation.

    Originally created by Kevin Eastman and Peter Laird, Nick’s Teenage Mutant Ninja Turtles is exec produced by Joshua Sternin, Peter Hastings, Ciro Nieli and J.R. Ventimilia and is voiced by Sean Astin, Jason Biggs, Greg Cipes and Rob Paulsen as the pizza-chumping crime-fighters and Mae Whitman as their young female sidekick, April O’Neil. The first season of the CG-animated show began its run on Nick in September of 2012.

    Nick also ordered a series pickup for Breadwinners, a new animated show based on the short by animator Gary “Doodles” DiRaffaele and writer Steve Borst. The new toon follows two booty-shaking ducks as they operate a bread delivery service out of their jet-fueled rocket van. The series was picked up for 20 full-length episodes.

    Teenage Mutant Ninja Turtles
    Teenage Mutant Ninja Turtles
  • Little Airplane’s ‘Sing It, Laurie’ Goes to Sprout

    Little Airplane’s ‘Sing It, Laurie’ Goes to Sprout

    New York indie studio Little Airplane has hit another high note with a new animated, musical preschool show. Co-produced by best-selling kids’ recording artist Laurie Berkner and Little Airplane’s founder Josh Selig, the show is called Sing It, Laurie and will premiere on the 24-hour preschool channel Sprout on March 25. The short-form series is the first collaboration between Berkner and Selig, the award-winning creator of popular toons such as Wonder Pets and Small Potatoes.

    Starring Laurie’s voice and featuring her original music written for the series, Sing It, Laurie! is about a little girl who uses her music and songs to help her better understand the world. In each episode, Laurie sings a song about a theme such as dressing up, having a party or making artwork. The series also stars Grammy-nominated artist Lisa Loeb who performs the roles of twin sisters, Mellie and Nellie. The music for the show was produced at Little Airplane by four-time Emmy-winner Jeffrey Lesser (Wonder Pets) and was designed by Little Airplane’s Art Director, Cassandra Gibbons who also directed many episodes.

    The Sing It, Laurie! curriculum focuses on music and was written by Dr. Christine Ricci, who has worked on many preschool television series including Go, Diego, Go and Dora the Explorer. Partners on the series include Razor & Tie, the largest privately owned independent music label in North America, and Tsumanga Studios, a games developer and publisher based in Scotland.

    “It has been such a pleasure working with my friend Laurie Berkner and all of our amazing partners on Sing it, Laurie!” said Selig. “We all agree that Sprout’s spirit, energy and commitment to helping young children grow and learn make it the ideal home for our new show.”

    In addition to Sing It, Laurie, Sprout will be introducing a variety of music videos into its afternoon block between the hours of noon and 4:00 p.m. ET, featuring other popular children’s artists such as The Wiggles. Also in conjunction with the debut of musical afternoons on Sprout, a music microsite will be launching on www.sproutonline.com where preschoolers and their families can watch full-length videos on a special video player, and play games such as Sing It Laurie Musical Adventures and Chica’s Costume Concert. Additional videos featuring some of Laurie’s most popular songs will also be available online.

    For more information, visit www.sproutonline.com and www.littleairplane.com.

    Sing It, Laurie
    Sing It, Laurie
  • Visual Effects Society Issues Calls to Action

    Visual Effects Society Issues Calls to Action

    To raise awareness of the plight of the visual effects industry and to create some changes in the way vfx artists are treated in the business, today Visual Effects Society exec director Eric Roth issued a letter, asking California Governor Jerry Brown and the State Legislature to expand its tax incentive program to include a focused approach concentrated on the vfx and post sectors.

    He added, “Secondly, because we have reached a tipping point for the visual effects industry and there is much pent up energy, anger and frustration right now, the VES, under its good offices, is organizing a VFX Congress to take place within the next few weeks to allow all artists from around the world to share their concerns to find common ground on the issues that face us today. It is hoped that this effort will lead to a number of direct follow up actions that will gain consensus from visual effects artists everywhere. Everyone is invited and should attend.”

    Here is the rest of Roth’s letter:

    As has become all too apparent over the past few years, and especially in the past few weeks regarding the status of Rhythm & Hues, Digital Domain, DreamWorks, and other visual effects facilities, the future for professionals who work in the visual effects industry – and the entertainment industry at large  – in California is in serious jeopardy.

    We certainly recognize that we live in a global economy and in fact, VES has members in 30 countries around the world. Many of those countries – and many states elsewhere in the US – offer aggressive tax incentives – which seek to lure visual effects work to their communities and away from our state. While California finally created a tax incentive program in 2009 (AB1069, Chapter 731, which was recently extended it to 2017), it is woefully inadequate to the needs of today’s entertainment industry. In effect, thousands of talented visual effects artists are joining the unemployment lines or becoming “migrant film workers”, chasing the work outside our borders because that’s where the jobs have been going and are still going.

    The amazing irony is that while 47 of the top 50 films of all time are visual effects driven and billions of dollars of profits are generated yearly, the actual people who create the work are becoming an endangered species in California. In short, Hollywood, the birthplace of all this art and commerce, is quickly becoming the land where creative dreams die on the vine and pink slips for dispossessed artists are being issued at an alarming rate.

    We know that there are some out there who are calling for the elimination of all subsidies & tax incentives everywhere around the world. We think that’s a great idea and if there were a magic button that could be pressed to make that a reality, we would press it in a nanosecond. Why? Because California can compete with anyone, anywhere if there’s a level playing field.

    But in today’s global economy, where many hundreds of localities around the world are feverishly devising new ways to make California’s piece of the entertainment pie smaller, the fact that California’s program doesn’t meet it’s current needs (it only allocates $100 million yearly … which meets the needs of only about 20% of the work that would stay in California otherwise. For comparison purposes, New York caps its program at $420 million yearly and both Louisiana and Georgia are uncapped in the amount of incentives they offer), and is recklessly negligent to the thousands of visual effects professionals who are daily losing their jobs to other locales around the world. This not only hurts those artists, but also California’s economy because thousands of good paying jobs wind up buttressing the economies of states and countries elsewhere and the technological advances that otherwise would be birthed in California are now taking root elsewhere.

    According to a Milken Institute report from July 2010, commenting on the changing entertainment industry economy in California since 2008, their “research shows that if California had managed to retain the 40 percent share of North American employment it once enjoyed, 10,600 direct jobs would have been preserved here in 2008. Furthermore, those direct jobs would have had broader economic impact, generating an additional 25,500 jobs after rippling through other sectors. If the state had maintained its former level of dominance, a total of 36,000 jobs would have been saved, generating $2.4 billion in wages and $4.2 billion in output.”

    But until such time as all tax incentives everywhere are a thing of the past, California will need to take action– right now – or we’ll lose many thousands more jobs and Hollywood will soon be the equivalent of an empty storefront.

    If you support this call to action for a larger incentive program in California that matches the needs of filmmakers and would keep jobs here, then send letters to our state lawmakers that urges them to get to work immediately to increase our incentive program.

    Additionally, for the benefit of our membership and visual effects professionals worldwide, we will work with our global VES Sections and others to promote a healthy and vibrant visual effects industry in every country where visual effects are created.  It is for all of our worldwide colleagues – here in California and everywhere else – that we hope a VFX Congress can bring us all together in a truly meaningful way. Details of when and where the Congress will take place will be forthcoming. Together we can make amazing things happen.

    As always, feel free to send us your comments at leadership@visualeffectssociety.com.

    Respectfully,

    Eric Roth
    Executive Director
    Visual Effects Society


    SAMPLE LETTER TO GOVERNOR BROWN AND THE CA STATE LEGISLATURE

    Snail Mail is Strongly Recommended – It Gets Noticed Much More

    (All have the same address at the State Capitol in Sacramento)

    Governor Jerry Brown
    Assembly Speaker John Pérez
    Senate President Pro-Tem Darrell Steinberg

    Senator Ron Calderon, Chair
    Select Committee on California’s Film and Television Industries

    Assembly Member Ian C. Calderon, Chair
    Committee on Arts, Entertainment, Sports, Tourism and Internet Media

    To Find Your Own Assembly member and State Senator, go to: www.legislature.ca.gov/legislators_and_districts/legislators/your_legislator.html
    State Capitol
    Sacramento, CA  95814


    Dear:

    As has become all too apparent over the past few years, and especially in the past few months with the bankruptcy and dislocations of highly respected visual effects houses, the future for professionals who work in the visual effects industry – and the entertainment industry at large in California – is in serious jeopardy. This is particularly ironic in light of the great success of Ang Lee’s Life of Pi, this year’s Oscar winner for visual effects whose work was primarily created at Rhythm & Hues, a visual effects company that just declared bankruptcy.

    With the above in mind, I am calling upon you to immediately expand the tax incentive program for the entertainment industry, and to create a more focused approach concentrated on the visual effects and post-production sectors of the industry.

    Because we live in a global economy, many foreign countries and other US states are trying to lure visual effects work to their communities by offering incentives in a much more aggressive way than California does. While California created a tax incentive program in 2009 (AB1069, Chapter 731, which was recently extended it to 2017), we need to do much more to meet the needs of today’s entertainment industry here in California.

    Thousands of amazing visual effects artists are becoming “migrant film workers” who either join the unemployment lines or get on airplanes to chase work outside our borders because that’s where the jobs are going. The most amazing irony is that while 47 of the top 50 films of all time are visual effects driven (www.imdb.com/boxoffice/alltimegross), and billions of dollars of profits are generated yearly, the real people who actually create the work are becoming an endangered species in California.

    If all the tax incentives everywhere around the nation and the world were eliminated tomorrow, California could compete with – and beat – anyone, anywhere if there’s a level playing field. California’s economy is not reaching its full potential because thousands of good paying jobs are leaving our state which winds up buttressing the economies of states and countries elsewhere.

    California leaders need to take action – right now – or we’ll lose many thousands more jobs, and Hollywood will soon be the equivalent of an empty storefront, all green screens and no magic left to film in front of it. I therefore urge you to expand California’s entertainment incentive program to keep our work here in our home state. Thank you for your time and kind consideration.

    Respectfully,

    Your Name


  • DreamWorks Takes $87 Mil. Write-Down on ‘Guardians’

    DreamWorks Takes $87 Mil. Write-Down on ‘Guardians’

    It looks like Santa, the Easter Bunny and the Tooth Fairy weren’t that nice to DreamWorks this year. The animation studio will take an $87 million write-down on its 2012 box-office misfire Rise of the Guardians, it was announced today. This marks the largest write-down the studio has taken for one of its projects. In 2007, DreamWorks took a $109 million write-down for Flushed Away.

    The Thanksgiving release cost about $145 million to make and has made over $302 million in the global box office—but it hasn’t performed as well as the studio’s previous blockbusters such as Shrek, Kung Fu Panda and Madagascar 3.

    “While Rise of the Guardians did not achieve the level of box-office success that we have come to expect from a DreamWorks Animation film, we have made several changes to our future slate that we believe will position us well for the next two years,” said Jeffrey Katzenberg, chief executive of DreamWorks Animation. “We are now looking ahead to our next release—and our first under our new distribution agreement with 20th Century Fox—The Croods on March 22, 2013.”

    DreamWorks took a fourth-quarter charge of $54 million related to the company’s decision to return Me & My Shadow back to development, a write-off of a number of other development projects in the amount of $20 million and a charge of $4.6 million related to restructuring activities. As previously reported, the studio plans to lay off up to 20% of its workforce. DreamWorks shifted the release date for its movie Mr. Peabody & Sherman from Nov. 1 to March 7, 2014. The company reported a net loss of $82.7 million, or $.98 cents a share, in the fourth quarter, on revenues of $264.7 million. For the year, DreamWorks reported total revenue of $749.8 million and a net loss of $36.4 million.

    In an interview with The Hollywood Reporter, Katzenberg confirmed the pending layoffs. “These things are very, very difficult to do,” he said. “I would say it’s the hardest thing I’ve had to do since we started DreamWorks. We’ve never had to lay anybody off. It was against our culture. But it’s the right thing for us today and it makes DWA strong going forward.”

    “It’s been very hard,” he added. “We had 17 hits in a row and this (Rise of the Guardians ) is the first one that didn’t work for us. So it makes you go back and rethink everything, not just the fact that it didn’t work – certainly we spent a lot of time reflecting on that – but more importantly, saying, ‘let’s look at everything and say, what could we be doing better, smarter, more effectively to really position the company in the best possible way gong forward? And that’s what we’ve done, and that’s what restructuring is all about.”

    Rise of the Guardians
    Rise of the Guardians
  • Nickelodeon Expands Its Animated Shorts Program

    Nickelodeon Expands Its Animated Shorts Program

    Kids cabler Nickelodeon has renewed and expanded its animated shorts program which was created to find original comedy-driven content for kids. This year’s initiative will look to a new set of creative voices and visionaries to produce a minimum of 10 shorts that will have the potential of becoming animated series to air on Nickelodeon, or appear on www.nick.com or on Nickelodeon’s new app which launched Feb. 21.

    “The overwhelming response Nickelodeon received during the inaugural program in 2012 has allowed us to continue the search for brand-new innovative creator-driven content,” said Russell Hicks, Nick’s president of content development and production. “Opening submissions for Nickelodeon’s animated shorts program for a second year allows us to tap into creative talents on a global level–bringing the network fresh ideas, new characters, concepts, diverse styles and amazingly funny stories.”

    Ideas will be accepted from a broad pool of creative talent from all quarters including artists, designers, writers, directors and select comedians. Depending on experience and area of expertise, creators will be provided with the necessary artistic and production support teams to help them complete their fully animated short.

    Guidelines for interested participants are available at Animated Shorts Program. Shorts must be original, humor-based and character-driven. All animation styles are encouraged from 2D, digital 2D, stop motion, CG or mixed media. The deadline for submissions is March 29, 2013.

    Last year, more than 600 pitches were collected during Nickelodeon’s inaugural Animated Shorts Program. From the pitches, 12 were created and five are currently in series development. All 12 will air on the network, or appear on www.nick.com or on Nickelodeon’s new app. Pam and Sid’s Port-a-Party, featuring two hyperactive meerkats that turn an ordinary port-a-potty into their very own port-a-party, is one of five shorts that will call the Nick App home.

    Nick’s 2012 Animated Shorts program led to the production of Breadwinners, a new series created by Gary “Doodles” DiRaffaele (MAD, Metalocyalpse) and Steve Borst (Teen Titans Go!, MAD). The new toon follows two booty-shaking ducks as they operate a bread delivery service out of their jet-fueled rocket van. The series was picked up for 20 full-length episodes.

    Breadwinners
    Breadwinners
  • 9 Story to Launch ‘Peg + Cat’ at MIPTV

    9 Story to Launch ‘Peg + Cat’ at MIPTV

    9 Story Entertainment’s new animated preschool show Peg + Cat will make a splash at the MIPTV market in France in April. The 80 X 11 series was created by Emmy-winning creative director, animator and children’s writer Jennifer Oxley (Little Bill, The Wonder Pets!) and Billy Aronson (Rent, Postcards from Buster) and developed with partner The Fred Rogers Company for PBS Kids.

    Peg + Cat chronicles the adventures of Peg and her sidekick cat as they encounter unexpected problems that require creative solutions. In order to solve the problems, Peg and her cat must add, subtract and apply basic arithmetic.

    “We are delighted to once again be working with the Fred Rogers Company on this remarkable series. Its unique visual style wrapped around a fascinating world of adventure and music will bring enjoyment to young viewers the world over,” said Vince Commisso, 9 Story’s president and CEO.

    “We loved Peg + Cat from the moment we first saw it,” said Kevin Morrison, COO of The Fred Rogers Company. “Its quirky humor, beautiful design and engaging music make it irresistible. We’re delighted to be bringing this new series to today’s young audience.”

    To find out more about this and 9 Story’s other toons, which include Arthur, Wibbly Pig, Wild Kratts, Almost Naked Animals, Camp Lakebottom and Daniel Tiger’s Neighborhood, visit www.9story.com.

    Peg + Cat
    Peg + Cat
  • Technicolor Delivers Animation for Mattel’s Barbie Project

    Technicolor Delivers Animation for Mattel’s Barbie Project

    Paris and L.A.-based producer Technicolor has completed delivery of Mattel’s new CG-animated Barbie DVD/Blu-ray feature, Barbie in the Pink Shoes. This marks the second time Technicolor’s Digital Productions division, has worked on a Barbie project as they also delivered Barbie: A Perfect Christmas in 2011. Barbie in the Pink Shoes will be Mattel’s first Barbie feature released on Blu-ray.

    Technicolor’s team was led by exec producer Steven Wendland, director/producer Owen Hurley and producer S.T. “Siva” Sivaraman.

    “The Barbie Brand’s first production with Technicolor was such a successful creative collaboration, we’re pleased to continue our partnership with our newest title ‘Barbie in the Pink Shoes’,” said Rob Hudnut, exec producer and VP of Barbie Entertainment at Mattel. “The Technicolor teams in both Hollywood and Bangalore have proven not only to understand Mattel’s vision for the Barbie Brand but also their eagerness to help us expand on that vision in a number of engaging and innovative ways.”

    Technicolor Digital Productions delivered the front-end pre-production― art direction, design, storyboards/storyreel, editorial and production management― as well as direction, CG animation and audiovisual post-production for Barbie in the Pink Shoes.

    “When clients entrust us to represent well-established global brands like Barbie, we take that responsibility very seriously and endeavor to produce entertainment of the highest standard to reflect the brand,” added Tim Sarnoff, president of Technicolor Digital Productions. “We look forward to collaborating with Mattel again.”

    Barbie in the Pink Shoes follows the adventures of Barbie as Kristyn Farraday, a ballerina who tries on a pair of sparkling pink shoes and is whisked away to a fantastical ballet world. With performances to the legendary Giselle and Swan Lake ballets, it’s a wonderful journey where if you dance with your heart, dreams come true!

    For more info, visit www.technicolor.com.

    Barbie in the Pink Shoes
    Barbie in the Pink Shoes
  • ‘LEGO Batman Movie’ to Land on May 21

    ‘LEGO Batman Movie’ to Land on May 21

    DC Comics’ greatest superheroes and their arch nemeses face-off in an action-packed, hilarious battle in LEGO Batman: The Movie – DC Super Heroes Unite. The pic, which is based on the popular video game is produced by TT Animation and will be released on May 21, by Warner Bros. Home Entertainment. The title will be available as Blu-ray Combo Pack ($24.98) and DVD ($19.98 SRP), On Demand and for Digital Download. The package will also include an exclusive Lego Clark Kent/Superman figurine.

    LEGO Batman: The Movie – DC Super Heroes Unite provides the ultimate blend of action and humor guaranteed to entertain fanboys of all ages.

    Here’s the official synopsis:

    “In the film Lex Luthor takes jealousy to new heights when fellow billionaire Bruce Wayne wins the Man of the Year Award. To top Wayne’s accomplishment, Lex begins a campaign for President—and to create the atmosphere for his type of fear-based politics, he recruits the Joker to perfect a Black LEGO Destructor Ray. While wreaking havoc on Gotham, Lex successfully destroys Batman’s technology—forcing the Caped Crusader to reluctantly turn to Superman for help.”

    Director/producer Jon Burton helms the film from a screenplay by David A. Goodman based on a story from Burton and Goodman. Jeremy Pardon is director of photography, and executive producers are Jill Wilfert and Kathleen Fleming. Executive producers are Benjamin Melnicker and Michael Uslan.

    The movie showcases the voice talents of Clancy Brown as Lex Luther, Troy Baker as Batman and Travis Willingham as Superman. The cast also includes Christopher Corey Smith as the Joker and Charlie Schlatter as Robin.

    The Blu-ray release includes the new featurette titled “Building Batman,” and Garret Barati’s original Batman teaser created for LEGO Super Heroes, five shorts created by the video contest winners and two bonus episodes of Batman: The Brave and the Bold and one episode from Teen Titans.

    LEGO Batman: The Movie – DC Super Heroes Unite
    LEGO Batman: The Movie – DC Super Heroes Unite
  • Ted Ruffles Feathers at the Oscars

    Ted Ruffles Feathers at the Oscars

    Ted, Seth MacFarlane’s foul-mouthed Teddy Bear, managed to offend the Jewish Anti-Defamation Group during the Oscar ceremony on Sunday night, as he rambled on about how Jewish people controlled Hollywood.

    “While we have come to expect inappropriate ‘Jews control Hollywood’ jokes from Seth MacFarlane, what he did at the Oscars was offensive and not remotely funny. It only reinforces stereotypes which legitimize anti-Semitism,” the ADL wrote in its statement. “It is sad and disheartening that the Oscars awards show sought to use anti-Jewish stereotypes for laughs.”

    Meanwhile, the hard-working team at Tippett Studio shared a few tidbits about how they prepped the character to present the Sound Mixing and Editing categories with co-star Mark Wahlberg.

    Blair Clark of Tippett Studio, who oversaw the character in the hit summer comedy, also perfected the illusion alongside Ted’s voice MacFarlane, telecast director Don Mischer and the Awards broadcast team.

    For the filming of the segment, a duplicate of the Oscar stage was constructed at CBS Studios, with lighting and cameras situated to match the Dolby Theatre set up. The feat involved planning exact camera positions so that the animation, rendered using Dell Precision workstations, would integrate seamlessly during the awards telecast with Wahlberg and the show audience. With five nominees in each category, Tippett artists created 10 different outcomes in just a four-week production schedule. As the winners were unknown before the envelope was opened, Mischer and his team sat at the ready to push the button for the correct winner during the live broadcast.

    “It’s always enjoyable working with Ted, and having him present at the Oscars was an exciting challenge,” said Clark. “As well, working with Seth and Don was great. Their trust and support made a technically ambitious presentation with a tight deadline run smoothly.”

    Ted Ruffles Feathers at the Oscars
    Ted Ruffles Feathers at the Oscars
  • Brian Ige Chats About Neon Alley’s Programming

    Earler this month, San Francisco anime powerhouse VIZ Media expanded its 24/7 content platform Neon Alley by making it available through Xbox 360 as well as PlayStation. Neon Alley features some of the world’s best titles (dubbed in English and uncut) and presented in HD for a monthly subscription rate of $6.99.

    Neon Alley has forever changed the paradigm for the way anime is delivered to fans, and we are very excited to launch the service to the vast network of Xbox users across North America,” says Brian Ige, VIZ Media’s vp of animation. “This was a really great opportunity to use the game consoles as distribution platforms for our content. We hope this platform will become a must-visit destination for audiences to enjoy a wide range of anime series and feature films with the ease and format of a traditional 24/7 broadcast channel.”

    Neon Alley is designed to be studio agnostic, featuring titles from other anime producers and content distributors, including Aniplex, FUNimation, NTV, Taiseng, and Anime News Network. Members can also share real-time thoughts and status updates using social media technology from Tout (Tout.com), some of which will air on the network.

    Ige says the company has had great success with titles such as Tiger and Bunny, Blue Exorcist, Naruto Shippuden, Inuyasha and the Berserk movie trilogy. When asked about the state of the home entertainment business, he says VIZ has had a terrific experience with its distribution partner Warner.

    “They are our market leader,” he notes. “From what we’ve seen in our particular category, the home entertainment market is making a resurgence. We’ve seen some growth with some of our new titles. The business has certainly gone through certain peaks and valleys, but we have research that shows that our consumer base is growing. Neon Alley was created especially to make the content available to a wider, consumer audience. It certainly connects very well with the gaming audience.”

    Ige, who has been with VIZ for eight years, says the company will continue to explore distributing some titles theatrically.

    “Theatrical releases aren’t big revenue generators for this genre, but we do see them as big marketing events, and we’re able to reach a large segment of our audience in terms of marketing. We will also continue to offer screenings of our popular titles at consumer conventions as we’ve done in the past.”

    Fans have responded well to Neon Alley’s availability on Xbox and PlayStation. The titles are offered in English dubs and unedited—and are available about six to eight months after they debut in Japan. In the past, it took some series at least a couple of years to be available to U.S. audiences legally.

    Of course, like many other smaller indie outfits, VIZ has to fight the recurring problem of illegal torrent sites.

    “These pirate sites have been a consistent problem for us,” says Ige. “The revenues of all anime studios in the U.S. are hit by this issue as we lose views to illegal methods. To combat piracy in a major way, you need very deep pockets. The major studios are able to invest huge amounts of money to combat the problem. But we are smaller in terms of money and resources, so we do our best to fight them. We believe that in the end, the true fans will help support us in our efforts.”

    When asked about his favorite VIZ title, Ige says the anime series Tiger and Bunny has a special part in his heart. The 2011 futuristic series, which was produced by Sunrise, written by Masafumi Nishida and directed by Keiichi Satou, follows the adventures of two superheroes—the old-fashioned Wild Tiger and the rookie hero Barnaby Brooks Jr.

    “I like the show a lot because it mixes the anime style with a western feel,” says Ige. “It is very rare when we see superhero stories coming out of Japan—it’s the perfect blend of the East and the West.” Kind of like VIZ and Neon Alley, in a way!

    For more information on Neon Alley and its lineup please visit www.NeonAlley.com.

    Tiger and Bunny
    Tiger and Bunny
    Blue Exorcist
    Blue Exorcist
    Berserk: Golden Age Arc I - The Egg of the King
    Berserk: The Golden Age Arc I – The Egg of the King
  • VFX Community Reacts to Ang Lee’s Oscar Speech

    While the Oscar for best visual effects was handed out to the team at Rhythm & Hues for creating the astounding images for Ang Lee’s Life of Pi, the night proved to be a less than gratifying experience for those who toil away in the vfx trenches day and night. Oscar producers decided to drown out vfx supervisor Bill Westenhofer’s speech with that rude Jaws theme song interruption so that he couldn’t thank the team at the ill-fated visual effects studio which filed for bankruptcy this month.

    Earlier on Sunday, about 400 protesters gathered outside the Dolby Theatre to bring awareness to Rhythm & Hues’ bankruptcy woes and to the need for unionization of the VFX industry. In February, over 250 employees of the house were fired without pay because of the company’s financial woes.

    This lack of support for the visual effects industry was highlighted even more when Lee failed to mention R&H or the vfx team after he won the Best Director Oscar for Life of Pi. Many pointed out that his movie would not have been able to become such a huge financial or critical success without the contributions of the hardworking vfx team.

    Zoic’s lead compositor Phillip Broste has written an excellent open letter to the director that was posted on vfxsoldier.com. Here’s an excerpt:

    “When asked about the bankruptcy of Rhythm & Hues, the visual effects house largely responsible for making your film Life of Pi as incredible as it was, you said: “I would like it to be cheaper and not a tough business [for VFX vendors]. It’s easy for me to say, but it’s very tough. It’s very hard for them to make money. The research and development is so expensive; that is a big burden for every house. They all have good times and hard times, and in the tough times, some may not [survive].”

    “I just want to point out that while, yes R&D can be expensive and yes it takes a lot of technology and computing power to create films like yours, it is not computer chips and hard drives that are costing you so very much money. It is the artists that are helping you create your film.”

    “So when you say “I would like it to be cheaper,” as an artist I take that personally. It took hundreds of hours from skilled artists and hard-working coordinators and producers to craft the environments and performances in Life of Pi. Not to mention the engineers that wrote all of that proprietary code and build the R&H pipeline. That is where your money went. I’d say, judging from the night you just had, you got one hell of a deal.”

    “Incidentally, those were the same gorgeous sunsets and vistas that your DP Claudio Miranda took credit for without so much as a word of thanks to those artists. And the same animated performances that helped win you the best director statue. Nice of you to mention the pool crew, but maybe you could have thanked the guys and gals who turned that pool in to an ocean and put a tiger into that boat?”

    “It was world class work, after all. And after a fabulously insulting and dismissive introduction from the cast of the avengers, at least two of whom spent fully half of their film as a digitally animated character, R&H won for it’s work on your very fine piece of cinema. And just as the bankruptcy was about to be acknowledged on a nationally-televised platform, the speech was cut short. By the Jaws theme.”

    “If this was meant as a joke, we artists are not laughing.”

    “Mr. Lee, I do believe that you are a thoughtful and brilliant man. And a gifted filmmaker. But I also believe that you and everyone in your tier of our business is fabulously ignorant to the pain and turmoil you are putting artists through. Our employers scramble to chase illegal film subsidies across the globe at the behest of the film studios. Those same subsidies raise overhead, distort the market, and cause wage stagnation in what are already trying economic times. Your VFX are already cheaper than they should be. It is disheartening to see how blissfully unaware of this fact you truly are.”

    “By all accounts, R&H is a fantastic place to work; a truly great group of people who treat their employees with fairness and respect. Much like Zoic Studios, the fabulous company that I am proud to work for. But I am beginning to wonder if these examples of decency will be able to survive in such a hostile environment. Or if the horror stories of unpaid overtime and illegal employment practices will become the norm, all because you and your fellow filmmakers “would like it to be cheaper.”

    Critics were also not too pleased with the way Seth MacFarlane, the first big animation professional who hosted the Oscars, handled his duties. As gawker.com pointed out…

    “At this point there’s no question that Seth MacFarlane was a terrible Oscar host. Not only were his jokes unfunny, tired, self-centered and boring, but also incredibly sexist, homophobic and racist. Boob jokes. Diet jokes. “No homo” jokes. Rape jokes. Abuse jokes. Slave jokes. Jew jokes. And to add to the atrocity, the whole act was punctuated by MacFarlane’s absurd preoccupation with whether or not he was a good host, which—as mentioned—he clearly was not. So perhaps he was right in asking “What did you expect?””

    Ang Lee
    Ang Lee
  • ‘Brave,’ ‘Paperman,’ ‘Life of Pi’ Win Oscars

    ‘Brave,’ ‘Paperman,’ ‘Life of Pi’ Win Oscars

    After months of award season campaigns, Disney claimed the top two animation prizes on Sunday night with a win for Pixar’s Brave in the Best Animated Feature category and Paperman in the Best Animated Short race. Directors Mark Andrews and Brenda Chapman accepted the award for Brave, while first-time helmer John Kahrs accepted the honor for his animated short. The win for Brave is Pixar’s seventh Best Animated Feature Oscar since the category was first introduced in 2001.

    Brave, which faced tough competition from Wreck-It Ralph, Frankenweenie and ParaNorman, was a departure for Pixar as it was the first feature centered on a strong female character.

    “Making these things is a struggle … It’s a huge organic process and a delicate process along every step of the way,” Andrews said backstage. “Hopefully by the end, you have something really special and in Brave’s case, I think we managed to pull that off,” he added.

    Chapman who was replaced by Andrews in 2010 due to creative differences, was asked backstage whether the Oscar had made her feel better about her role in the film. Chapman said:

    “Absolutely. It says a lot for me.”

    Brave directors Mark Andrews and Brenda Chapman accept the Oscar for Best Animated Feature.
    Mark Andrews and Brenda Chapman accept the Oscar for Best Animated Feature.

    As many expected, the Oscar for best visual effects was handed out to Ang Lee’s Life of Pi, which has dazzled audiences with its realistic depiction of CG animals (such as the Bengal tiger named Richard Parker), ocean waves, an island inhabited by meerkats and jaw-dropping storms. It has been a bittersweet victory for Rhythm & Hues, which was also honored with the top VES Award for its work on the movie, and now faces dire financial times. The company, which filed for Chapter 11 backruptcy protection this month, was thanked by vfx artist Bill Westenhofer, as he accepted the Oscar for Achievement in Visual Effects.

    “We’re not technicians … we’re artists, and if we don’t do something to change the business model, we might lose some of the artistry,” Westenhofer told the press backstage at the Academy Awards. “We are hopeful that we can pull through the bankruptcy, but it is a concern,” he said. “Visual effects are definitely in a challenging position right now; it’s not something that’s being done by someone pushing buttons. Right now, we have to do something.”

    On Sunday afternoon, hundreds of special-effects professionals protested in Hollywood to demand an end to subsidies that benefit foreign fx houses.

    Bill Westenhofer accepts the Oscar for Achievement in Visual Effects.
    Bill Westenhofer accepts the Oscar for Achievement in Visual Effects.
  • Oscar-winning British Animator Bob Godfrey Dies at 91

    We were saddened to hear of the passing of influential British animator Bob Godfrey on Friday (Feb. 22). The 91-year-old animator was best known for creating the  popular animated series Roobarb (with writer George Calveley) and for award-winning shorts such as Kama Sutra Rides Again (1972) and Great (1975).

    Born in Australia and educated in the U.K., Godfrey was known as “The Godfather of British Animation”. He began his career as a graphic artist in London in the 1930s before gaining work in the film industry.

    Filmmaker Stanley Kubrick admired his short Kama Sutra Rides Again so much that he screened it with A Clockwork Orange in U.K. theaters. Godfrey also worked with Monty Python’s Terry Gilliam, and made fun of orthodoxy and the hypocrisy of the ruling class and common morality. He retired in 1999.

    In addition to Roobarb, which centered on the adventures of an inventive purple dog and a green cat, Godfrey was well known for a wide range of animated children’s shows, including Henry’s Cat (1983-84). His death came only a few days after the death of veteran actor Richard Briers at 79, who narrated Roobarb and also voiced Brunel in Godfrey’s Great.

    In a 2001 interview to The Guardian, Godfrey said he regretted that he hadn’t been able to work on a feature-length movie.

    “I’d love to have done a full-length feature but I can’t seem to stretch myself to that length,” he said. “When you look at my films, they appear to be a series of 30-second commercials cut together. I’m a short- distance man whether I like it or not.”

    “Dear old Bob Godfrey is no more,” tweeted Aardman founder Peter Lord on Friday. “A great influence and inspiration to me and my generation of animators. Also a lovely bloke.”

    Bob Godfrey
    Bob Godfrey
  • Chenoweth and Mars Flock to ‘Rio 2'

    Chenoweth and Mars Flock to ‘Rio 2'

    Fox has announced new voice cast additions to its upcoming animated feature Rio 2, the sequel to director Carlos Saldanha’s well-received 2011 feature. The pic, which is slated for an April 14, 2014 release will feature the voices of original cast members Anne Hathaway, Jesse Eisenberg, Jamie Fox and Will.i.am. The new outing will also include the contributions of Andy Garcia, Kirstin Chenoweth, Bruno Mars and NBC’s Today Show anchor Natalie Morales.

    Animated by Blue Sky Studios, the sequel follows the life of Blu (Eisenberg) and Jewell (Hathaway) and their three kids and the adventures they have once Jewel decides to raise the chicks in the Amazon as free birds rather than in their current domesticated environment.

    The narrative will also touch upon the 2014 FIFA World Cup, which will be hosted by Rio next year. Grammy winner Janelle Monae will also voice a character and contribute music to the sequel.

    Rio 2
    Rio 2
  • Reel FX’s Readies ‘Turkeys’ for This Thanksgiving

    Reel FX’s Readies ‘Turkeys’ for This Thanksgiving

    Relativity Media/Reel FX’s upcoming CG-animated feature Turkeys, which was originally slated for November of 2014 has by a year and will now be released on Nov. 1, according to Thewrap.com. Amy Poehler has also joined the voice cast, which already includes Owen Wilson and Woody Harrelson. The film is directed by Jimmy Hayward (Horton Hears a Who!) from a script by Craig Mazin, David I. Stern and John J. Strauss.

    According to the website, executives at the studio met last week to weigh the challenges and benefits of moving the pic to the date previously occupied by DreamWorks Animation’s Mr. Peabody and Sherman—which moved to March 2014 because of the studio’s recent layoffs.

    Turkeys centers on two spunky birds that take a time machine back to the first Thanksgiving to shake up the holiday’s culinary tradition. Other cast members include Lesley Nicol, George Takei, Keith David, Colm Meaney and Dan Folger.

    (from left) Woody Harrelson and Owen Wilson
    (from left) Woody Harrelson and Owen Wilson
  • Aardman’s ‘Shaun the Sheep’ Returns to CBBC

    Aardman’s ‘Shaun the Sheep’ Returns to CBBC

    Aardman Animation’s preschool star, Shaun the Sheep will come back to the U.K. small screen this month with 20 brand-spanking new episodes. The hero of Mossybottom Farm will kick off his third season on Monday, Feb. 25th at 3:15 p.m. on the CBBC.

    Shaun and his farm buddies cause mayhem in the 20 x 7 minute episodes when they get involved in high jinx with hand gliders, dinosaurs, ducks, graffiti, crows, window cleaning, bulls, skate boards, old home movies and even a piano—in an iconic Laurel and Hardy moment!

    The brainchild of Wallace & Gromit maestro Nick Park and developed by Richard Goleszowksi, Alison Snowden and David Fine, Shaun the Sheep first premiered on the CBBC in March of 2007. The show, which has received two International Emmys, a Children’s BAFTA and an Annecy Cristal for Best TV Production, airs in over 180 countries worldwide, including Disney Jr. in the U.S.

    To promote the new series launch, CBBC has commissioned another five Championsheeps games to add to the existing suite of online games released during last year’s summer of sport. The games were produced as an experience with on-going appeal and encourage friendly, social competition and interaction with the show’s characters. Available on the CBBC website, these games were designed by Aardman’s in-house digital team who have made significant updates to the suite including new animations for the main hub and new ways of reporting high scores and achievements. A special unlock code feature has also been created and fans will be provided with codes at the end of each new episode giving players access to special features in each of the new games.

    Shaun the Sheep
    Shaun the Sheep