Animation Magazine

Tag: featured

  • Autonomous Animator: Content Will Be King in 2021

    Autonomous Animator: Content Will Be King in 2021

    Technology has been rapidly moving toward virtual connectivity and interactivity for decades. And with the recent assistance of COVID, this scenario has been ushered in with great haste. This is something that has always been in development and part of the natural evolution of technology for decades, however with the recent pandemic, this scenario has been forced upon us globally and with great urgency.

    Everything from schools to colleges to office jobs to movie theaters to restaurants have been shifted, seemingly overnight, from standard in-person modus operandi to isolationist protocols. While the world holds its breath waiting for a cure and for things to return to normal, when normal comes back, I have a feeling it won’t resemble pre-COVID normalcy as much as expected. Rather, the new normal, as far as business operations go, may look surprisingly similar to in-pandemic existence.

    The Problem

    If you were to interview office managers at virtually any business, government entity, school or college, they will probably tell you the following:

    1) They are having record amounts of online meetings and presentations.
    2) They don’t see this slowing down in 2021 and in many cases may see it increase even further.
    3) Their online meetings and presentations could use a lot of improvement.

    Almost all businesses were taught a sharp, deep-cutting lesson that, unless you were in the hospitality industry, your business could pretty much operate at an acceptable level, some even experiencing record growth, with everyone working from home. Therefore, once COVID is finally a thing of the past, many if not most businesses may be reluctant or outright refuse to return to pre-COVID operating procedures because they have found through experience that it’s simply not necessary to the bottom line.

    That is why we should all prepare for even more online meetings, presentations and learning sessions.

    Imagine companies world-wide conducting most if not all of their meetings and presentations online. Now, imagine how much help will be needed to bring all these presentations and meetings up to a standard that will truly engage, if not impress, their audience and/or separate them from the competition. For this to happen, companies all over the world will need to invest heavily in one of the most precious commodities being developed today: content.

    That’s where you come in.

    Forward-thinking companies will soon realize they need to upgrade their online presence. Millions upon millions of children, college students, employees, managers and business owners, have been plunged headlong into the deep end of virtual meetings and multi-hour learning sessions, whereas many or most have never been exposed before even in the slightest.

    It’s hard enough to wrangle a massive amount of people together for an online meeting, so how can companies all over the world keep everyone’s attention fully engaged throughout an online session, many of which are held for extensive amounts of time?

    The Solution

    Pack each presentation and meeting with eye-catching visuals, full motion infographics, animated characters, visual effects and all the eye candy that can possibly be crammed into an online session. If companies wish to engage their audience, they need to make the visuals jump out at the viewer, always keeping them on their toes, guessing about what might be coming next.

    The real opportunity in this scenario is for high quality content makers and providers. Every school, every business, and every government entity will need to boost their presentations with premium content, otherwise their brand and morale will be left in the dust and ultimately their staff, students and clients will follow suit.

    The first person, team or studio, to come to the table with massive amounts of presentation-enhancing, meeting-engaging, learning-boosting content that effectively and strikingly visualizes, communicates and illustrates a wide variety of material in an interesting and compelling fashion, very well may usher in the next gold rush.

    With lots of help from animators and visual designers, blasé meetings and presentations may soon be a thing of the past, much to the joy of online viewers and virtual meeting attendees around the world.

    Martin Grebing is the president of Funnybone Animation Studios. He can be reached at www.funnyboneanimation.com.

  • Netflix, Chris Nee Animating Dr. Ibram X. Kendi’s ‘Antiracist Baby’

    Netflix, Chris Nee Animating Dr. Ibram X. Kendi’s ‘Antiracist Baby’

    As part of a triple adaptation deal with historian and antiracism scholar Dr. Ibram X. Kendi, Netflix is creating a series of musical animated shorts for young viewers based on his No. 1 bestselling children’s book Antiracist Baby. Kendi is executive producing alongside Peabody, Emmy, NAACP and Humanitas Prize-winning children’s TV writer/producer Chris Nee (Doc McStuffins, Vampirina), who has an overall deal with the streaming platform.

    The shorts will be developed around the nine steps to being antiracist outlined in Kendi’s 2020 board book, which is illustrated by artist-activist Ashley Uananiau Lukashevsky. The title was featured on Netflix’s preschool reading series Bookmarks: Celebrating Black Voices.

    “I feel deeply honored to have a chance to help deepen the impact of Dr. Kendi’s work,” Nee said in a statement. “We are living in tumultuous times, and it is incumbent on all of us to use our platforms to make the world a better place. Antiracist Baby aligns perfectly with the values of my company, Laughing Wild, and Netflix as a whole, and we are excited to be a vehicle through which it can continue to influence the world for the better.”

    Antiracist Baby joins a diverse slate of preschool animation projects Nee is developing and producing for Netflix through her Laughing Wild banner: Ada Twist, Scientist; Dino Rangers; Ridley Jones; and Spirit Rangers.

    The two other works by Kendi — who landed four books on the New York Times bestseller list last summer, was named on of TIME‘S most influential people of 2020 and is founding director of the Boston University’s Center for Antiracist Research — are a hybrid documentary/scripted feature based on his 2016 book Stamped from the Beginning, and young adult-targeted documentary Stamped: Racism, Antiracism and You based on the No. 1 bestseller co-authored by Jason Reynolds. Both projects are being directed and produced by Roger Ross Williams (Music by Prudence; Life, Animated), the first Black director to win the Oscar for Best Documentary Short.

    “I’m elated these projects landed at Netflix. What a wonderful partner. I’m elated to work with Roger Ross Williams, Mara Brock Akil [showrunner, Stamped from the Beginning[ and Chris Nee. They are such ambitious, innovative and passionate creators who are committed to racial justice. But I’m really elated for the viewers, for the adults and children who will be captivated, informed and transformed by these projects,” Kendi said in a statement.

    [Source: Hollywood Reporter]

    Dr. Ibram X. Kendi
    Dr. Ibram X. Kendi
    Chris Nee
    Chris Nee
  • ‘Drawn to Change’ with Young Activist Yolanda Renee King Debuts for MLK Day

    ‘Drawn to Change’ with Young Activist Yolanda Renee King Debuts for MLK Day

    To commemorate this year’s Martin Luther King Jr. Day, Drawn to Change will premiere on Cartoon Network, Saturday, Jan. 16 and feature his granddaughter, 12-year-old Yolanda Renee King, in conversation with Craig (voiced by Philip Solomon) from the Emmy-nominated series Craig of the Creek. The episode highlights her goals to continue with her grandfather’s legacy, as well as her work in activism and climate change. The opening graphics were designed by Atlanta-based Black artist and muralist, George Baker.

    Cartoon Network is expanding on its content series Drawn To with new installments of monthly vignettes to be launched throughout the year, featuring inspirational stories from real-life kids having fun and sharing common interests such as spending time with family and helping out in their communities. The series seeks to elevate these voices, highlight diverse cultures and provide a meaningful glimpse at the passions that bring kids together to celebrate unity and connectivity in a sometimes uncertain world.

    All of the Drawn To episodes will be available on CN, the CN App and across the network’s social platforms.

    “The Drawn To series has been such an important part of what we do and it’s so critical that kids have examples of others just like them exploring and taking impactful steps toward a kinder, more inclusive world,” said Tricia Melton, Chief Marketing Officer, Global Kids, Young Adults and Classics at Warner Bros.

    Building on the success of the series which launched early in 2020, Drawn To aims to authentically tell stories by weaving together universal themes such as “Community,” “Family” and “Love” that resonate with both kids and parents. The series spotlights everyday kids and kid influencers celebrating achievements and ideas while engaging young viewers. By raising awareness on topics that kids care about, Drawn To spotlights the positive in today’s generation and our future. Each episode is produced in partnership with local artists to cultivate authentic connections with the topics being discussed.

    Drawn To Change
    Drawn To Change
  • HBO Max Launches Animation Landing Page as Category Gains Popularity

    HBO Max Launches Animation Landing Page as Category Gains Popularity

    HBO Max is launching a new landing page today (Friday, Jan. 15) highlighting the best animated content available on the platform, from adult animation hits to classic cartoons from yesteryear. The page will celebrate HBO Max’s ever-growing animation library while also helping cartoon-lovers on the platform find their favorite content more easily. Since September, hubs for animation brands like Crunchyroll, Studio Ghibli, Looney Tunes, Cartoon Network and Adult Swim have seen monthly impressions grow by as much as 85% as users look for new animated content to explore.

    HBO Max viewers will be able to access the page via the main navigation menu in-app under “Animation.” This new page will serve as a centralized place for grownup fans of animated content to discover series and films from the Adult Swim Collection, Studio Ghibli, Crunchyroll, Hanna-Barbera, Looney Tunes, the DC Animated Universe and other iconic animation brands. While some of the content may make viewers feel like kids again, HBO Max Kids profiles will not be able to access the page.

    HBO Max is home to over a thousand hours of animated programming, including new and notable picks like South Park, Batman: The Animated Series, Courage the Cowardly Dog, Ed, Edd n’ Eddy, Weathering With You, Ride Your Wave, Vixen, Night Is Short, Walk On Girl, Promare, The Grim Adventures of Billy & Mandy, Batman Beyond and more to enjoy.

    The Animation landing page is the perfect destination for adults looking for laughs, anime hits, classic cartoons, new favorites and more, with all curations intended for adults to watch. The page will consist of four subpages that will serve as their own spotlight pages, allowing for deeper, guided exploration of the platform’s robust library of animated titles:

    • The Adult Animation page will include offbeat humor, gritty action and deep drama series such as South Park, Rick and Morty, Robot Chicken, Deathstroke: Knights & Dragons, The Boondocks, Close Enough, Watership Down and Harley Quinn.
    • The International Favorites page will include Earwig and the Witch (available February 5) and The Secret World of Arrietty from Studio Ghibli, Weathering With You, Ride Your Wave, The Night Is Short, Walk On Girl, Promare, Flushed Away and other beloved titles.
    • The Throwbacks page will include old-school nostalgic ‘toons from the 1930s to the 2000s such as Looney Tunes (Classic), Tom and Jerry, Popeye, Courage the Cowardly Dog, Codename: Kids Next Door, and many more.
    • The Not Just for Kids page includes a line-up of kid-friendly movies and series even adults will want to ‘toon into, including Infinity Train, Over the Garden Wall, Looney Tunes Cartoons, Young Justice, Vixen, Batman Beyond and Batman: The Animated Series.

  • Bad Robot Taps FX Exec John Agbaje as SVP Animation

    J.J. Abrams & Katie McGrath’s Bad Robot is firming up its foothold in animation, recruiting FX network’s animation & development head John Agbaje as Senior VP, Animation.

    Agbaje will oversee film and TV toon projects at the WarnerMedia-based production company, which include Dr. Seuss feature Oh, The Place You’ll Go! and a short film adaptation of Charlie Mackesy’s The Boy, the Mole, the Fox and the Horse. The new SVP will report to Hannah Minghella, President of Film, Bad Robot.

    Agbaje joins Bad Robot after four years leading development of animation and live-action projects at FX, including shortform showcase series CAKE. Prior to this, he worked for two years in the office of former FOX chairman Peter Rice. Before that, he was a business development executive at animation powerhouse Illumination Entertainment. Agbaje brings both creative and business skillsets to his new post.

    “At its best, animation is a direct tap into a creator’s imagination,” Agbaje told Deadline. “I’m excited to bring my perspective as an artist and an executive to this visionary company as we take the medium of animation to even more diverse and surprising places. I’m thrilled to be working with Hannah, Ben [Stephenson] and Rachel [Rusch] on this great initiative.”

    [Source: Deadline]

  • Technicolor Sharpens Focus on VFX & Animation with Sale of Post Studio

    Technicolor Sharpens Focus on VFX & Animation with Sale of Post Studio

    Technicolor announced Thursday that L.A.-based Streamland Media (formerly Picture Head Holdings) is purchasing the Technicolor Post business in an acquisition backed by Trive Capital and Five Crowns Capital expected to close in the first half of 2021. The deal is subject to customary closing conditions, a share purchase by the CEO and the appointment of a new Board Observer.

    Carrying a €30 million (~$36.5M USD) pricetag, the sale strengthens Technicolor’s ability to focus on and expand its flagship creative studios (The Mill, MPC, Mr. X and Mikros Animation) specializing in CGI visual effects and animation, which is in increasing demand across film, TV, advertising, gaming and live events.

    “Today’s announcements reaffirm our commitment to a stronger future for Technicolor. The strategic sale of Technicolor Post is part of our long-term vision for Production Services to focus on VFX and animation for the entertainment industry, and creative services and technologies for the advertising industry, which provide the maximum value to our clients,” commented CEO Richard Moat. “We will continue to focus on these core areas through our award-winning creative studios The Mill, MPC, Mr. X and Mikros Animation. Moreover, my personal investment in Technicolor shares marks my commitment to our transformation and my confidence in Technicolor’s future.”

    It was previously announced to the market during the financial restructuring process that Moat would be buying shares in the company. Moat acquired 585,825 Technicolor shares during December at an average price of €1.83, highlighting his commitment to the future of the Group.

    The current performance of Technicolor’s operating businesses is in line with the Group’s expectations. Production Services has been awarded numerous new projects, securing approximately two thirds of its expected 2021 sales pipeline for Film & Episodic Visual Effects, and is in negotiations for several more. Confirmed projects for 2021 include Disney’s live-action adaptations of The Little Mermaid and Pinocchio, and their recently announced The Lion King prequel.

    The Board of Directors of Technicolor has appointed Angelo, Gordon & Co., L.P. as a Board Observer, and it will be represented by Julien Farre, Managing Director at Angelo Gordon in London. He joined Angelo Gordon in 2012 and is focused on European corporate special situations and has represented the firm as a board member on a number of Angelo Gordon investments. Prior to joining Angelo Gordon, Farre was an Executive Director at Goldman Sachs, and previously worked at Bain & Company as an Associate. He holds a Bachelor of Commerce degree from McGill University, and an M.B.A. degree from the Wharton School at the University of Pennsylvania. As of December 31, Angelo Gordon held above 5% of the share capital and voting rights.

    Streamland Media operates through integrated business units around the globe, including industry leaders Picture Shop, Formosa Group, Ghost VFX, Picture Head, The Farm Group and Finalé Post. These distinct businesses support feature film, episodic, interactive and emerging forms of entertainment by providing top-tier, customized solutions in picture and sound finishing, visual effects and marketing. The integration of Technicolor Post into its existing portfolio will bolster Streamland’s renowned roster of talent and broaden the company’s unique approach to meeting customer needs in regions around the world including the U.S., Canada, Europe and the U.K., without disruption for Technicolor Post clients or employees.

    “Our team’s dedication to creative excellence and their outstanding accomplishments has allowed Streamland Media to build this exceptional family of boutique businesses,” said Streamland Media CEO Bill Romeo. “We are thrilled to have the extraordinary caliber of Technicolor Post artists join us. Adding Technicolor Post’s technologies and worldwide locations to Streamland will allow us to partner with all of our clients to an even greater degree. I am excited for what’s ahead.”

    www.technicolor.com | www.streamlandmedia.com

  • FIAF Opens Animation First with ‘Calamity’ U.S. Premiere

    FIAF Opens Animation First with ‘Calamity’ U.S. Premiere

    The French Institute Alliance Française (FIAF) has announced additions to the 2021 Animation First Festival, taking place from Friday, February 5 to Monday, February 15. Opening night will now feature the U.S. premiere of Calamity Jane (Calamity, une enfance de Martha Jane Cannary) from director Rémi Chayé, who will be a festival Special Guest.

    Winner of the Crystal for best feature at the 2020 Annecy International Animation Film Festival, Calamity Jane is based on the early life of the legendary Wild West figure. This feminist retelling shows how young Martha Jane Cannary fought against a sexist and male-dominated society to become an iconic frontierswoman.

    Read more about the film here.

    Chayé, who will be a special guest of the festival, will discuss his newest film in a live talk on Saturday, February 6 at 2 p.m. EST. His 2015 animated feature, Long Way North (Tout en haut du monde), about another adventuresome young girl — this one based in Russia — will also be screened during the Festival.

    “It’s an honor to bring Calamity Jane to FIAF’s Animation First,” said Chayé. “As an American tale, adapted by a French filmmaker, it feels uniquely suited to receive its U.S. Premiere at this Festival, and I look forward to discussing the years-long process of bringing it to fruition with American audiences.”

    Aya of Yop City
    Aya of Yop City

    FIAF is also collaborating with Dr. Boukary Sawadogo, professor of cinema studies at the City College of New York and founding director of the Harlem African Animation Festival, on two programs highlighting animation from Africa. Viewing animation as “another lens to look at Africa,” per Dr. Sawadogo’s writings, the program marks the 50th anniversary of independence for 17 different African nations.

    The 2013 feature, Aya of Yop City (Aya de Yopougon), adapts the best-selling graphic novels by Marguerite Abouet about three teenage friends to the screen. A program of shorts brings together filmmakers from Ghana, Tunisia, Madagascar, the Democratic Republic of Congo, and Burkina Faso by way of Canada, showcasing the diverse storytelling and multifaceted filmmaking techniques across the continent. The selected shorts are:

    • Black Barbie, Dir. Comfort Arthur, 2016, 4 min, Ghana
    • The Cora Player (Joueur de cora), Dir. Cilia Sawadogo, 1996, 7 min, Canada
    • Afropower (Afreupouvoir), Dir. Manohiray Randriamanantsoa, 2010, 5 min, Madagascar
    • L’Ambouba, Dir. Nadia Rais, 2010, 9 min, Tunisia
    • اغتراب Fade, Dir. Alaeddin Abou Taleb, 2018, 13 min, Tunisia
    • Prince Lesono, Dir. Jean-Michel Kibushi, 2004, 29 min, France and Belgium

    Animation First 2021 – Festival Trailer from FIAF on Vimeo.

    As previously announced, the 2021 Animation First will include 55 U.S. feature and short film premieres, including Aurel’s award-winning feature debut Josep, the family-friendly movie Stinky Dog, Happy Life in Paris!, based on the popular book series about a mutt who lives in a Parisian garbage can. Making its New York premiere is Zero Impunity, a powerful documentary that gives voice to victims of sexual violence around the world created by brothers Stéphane Hueber-Blies and Nicolas Blies.

    Programs will also cover works from students at top U.S. and French film schools, a Best of Annecy shorts showcase, focus on the materially eclectic works of Florence Miailhe (whose upcoming feature film The Crossing is part of the work-in-progress line up), award-winning TV specials (Shooom’s Odyssey, My Life in Versailles), provocative web series (Fail in Love, Women Undercover), WIP sessions on Anca Damian’s The Island and Benoit Chieux’s Sirocco and the Kingdom of the Winds, as well as talks and workshops with industry luminaries such as Kristof Serrand.

    The King and the Mockingbird
    The King and the Mockingbird

    Plus, special guest Wes Anderson (Fantastic Mr. Fox, Isle of Dogs) presents a selection of four films which have inspired his storied film career: Disney’s Bambi (1942), presented in both Hindi and French; Richard Adams adaptation The Plague Dogs (1982); and Oscar-nominated shorts A Doonesbury Special (1977) and Peter and the Wolf (2006). Animation First will also present a tribute to French animation icon Paul Grimault (1905-1994) with a special screening of his cult classic, satirical masterpiece The King and the Mockingbird (Le Roi et l’Oiseau) and eight newly restored shorts produced from 1942-1973.

    “This year’s Animation First promises to be the richest in the Festival’s history,” said FIAF President Marie-Moniqu Steckel. “We are delighted to have so many exciting new films, cult classics, and our first American special guest, Wes Anderson. It’s particularly gratifying to offer, across the United States, at a very affordable price, the chance to discover the amazing world of French animation.”

    All-access passes for the 2021 Animation First festival are on sale for $20 at fiaf.org.

  • Animation Guild & ASIFA-Hollywood Host Public Afternoon of Remembrance

    The first month of 2021 will culminate with an event to recognize the talented contributors the world of animation lost in 2020. Hosted by The Animation Guild and ASIFA-Hollywood, the Afternoon of Remembrance is a non-denominational, virtual event to be held Saturday, January 30 from noon to 5 p.m.

    A Hollywood tradition for over a quarter of a century, Afternoon of Remembrance pays tribute to all who created animation, from top industry leaders to the rank and file artists. Event co-founder and The Animation Guild President-Emeritus Tom Sito describes it as a moment to “remember, laugh, cry and share stories as we say goodbye to all our friends who left us in 2020.”

    Those honored this year will include: Mickey Mouse comic-strip artist Roman Arambula, Scooby-Doo creators and collaborators Joe Ruby and Ken Spears, Disney animator Ann Sullivan and Emmy-winning animation writer David Wise.

    The Afternoon of Remembrance is open to the public. Those interested in attending can register at tiny.cc/TAGAOR.

    Disney animator Ann Sullivan worked on classics like The Little Mermaid, The Lion King and Lilo & Stitch.
    Disney animator Ann Sullivan worked on classics like The Little Mermaid, The Lion King and Lilo & Stitch.
  • Comedy Central Trailers ‘Blark and Son’ S2

    Comedy Central Trailers ‘Blark and Son’ S2

    Comedy Central released the official trailer for season two of Stoopid Buddy Stoodios’ Blark and Son, the puppet digital series created by Ben Bayouth (who also voices Blark) and developed with head writer Adam Aseraf (Sanjay and Craig). The eight-episode season will roll out across all Comedy Central digital and social platforms every Saturday beginning January 30.

    Season two adds Jane Lynch to the mix of voice actors including Christopher Mintz-Plasse, Jim Rash, Justin Roiland, Deborah Baker Jr., Donald Faison, Bayouth and Aseraf.

    Blark and Son is a web series about an overly manly, single dad (Blark) who incessantly tries to hang out with his overly nerdy, internet addicted son (named Son.) Blark and Son continuously juggle the revolving door of friends, neighbors and fleeting love that cycle through their zany and at times heartwarming lives. The short form comedy is produced by Stoopid Buddy Stoodios. Aseraf, Bayouth, Seth Green, John Harvatine IV, Matthew Senreich, Eric Towner and Chris Waters serve as executive producers.

    Fans can tune in to the Comedy Central YouTube channel tonight (Thurs., Jan. 14) for a stream of the full first season plus a sneak peek at season two, starting at 8 p.m. ET/5 p.m. PT. All season one episodes are available to watch on the YouTube channel.

  • Git Along, Little Dinos!: Exclusive ‘Dino Ranch’ Clip and Creator Q&A

    Git Along, Little Dinos!: Exclusive ‘Dino Ranch’ Clip and Creator Q&A

    A thrilling world of wide-open spaces and incredible prehistoric creatures is ready to unfold for preschool-aged viewers as Dino Ranch makes its U.S. debut January 18 on Disney Junior and DisneyNOW. The new CG animated series, produced by Industrial Brothers and Boat Rocker Studios, follows the tight-knit Cassidy family as they tackle life on their ranh/dinosaur sanctuary in a fantastical “pre-westoric” world.

    With the show ready to roar, we caught up with Industrial Brothers Creative Director & Co-Founder and series creator Matthew Fernandes (Remy & Boo, Top Wing, Kingdom Force) to learn more about his latest animation adventure. Plus, the ranch hands were able to rustle up a special clip just for Animag readers, in which adopted siblings Jon, Min and Miguel make some upgrades to the pterodactyl barn!

    Can you tell us a bit about the origins and inspirations for the show?

    Matthew Fernandes: I grew up in farm country as a boy and spent much of my days outside with friends, surrounded by cows, horses and the great outdoors. The one thing I learned about observing farm life was that the adults depended heavily on their family to make the farm successful. The stronger the family, the stronger the farm. What was interesting to me was that just as much as the adults counted on each other to handle important jobs, they also counted on the children to help. So, I had always been interested in doing a story about kids on a family ranch. Of course, I have always had a love of dinosaurs, so the idea of mixing the two felt really fresh and unique for this age group.

    When did you start working on the series and how long did it take to produce?

    Every show is different and has its own journey making it to the screen. Dino Ranch was, however, the fastest transition from idea to production that I have ever experienced. At every stage people just immediately understood the concept and could see the potential. I only created the concept a few years ago so the process was very quick. Thankfully we have a wonderful team of artists and storytellers that eagerly jumped on board.

    Dino Ranch
    Dino Ranch

    Where is the animation produced and which animation tools are used to produce it?

    The series is produced by Industrial Brothers and our partners at Boat Rocker Studios. The production work is split between our studios in Toronto with animation being done at Jam Filled out in Ottawa. Our pipeline is primarily a mixture of Maya and Arnold.

    How many people work on the show?

    I believe around 75.

    What about the show makes you proudest?

    There is so much to love about the show itself, but I’m most proud of the level of ownership our creative teams had for the series and the level of commitment and craftsmanship that went into making it. At every stage, our team tried to raise the bar in order to make something special.

    Dino Ranch
    Dino Ranch

    What were the biggest challenges for you on this project?

    The challenge with production is matching your creative vision with your budget and schedule, and it’s often a back-and-forth dance between the two. What made this production a challenge was the number of dinosaurs in our world interacting with our characters. Our dinosaurs carry so much personality so there were a lot of very unique performances to manage in order to pull the scenes off. Thankfully, our team was up for the challenge and went above and beyond our creative vision for the show.

    What is your take on children’s animation in 2021?

    That’s a great question. We live in confusing times and it has been challenging for many families at home and many businesses that have felt the effects of COVID. The animation industry has been one of the few lucky industries that has managed to continue on with production and adapt to a remote lifestyle. First and foremost, I think we have a responsibility to not only entertain families at home but also to create content that can help children understand these new complex feelings and interpret the world that is currently around them. I hope that Dino Ranch will offer parents and their preschoolers with irresistible escapism to the wild frontier.

    COVID has also forced us all to become remote studios, and for some, it has proven to be very successful. I think like many companies we can begin to question the idea of what office life means and I think there are now opportunities to rethink a traditional production workspace.

    Dino Ranch
    Dino Ranch

    How has the scene changed since the days of Dex Hamilton?

    Wow. Well, that is a name I haven’t heard in a very long time. Dex Hamilton was the first show I ever created and so much has evolved in the scene since that time, both personally and in the animation scene. Directly after Dex, I founded Industrial Brothers with my business partner, Arthur Spanos, with a goal of making cool stuff for kids. Ten years and nine shows later, we are still trying to push the envelope, both creatively and technically, to produce premium content. But it feels like, in the last few years, 3D animation has only continued to become faster, more innovative and more accessible. What you are able to produce on a television budget was unheard of back in the days of Dex Hamilton and, with the processing power that we are seeing from game engines, we are on the verge of a big evolution in animation.

    What do you hope audiences take away from Dino Ranch?

    I believe that we have created a really unique action-packed, dino-sized world that kids will want to be a part of. With wide-open natural green spaces and big blue skies, viewers will be transported to a place where they can discover the exhilarating blend of dinosaurs, outdoor adventures and ranch life for themselves. But also, for me, Dino Ranch is about family. While we have a lot of fun with the ranchers and their dinosaurs, it all comes back to the importance of family, strength and unity in our lives.

    Dino Ranch launches on Disney Junior and DisneyNOW in the U.S. on Monday, January 18. Learn more about Industrial Brothers at www.industrialbrothers.com.

  • ROOF Studio’s ‘Unbreakable’ Brings Awareness to Rare Lung Disease

    ROOF Studio’s ‘Unbreakable’ Brings Awareness to Rare Lung Disease

    New York animation studio ROOF Studio recently partnered with ad agency AREA 23 on Unbreakable, a poignant CG film for biopharmaceutical company Insmed. The 2.5+ minute piece aims to bring awareness about Nontuberculous Mycobacterial (NTM) lung disease, a condition which can be difficult to identify due to its similar symptoms with other lung conditions. The film was crafted to create a sense of urgency for doctors and specialists to recognize and diagnose NTM.

    Unbreakable is a visual metaphor for the real experiences of NTM patients. The film opens on Barbara the Bunny, a plush toy fabricated in a magical factory. When she comes alive, she realizes something is not quite right as she begins to cough, splitting a piece of her fabric in the process. Barbara is expelled from the factory by “Quality Control” and from there, we follow in her journey across the city desperately seeking a specialist for her situation. To her relief, a sweet toy repair shop owner knows just exactly what to do.

    INSMED | UNBREAKABLE from Roof Studio on Vimeo.

    “We took a folkloric Pinnochio-like approach to tell not only the story behind the physical symptoms of NTM, but also the social ostracization from the chronic cough that patients endure with the condition,” explains Guto Terni, ROOF Studio Co-Founder/Creative Director. “This approach allowed us to use rich, poetic visuals with a character-driven story around Barbara the Bunny to engage the viewer with the deep concerns of NTM sufferers and their experience. At the same time, it lent us room to be playful and humorous to bring a hopeful tone to the conversation around NTM.”

    Unbreakable
    Unbreakable

    For ROOF, which has built a reputation for its colorful and richly-detailed animation work, Unbreakable was the perfect opportunity to create a film with the same level of craft seen in stop-motion puppet-fabrication films.

    “We wanted to design places that would feel rich and inviting — places that you may even wish to visit,” says Vinicius Costa, ROOF Studio Co-Founder/Creative Director. “We pursued an extremely high level of detail in every asset to create an experience that would encourage people to keep following this story along through the behind-the-scenes materials in social media. It is common to focus on a video and extract parts for its ‘making of’ but we put equal effort into engaging people with the film and with every asset outside of it. We wanted to bring a much broader approach and this film was perfect for that.”

    Unbreakable
    Unbreakable

    ROOF put an enormous amount of detail in bringing Barbara, the 24-inch-tall bunny, to life – including everything she comes in contact with in her world – with a sense of realism. Terni says the agency wanted her to express an element of sadness as an NTM patient but also cuteness to help create empathy. In the end, the ROOF team landed on a design that captured a charismatic and intelligent bunny protagonist.

    ROOF developed the entire previsualization of the film in 3D. In addition to providing the client with an early look at the visual style and direction of the film, this pre-production step enabled the team to calculate critical details, such as camera movements, composition and the volume of texturing the job required.

    “Animation is a powerful technique for tackling often-abstract or complicated subjects, and credit goes to the AREA 23 team for being open to exploring its full potential in ‘Unbreakable,’” concludes Terni. “Together, we created a dream project, which will hopefully resonate with health care providers and people in general and help those suffering from NTM in particular.”

    Check out making-of videos on the film’s animation and composition processes here and here learn more about ROOF at

    www.roofstudio.tv.

    Unbreakable
    Unbreakable

  • Dave Coulier & Animation Vet Bob Harper Launch Grilled Cheese Media

    Comedian, actor and director Dave Coulier has joined forces with animation producer Bob Harper to launch Grilled Cheese Media, combining their huge catalogue of entertainment IP and decades of expertise taking projects from concept to the screen. The duo will develop and produce animated and live-action content across multiple platforms, including television, streaming platforms and film.

    “If there’s a silver lining to living with COVID this past year, it’s that family audiences are ‘gobbling-up’ content. We see a huge demand for wholesome entertainment and the need to produce it safely and efficiently for buyers and distributors,” says Coulier. “We intend to tap into the enormous Full House and Fuller House fan base that exists worldwide. They know and trust my family brand of creativity and humor.”

    “I’ve worked on some of animation’s greatest hits,” he continues. “My first job in animation was doing voices on Scooby-Doo at Hanna-Barbera. I also got to work with Jim Henson on The Muppet Babies (a four-time Outstanding Children’s Animated Program Emmy Award winner) which aired on CBS for eight seasons, and The Real Ghostbusters, which aired on ABC for seven seasons.”

    Grilled Cheese Media is positioned to offer a large slate of IP and flexible content production strategy. The brand is focused on diverse, family-focused and family-friendly comedy.

    “Our company name, Grilled Cheese Media says it all – simple ingredients and great taste! We like to think that the final product of our creativity is ‘visual comfort food.’ And we’re just beginning,” adds Coulier.

    Best known for playing Joey Gladstone on Full House (ABC) and Fuller House (Netflix/Warner Horizon), Coulier has hosted, directed, acted and voiced on some of the biggest international entertainment hits. His animation voice acting credits span classic favorites like Scooby-Doo, The Jetsons and Muppet Babies to modern successes including American Dad!, Robot Chicken and Voltron: Legendary Defender. Coulier directed several episodes of the award-winning Fuller House, and received a GLAAD Award nomination for directing the episode “The Prom.” He lives in his home state of Michigan with his wife, photographer and producer, Melissa, and their dogs, Shorty and Ziggy.

    Harper was drawn into the L.A. animation scene after dabbling in the brutal worlds of pro wrestling and stand-up comedy, and has since tackled every job in the industry — from storyboarding, animating, designing, writing, directing and producing. He has worked for Cartoon Network, Disney TV and Nickelodeon, as well as co-executive producing two seasons of The Misfortune of Being Ned for the Annoying Orange YouTube channel. Harper has written and sold projects to Cartoon Network and Disney, and was co-exec producer, writer and designer for DreamWorks TV’s Prank Boy. As a father of three, including a child on the Autism Spectrum, Harper’s creative sensibilities tend toward engaging, inclusive and dynamic family entertainment content.

    Headquartered in Los Angeles, Grilled Cheese Media is a development and production company, offering a wide range of live-action and animated content for multi-platform distribution: a one-stop shop for studios and distributors who are targeting wholesome and diverse, satisfying, feel-good family entertainment.

    Learn more at www.grilledcheesemedia.com.

    Top Photo: Dave Coulier by Melissa Coulier; Bob Harper caricature by Bob Harper

  • Trailer: Feast of New ‘Looney Tunes Cartoons’ Debuts Jan. 21

    Trailer: Feast of New ‘Looney Tunes Cartoons’ Debuts Jan. 21

    Get ready for more mayhem when the newest batch of laugh-out-loud Looney Tunes Cartoons episodes premiering on HBO Max Thursday, January 21.

    Taz stars in his first full-length Looney Tunes Cartoons short when he takes on Bugs Bunny in a Roman coliseum. If Bugs makes it out of the arena, there will be plenty of foes waiting to match wits with him including Elmer Fudd, a leprechaun and Cecil Turtle.

    Looney Tunes Cartoons
    Looney Tunes Cartoons

    Daffy and Porky continue their misadventures from skydiving to solving the mystery of Porky’s missing pants! Fan-favorites Sylvester and Tweety along with Wile E. Coyote and Road Runner also come along for the ride in these 10 all-new animated episodes.

    Looney Tunes Cartoons
    Looney Tunes Cartoons

    From Warner Bros. Animation, and starring the cherished Looney Tunes characters, Looney Tunes Cartoons echoes the high production value and process of the original theatrical shorts with a cartoonist-driven approach to storytelling. Marquee Looney Tunes characters are featured in their classic pairings in simple, gag-driven and visually vibrant stories.

    Dig in!

    Looney Tunes Cartoons
    Looney Tunes Cartoons
  • Trailer: Meet the Super Squirrel Hero of ‘Flora & Ulysses’

    Trailer: Meet the Super Squirrel Hero of ‘Flora & Ulysses’

    Disney+ released the trailer and new images for the comedy-adventure Flora & Ulysses, premiering exclusively on Disney+ Friday, February 19. Based on the Newbery Award-winning book by Kate DiCamillo, the live-action movie co-stars a heroic rodent brought to life with photoreal CGI.

    The story centers on 10-year-old Flora, an avid comic book fan and a self-avowed cynic, whose parents have recently separated. After rescuing a squirrel she names Ulysses, Flora is amazed to discover he possesses unique superhero powers, which take them on an adventure of humorous complications that ultimately change Flora’s life — and her outlook — forever.

    Flora & Ulysses stars Matilda Lawler, Alyson Hannigan, Ben Schwartz, Anna Deavere Smith, Danny Pudi, Benjamin Evans Ainsworth, Janeane Garofolo and Kate McCucci. It was directed by Lena Khan and produced by Gil Netter. Based on the novel Flora & Ulysses: The Illuminated Adventures by Kate DiCamillo, the film’s screenplay is by Brad Copeland. Katterli Frauenfelder and James Powers served as executive producers.

    Flora & Ulysses
    Flora & Ulysses
  • Clip: The Pugs Ring in Chinese New Year in ‘Puppy Dog Pals’

    Clip: The Pugs Ring in Chinese New Year in ‘Puppy Dog Pals’

    The charming snub-nosed heroes of Disney Junior favorite Puppy Dog Pals embark on a special holiday adventure this Friday in a new episode all about Chinese New Year. In the advance clip below, Bingo (EJ Williams) and Rolly (Gracen Newton) get a primer on the tradition of lighting lanterns while on vacation with their human pals in Hong Kong.

    In “New Year, New Bob,” Bob (voiced by series creator Harland Williams) and his family are in Hong Kong on the last day of Chinese New Year, but when Bob’s homemade lantern for the Lantern Festival accidentally floats away, the pugs go on a mission through the city to get it back. This episode premieres Friday, January 15 at 10:30 a.m. ET/PT on Disney Channel and in DisneyNOW.

    Puppy Dog Pals
    Puppy Dog Pals
  • Arcana Expands Distribution Slate with Trio of Acquisitions

    Arcana Expands Distribution Slate with Trio of Acquisitions

    Intellectual property house Arcana Studio has acquired the rights to animated TV series Raven Tales and the feature films Back to the See and Hallowaiian, expanding its sales and distribution purview beyond its own in-house originals.

    Produced by Colin Curwen and Joe Thornton, Raven Tales is a 26 x 30′ children’s series that focuses on native Aboriginal folklore. The series tells the stories of the many adventures of Raven, the most powerful deity of Aboriginal mythology, and each episode features an original interpretation of a popular tale from the folklore of our first peoples.

    Written & directed by Thom Lu, Back to the Sea stars Yuri Lowenthal, Christian Slater and Mark Hamill. The film follows little fish, Kevin, who must find his way home after being taken from the vast oceans to the small glass fish tank of a restaurant.

    Written, directed & produced by Sean O’Reilly, Hallowaiian stars Vanessa Williams, Mark Hamill and Noah Schnapp. The film follows three friends who must use local legends to restore peace to their home in Hawaii after releasing a mythical monster on Halloween.

    “These acquisitions mark the beginning of a new venture for Arcana,” said CEO Sean O’Reilly. “Although we have traditionally produced and released our own content, we have always been in the business of bringing quality animated content to the marketplace, and these three titles are no exception.”

    Arcana is actively pursuing the acquisition of new content for broadcast and digital release. These efforts are led by O’Reilly, while Head of Sales Jerina Hajno will oversee sales to all territories.

    Back to the Sea is currently streaming on VOD service Reelhouse Animation Playlist, while Raven Tales and Hallowaiian are slated for release in 2021.

    Back to the Sea
    Back to the Sea
    Raven Tales
    Raven Tales
  • First Look: SYFY TZGZ Original ‘Devil May Care’ Premieres February 6

    First Look: SYFY TZGZ Original ‘Devil May Care’ Premieres February 6

    A new irreverent adult toon is joining SYFY’s TZGZ lineup next month, when original series Devil May Care premieres Saturday, February 6 at midnight ET/PT. The animation block’s second in-house pilot greenlit for series is a modern workplace comedy set in the fiery pits of Hell (literally).

    In Devil May Care, a millennial named Beans (voiced by Asif Ali) finds himself in Hell with NO idea why. While meeting with the Devil (Alan Tudyk) upon his arrival, they quickly figure out that Beans’ job from his earthly days translate perfectly into the Hell-esphere. Just like that, Beans becomes the Devil’s newest Social Media Manager, since online buzz is exactly what Hell’s been missing. The two form the most unlikely friendship, and together, while juggling Devil’s staff and family, they will surely get Hell trending!

    “Devil May Care represents my passion for looking at things we take for granted in new ways. Strange ways. Ways I can’t discuss with my parents. Ways that I hope you will enjoy,” series creator, writer & exec producer Douglas Goldstein stated in the announcement. “At the very least, we can agree that watching Devil May Care beats staring at the ceiling during the quarantine.”

    The series also features the voices of Pamela Adlon, Stephanie Beatriz and Fred Tatasciore. It is created and executive produced by Emmy and Annie Award winner Goldstein (Robot Chicken), developed and executive produced by Amanda Miller at Psyop, and produced at Titmouse in Vancouver. Chris Prynoski, Shannon Prynoski and Ben Kalina from Titmouse are also executive producers.

  • WB Unmasks ‘Scooby-Doo! And Guess Who?: The Complete First Season’

    WB Unmasks ‘Scooby-Doo! And Guess Who?: The Complete First Season’

    The Scooby-Doo gang teams up with some of the biggest names in pop culture to solve some of their biggest mysteries in Scooby-Doo! and Guess Who?: The Complete First Season, available on DVD ($24.98 SRP/$29.98 CAN) January 19 from Warner Bros. Home Entertainment. This release features 26 action-packed mystery adventures starring an eclectic mix of celebrities from television, film, music, sports, comics and more who join Scooby-Doo and his pals as they solve spooky mysteries around the world.

    From Warner Bros. Animation, Scooby-Doo! and Guess Who? follows the grand tradition of Scooby-Doo team ups and takes the idea to hilarious new heights. Faced with some of their toughest mysteries yet, Fred, Velma, Shaggy and Scooby-Doo join forces with some of the biggest names in celebrity and pop culture — including NBA superstar Chris Paul, recording artist Halsey, George Takei, Christian Slater, Kenan Thompson, Steve Urkel (voiced by Jaleel White reprising his iconic role), Batman, Sherlock Holmes, The Flash, Wonder Woman and many more! Jump into the Mystery Machine for all-new comedic mystery-solving adventures where the biggest mystery will be who’s teaming up with those “meddling kids” next!

    Scooby-Doo! and Guess Who?: The Complete First Season features the familiar voice talents of Frank Welker as Scooby-Doo/Fred Jones, Grey Griffin as Daphne Blake, Matthew Lillard as Shaggy Rogers and Kate Micucci as Velma Dinkley. The series is executive produced by Sam Register. Chris Bailey serves as producer.

    The collection is available now on Digital.

  • Animal Instincts: Quentin Camus Talks ‘Wild Love’

    Animal Instincts: Quentin Camus Talks ‘Wild Love’

    A romantic hike takes a deadly turn and pits a hapless couple against an army of vengeful rodents in Wild Love, a graduation short created by Paul Autric, Quentin Camus, Léa Georges, Maryka Laudet, Zoé Sottiaux and Corentin Yvergniaux at the École des Nouvelles Images in Avignon, France. With the 2018 film making its online debut as a Vimeo Staff Pick on Wednesday, Camus (now half of the directing duo Maryka & Quentin at Passion Pictures) was kind enough to answer a few questions about the award-winning horror comedy.

    Wild Love
    Wild Love

    How long did it take to produce the short?

    The whole process of making Wild Love took about a year. At first, we just had the general tone in mind and the core idea of a cute couple of hikers hunted by bloodthirsty marmots. From there we developed the designs and story, followed by eight months of CG production.

    What was your inspiration?

    The inspiration came from our love for comedy and wanting to take on the challenge to make people laugh with something very dark. In terms of humor, a big reference was movies like Shaun of the Dead, that hilariously bend the codes of horror films.

    We also view animation not as a genre but more as a medium that can tell any kind of story, and not necessarily for kids. There was a common envy to break the established rules and create a more adult and wild story than what we’d been accustomed to see in animation. And of course, we also felt a duty to show the world how dangerous marmots are!

    Wild Love - Marmot concept art
    Wild Love – Marmot concept art

    How many people worked on it?

    We were a team of six students. We were very well balanced in our skills and specialities: Paul and Léa were taking care of the animation and rigging side, and Zoé, Corentin, Quentin and Maryka were focused on the look development side, from building the assets to the final compositing.

    Which animation tools were used?

    As this was a CG production, we used softwares like Maya and ZBrush to model all our assets and animate our characters. The texturing was done with Substance Painter and Designer. As for the render engine, we used Guerilla Render, which we absolutely loved working with.

    Wild Love
    Wild Love

    Did you have a budget for producing this project?

    As this is our graduation film, there wasn’t any budget per se, but we were lucky to have access to a powerful render farm at our school (École des Nouvelles Images). But, we can tell you that there were lots of late nights and that the biggest expense was surely coffee!

    Everything in the film was done internally at our school. We even recorded one of our teachers for the marmot’s screams. As for the music, it was made by a composer from the MAAV, a French school that specializes in movie scores. The two schools collaborate together every year, and so we worked with one of its students, Nicolas Cornil, who did an awesome job composing all the music. He was there from the start and followed the project’s evolution as part of the team.

    Wild Love
    Wild Love

    What were the biggest challenges?

    One of the main concerns with Wild Love early on was to make sure we nailed the right tone. There are some pretty intense and horrific moments in the film, but we wanted to always make it land into comedy. To that end, we had to figure out how the couple was introduced from the start. They had to be just the right amount of annoyingly cute so you can take some distance from them and their fate, and be able to laugh at the horrible things happening to them.

    There was also a big technical challenge. We decided on a very realistic CG look for the film because it made sense to lure the viewer into something that looks really beautiful so he doesn’t expect it to go this wrong and horrific.

    Easier said than done! We then had to keep the same level of detail throughout the film, and computers don’t enjoy rendering hundreds of furry animals as much as we do! Animating such a crowded cast of marmots was quite a tricky task, too.

    Wild Love is distributed by Miyu Distribution. Watch it now on Vimeo and learn more about the project with behind-the-scenes videos on vimeo.com/wildlovemovie.

    Wild Love filmmaking team
    Wild Love filmmaking team
  • Fleischer’s Betty Boop & Pals Take Off with Global Icons Licensing Agent

    Fleischer’s Betty Boop & Pals Take Off with Global Icons Licensing Agent

    Fleischer Studios has tapped leading brand-licensing agency Global Icons as the new worldwide exclusive licensing agent for the Studios’ beloved slate of classic characters, including the iconic animated screen star Betty Boop. The move was official on January 1 and comes as Fleischer Studios looks to expand opportunities for its properties in creative new ways.

    “We’re excited for the future and all the fantastic ideas in the works with Global Icons. I’m confident they’ll do a superb job representing Betty Boop and our other classic characters,” said Mark Fleischer, Chairman & CEO of Fleischer Studios. “We also look forward to continuing to build our demographics and wonderful relationships in the Betty Boop marketplace in every way possible.”

    “I have been a longtime fan of Betty Boop and Fleischer Studios,” said Jeff Lotman, CEO of Global Icons. “Betty is truly a cultural Icon that has gained the respect and admiration of millions of fans around the word. We can’t wait to let our global team have the opportunity to grow the program in a very strategic and aggressive way.”

    Global Icons will combine its expertise in brand building with their strength and resources around the world to connect Betty with new territories and consumers while creating exciting new opportunities for her core fan base.

    Last year marked the 90th anniversary celebration for the glamorous international icon Betty Boop. For the past nine decades, she has sung, sashayed, and “Boop-Oop-a- Dooped” past rules and conventions, unafraid to take risks or set trends, and proving time after time that she can do anything she sets her mind to. She is one of the most popular and successfully licensed characters in entertainment history, with licensees in the United States and around the world that produce quality products bearing Betty’s likeness in virtually every category.

    Betty Boop’s popularity today shines through her prevalence in pop culture. Fashion magazines, advertisers, designers and entertainment producers are constantly including and referencing Betty in their offerings. She is considered a style icon, trendsetter and a symbol of women’s empowerment.

    In addition to Betty Boop, other Fleischer Studios classic characters adored by fans include Betty’s beloved pup Pudgy, Grampy, her pal Bimbo and the groundbreaking character Koko the Clown, the first character to ever be animated with the Rotoscope.

    www.fleischerstudios.com | www.globalicons.com