Tag: featured

  • Global Licensing Round-Up

    Global Licensing Round-Up

    BBC Studios and Moose Toys announced the eagerly-awaited range of toys inspired by Australia’s Emmy Award-winning Bluey, a popular series on Disney Junior and Disney+, are set to launch in the U.S. this month. The new collection from Australian-based toy company Moose Toys, a leader in innovation, includes a range of plush, figures, playsets, and games designed to spark imagination-fueled fun and invite preschoolers to create their own Bluey-themed adventures at home.

    The toys will be available at Target in late June and all major retailers on August 1. For more information visit moosetoys.com.

    Moose Toys Bluey Family Home
    Moose Toys Bluey Family Home

    Figures and Playsets

    • Figure 2-Packs – Collections of two figures that Bluey fans can dress up and embellish with accessories. SRP $7.99 each. They include:
    • Pool Time – Bluey and Bingo are ready for a pool day with their swimsuits and removable goggles.
    • Grannies – Bluey and Bingo dress up as grannies with removable blankets and glasses.
    • Cousins – The fun never ends with Bluey’s cousins Muffin and Socks
    • Mini Playsets ­­– Two options for themed play, both compatible with all figures. SRP $12.99 each. They include:
    • Park – With functioning swing and slide as well as a wagon with rotating handles
    • Playroom – Features Bluey’s favorite toys, including the Magic Xylophone, The Claw and more.
    • Bluey & Family Figure 4-Pack – Posable mini figures of Bluey and her lovable family – dad (Bandit), mum (Chilli) and little sister (Bingo). SRP $14.99
    • Bluey Heeler 4WD Family Vehicle – New adventures await with the Family Vehicle, which fits four Bluey figures. Comes with a Bandit figure, two surfboards that can be stored on the rooftop rack, and a sticker sheet to decorate the car. SRP $19.99
    • Bluey Family Home – A playset that features four rooms (living room, kitchen, bedroom, and bathroom), a Bluey figure, and furniture accessories that are removable for added play. SRP $39.99

    Plush

    • Mini Plush – Cuddly 8” plush featuring Bluey and friends. Made with soft deluxe fabrics and detailed stitching. SRP $7.99
    • Best Mate Bluey – Kids can cuddle up with jumbo-sized soft plush and recreate some of the most memorable moments from the show at home. SRP $19.99

    Games

    • Bluey 5-in-1 Games – These Bluey-inspired games feature 53 Jumbo Cards, perfect for little hands to hold comfortably. Five games in all. SRP $9.99
    • Bingo’s Bingo – This game helps teach matching and counting skills as children match pictures of Bluey and her world. SRP $9.99
    • Bluey Shadowlands Board Game – Players race from shadow to shadow and collect tasty cupcakes, working to rotate the palm tree and move toward the picnic (finish line). SRP $14.99
    Daniel Tiger Ride-On
    Daniel Tiger Ride-On

    Fred Rogers Productions, the award-winning children’s entertainment company behind the much-loved, Emmy-winning PBS KIDS series Daniel Tiger’s Neighborhood, and 9 Story Brands, its worldwide licensing agent, have sealed agreements with new and existing partners that will help deepen consumers’ connection to the hit animated show for preschoolers.

    Best Ride-On Cars (floor-to-foot ride-ons), Children’s Apparel Network (tees, sets, outerwear & more, available now), Cottage Door Press (new board book Let’s Look with Daniel and Friends, available online), Fisher-Price (3-in-1 potty training set, Fall 2020), Hybrid (Jumping Beans co-branded tees, hoodies & more, available now), M&M Sales (play tent & swing), Peejamas (absorbant training pants & underwear), Simon & Schuster Children’s Publishing (new storybooks, Ready-To-Read titles, picture books, boxed sets & more), Steel City Apparel (stylized apparel, socks & pennans, available online) and Zappos (adaptive apparel, including Tubsies, early 2021) will all help expand the “neighborhood” with a broad range set to arrive at retail this year and early 2021.

    Pikwik Pack
    Pikwik Pack

    Guru Studio, a leader in children’s entertainment, is pleased to announce today it has appointed New York-based Licensing Street as its exclusive licensing agent for its newest preschool series Pikwik Pack. The 2D animated series is set to air on Disney Junior in the U.S. in Q1 2021.

    With Playmates Toys as global master toy partner already on board and Scholastic handling U.S. publishing, Licensing Street will represent the brand in the U.S. across all consumer products including apparel, home, accessories, party decorations, games and live events, and will continue to develop a licensing program that reflects the brand’s core themes of community, responsibility and teamwork.

    “We’re thrilled to be teaming up with Licensing Street who have an incredible track record of building successful licensing programs in the preschool space.” said Jonathan Abraham, VP of Sales and Business Development at Guru Studio. “Licensing Street brings a wealth of industry knowledge and expertise to the table and we are excited for them to lead our licensing program in the U.S.”

    The series, which was acquired by Disney Junior U.S., Australia/New Zealand, Korea and India, follows the Pikwik Pack — Suki the hedgehog, Axel the raccoon, Tibor the hippo and Hazel the cat — as they deliver magical packages filled with love to the kind citizens of Pikwik. The 52 x 11′ episodes are packed with big adventures, silly hijinks, and heartfelt charm that will entertain preschoolers while underscoring the value of community, responsibility and teamwork.

    Pink Panther T-Shirts
    Pink Panther T-Shirts
    Pink Panther Pantone
    Pink Panther Pantone

    Metro Goldwyn Mayer (MGM), a leading entertainment company focused on the production of premium film and television content across platforms, and Pantone, the global authority on color, unveiled the first-ever Pink Panther Pink color, a vibrant and playful unique pink shade inspired by MGM’s iconic character. According to a recent brand study, Pink Panther’s signature pink hue is his most recognizable attribute, so when creating the new color, it was important for MGM and Pantone to stay true to Pink Panther’s roots, while also developing a tone that refreshes the character for the 21st century.

    The new shade, a vibrant pink with undertones of blue and yellow, not only embodies the playful, charismatic and charming aspects of Pink Panther’s personality, it also enhances the character’s famously smooth style that has helped to establish his place in the larger cultural zeitgeist, including recent collaborations with top fashion and retail brands like H&M, Zara, Mimi Wade, South Korean Apparel brand Stereo Vinyls and U.K. beauty brand Peaches & Cream. Pink Panther Pink captures Pink Panther’s irreverent charm and sophistication, conveying the signature ultra-cool style of this loveable prankster whose clever ability to outsmart his rivals endlessly captivates.

    “We were honored to collaborate with MGM on the development of this new special pink hue for Pink Panther,” said Laurie Pressman, VP Pantone Color Institute. “As an iconic character beloved by all, it was important that we develop a pink shade truly emblematic of Pink Panther’s spirited nature, one that celebrates the legacy of this ingenious comic hero as well as the future.”

    The Pantone collaboration comes on the heels of recent accolades for the Pink Panther property, including the Bologna Licensing Award 2019 for Best Kids Licensed Fashion Project for a collaboration with the clothing brand Monnalisa, as well as an HBA 2020 Licensing International Excellence Award for a collaboration with beauty brand Peaches & Cream.

    Mighty Mike
    Mighty Mike

    Leading kids’ entertainment company TeamTO has signed a first licensing deal in Italy with publishing company Edizioni Play Press s.r.l. for its animated slapstick hit series, Mighty Mike (78 x 7′). The agreement will see a series of sticker, coloring, magic coloring and activity books distributed in kiosks nationwide starting in June 2020. The publishing deal was closed directly by TeamTO’s Head of Marketing, Patricia de Wilde, a long term veteran of the international licensing industry. Play Press is the first licensing partner for Mighty Mike in Italy, where the series has performed exceptionally well on Turner’s Boomerang and Mediaset’s Boing channels.

    “We are really excited to be partnering with TeamTO as their first Italian licensee for publishing in kiosks and mass market. We are certain that the successful correlation between the editorial content of Play Press and the strength of the Mighty Mike character will make for a great partnership. Edizioni Play Press will launch this new brand in the market in June 2020, with a wide range of formats for Mike’s little fans, like magic albums, coloring books, activities with stickers and activities with crosswords & games,” said Sarah Polito, Licensing Manager of Edizioni Play Press.

    Licensing agents have been appointed to represent Mighty Mike in France (France Télévisions Distribution), the U.S. (Surge Licensing), and China (UYoung).

    44 Cats
    44 Cats

    The protagonists of 44 Cats, the animated series produced by Rainbow are ready to thrill visitors at Gardaland Resort in Italy, one of the most famous theme parks in Europe, which will reopen its doors on June 13 for a summer season of fun in total safety, with practical and innovative measures that will guarantee the performance of all recreational activities in the recommended maximum safety modes.

    The 44 Gatti Rock Show, the Buffycats’ outdoor music show dedicated to families and designed specifically for Gardaland, will be on stage for the entire summer season thanks to the collaboration between Rainbow and the park, expanding the already dense program of activities of Italy’s most famous themed attraction, visited every year by hundreds of thousands of families, and allowing young fans to enjoy and relive the atmosphere of the acclaimed series featuring TV’s most loved musician cats, born from the creativity of Iginio Straffi, founder and president of Rainbow group since 1995.

    The show will debut June 13 on the stage of the 44 Gatti Arena, which will be turned into the Buffycats’ Clubhouse with all the elements of the famous garage of the cartoon. A 15-minute show of pure fun with the original hits of the series, which will be followed by a special Meet & Greet. In addition to the show, Gardaland Hotel will offer its guests the chance to stay in the 44 Cats themed rooms, for a totally pawesome experience. And while the eagerly awaited reopening approaches, the new episodes of 44 Cats are on their way to screens worldwide and the success of the series is constantly increasing, with high ratings and widespread popularity in the licensing sector.

    Madballs
    Madballs

    Megalopolis Toys and Cloudco Entertainment, owner of both Madballs and Barnyard Commandos, have partnered to launch a new line of classic/retro action figures for each of these two iconic brands.

    Launched in 1985 as one of the original ‘gross out’ toy brands of the decade, Madballs went on to sell tens of millions of toys, inspire a series of animated specials and launch an extensive consumer products program that included comic books, softlines, video games, collectibles, seasonal and back-to-school products. Similarly, Barnyard Commandos was launched in the early 1990s with its own animated series, a nationally advertised toy line and a full slate of licensed consumer product partners.

    In this relaunch, Megalopolis Toys is developing 6” sculpts of characters using cutting edge technology, inspired by classic archives Madballs and Barnyard Commandos in partnership with top industry design talent, including master sculptor James Groman. Groman is both the creator of the Barnyard Commandos IP as well as a member of the original team that developed and launched Madballs. Each of the respective toy lines will start accepting pre-orders Summer 2020 and will be sold direct-to-consumer through Megalopolis.toys, the Megalopolis Toys mobile app and select specialty retailers Summer 2021.

    “This will be the first wave of our new retro action figure line based on properties from the 80s and 90s, and the launch of our extensive Megalopolis: Premium D.N.A. line. These are properties that have been dear to me for over 30 years, and I am ecstatic to be able to bring them back,” said Ben Westover, Creative Director/Co-founder of Megalopolis Toys.

    The deal was brokered by Brand Brilliant Consulting, LLC.

  • Global TV & Streaming News

    Global TV & Streaming News

    Moonbug, a global entertainment company that develops and distributes values-based content for kids, today announced that Mia’s Magic Playground, its first original series based on the successful Little Baby Bum series, will launch on Sky Kids, part of Sky, Europe’s leading media and entertainment company, in June. This is the first partnership as part of Moonbug’s planned global distribution of the series.

    Mia’s Magic Playground, which caters to audiences aged four to six years old, follows popular Little Baby Bum character Mia and her two best friends, Oskar and Tillie, through their world of play. The series will be available in English on Sky Kids across Sky’s platforms including Sky Q, Sky Go, the Sky Kids App and NOW TV. The show originally premiered across Scandinavia in February on Viaplay, the Nordic Entertainment Group (NENT Group) streaming service.

    “Sky is a tremendous partner that unites scale and quality, especially in the kids space. We are excited to offer this premium show to its viewers,” said Nicolas Eglau, head of EMEA, Moonbug. “This partnership is a strong indicator of the quality of our production as we continue distribution across the globe.”

    Lucy Murphy, Director Kids’ Content, Sky, added, “With lovable new characters exploring the world through play, Mia’s Magic Playground is sure to become a favourite for the younger end of our audience who will love the colorful, imaginative world that Mia and her friends inhabit.”

    Bing
    Bing

    Acamar Films’ hit preschool series Bing continues to grow, with a number of broadcasters showing commitment in the Netherlands, Nordics, Poland, Portugal and Canada, signing new broadcast deals in the last few weeks. The series has now been licensed by key broadcsters 130 territories.

    • In the Netherlands, NPO Zappelin (the Dutch television block for children aged 2-6) have relicensed Series 1 to 3, following the successful premiere of Series 4 on the channel in January this year.
    • In the Nordics, SVOD and DVD service SF Kids have built on their existing relationship with Bing, having recently acquired Series 4. This latest deal underlines evidence of Bing’s growth in the Nordics, which has included a 20% increase in average audience share YOY on free TV partner SVT.
    • Additionally, Bing Series 1 to 3 has been relicensed by NRK in Norway, RTP in Portugal, TFO in Canada and MiniMini+ in Poland, while TVO Kids in Canada have opted to expand their Bing offering, having ordered the latest 26 x 7′ episodes.

    Produced by Acamar Films in association with Dublin-based partner Brown Bag Films, Bing has seen extraordinary success since it launched in 2014. A ratings hit across many broadcasters including CBeebies in the U.K., the series won an International Emmy Award in the Kids Preschool category in 2016 and has recently been announced as a nominee for the Rockie Awards 2020.

    “We take a highly considered approach to the global distribution of Bing and we’re delighted to be working with such a fantastic set of partners across these territories,” said Eroulla Constantine, Director of Sales and Distribution at Acamar Films. “Bing’s success around the world is a testament to how relatable and recognisable Bing’s everyday ‘micro-dramas’ are to young children and their grown-ups.”

    Ping and Friends
    Ping and Friends

    Pinguim Content (formerly TV PinGuim), Latin America’s leading animation company, and Canadian co-producer partner Kondolole Films have announced a partnership with Safe Streaming AVOD channel Kidoodle.TV for the animated music-based preschool series Ping and Friends, in a deal negotiated by Sara Cooper at Meta Media, distribution partner for the show.

    The 52 x 7’ series is now available in English and French on the Canada-based safe streaming AVOD service, which is aimed at children under 12 and their families and is available in more than 140 countries. Amazon Prime (U.S.) is also airing a number of episodes from the series.

    Delightful and harmonious, Ping and Friends follows the colorful adventures of Ping and her pals as they find musical inspiration in all sorts of unlikely places. While having fun with words and sounds, they come up with the most fantastical tunes imaginable. If life’s a song, they’re going to sing it! Ping and Friends helps young viewers grow their vocabulary, discover rhythm and rhyme and experience an array of music genres.

    Kiddets
    Kiddets

    Planeta Junior has just signed an agreement to distribute CGI preschool series Kiddets in Europe. This project is the first co-production by Pukeko Pictures and Hengxin Shambala Kids. The deal makes Planeta Junior responsible for TV distribution and licensing in over 50 countries, including all of Europe, Russia and various nations in the Middle East.

    Created by Martin Baynton (The WotWots) and Richard Taylor (founder, Weta Workshop), Kiddets follows the adventures of five young WotWots (Patches, Dapper, Bounce, Stripes and Luna) as they learn to become space explorers.Designed to fulfil key aspects of learning through captivating entertainment, each character is interested in a different subject: science, art and culture, health and safety, mechanics and leadership. The stories focus on the quest for knowledge and game play as the characters make discoveries and learn. Children learn safely through play. Each story highlights the discovery of new information, learning and key values like friendship, trust, honesty, kindness, tolerance, patience, truthfulness, reliability, forgiveness, respect, hard work and tenacity.

    The second season of Kiddets is in production, following its successful broadcast in China, Australia and New Zealand. The series has also made the leap off the small screen, thanks to a range of interactive games and a mobile app for the youngest members of the family.

    Ejen Ali
    Ejen Ali

    Six Malaysian-made animation titles made their way to Amazon Prime via a deal signed between Primeworks Distribution, a subsidiary of Primeworks Studios and Janson Media. Ejen Ali, Soccer Bugs, Cingkus Blues, Saladin, Knowsy Nina Wants to Know and Super Tots are now available to Prime subscribers across the U.S., Canada, U.K., Ireland, Australia and New Zealand. Developed and produced in Malaysia, five of these titles are represented by Primeworks Distribution while Ejen Ali is produced by Primeworks Studios and Wau Animation.

    • Ejen Ali (Season 1: 13 x 22′) Produced by Primeworks Studios and Wau Animation (U.K.) (U.S.A.) A fanciful boy activates a top secret super-intelligence device, plunging him to the life of a secret agent. Follow him as he discovers his abilities through his fun-filled and exciting adventures.
    • Cingkus Blues (Season 1: 26 x 11′ | Season 2: 26 x 11′) Produced by 3rd Rock Creation (U.S.A.) Cingkus Blues follows two unlikely characters Cing, an irritating blue cat with a British accent, and Kus, a cool Rastafarian Rat who are best of friends — most of the time.
    • Soccer Bugs (Season 1: 26 x 11′ | Season 2: 26 x 11′) Produced by 3rd Rock Creation (U.S. S1) (U.S. S2) Follow the misadventures of a football team of bugs banding together to form the Mulu Riverplate Football Club deep in the jungles of Borneo.
    • Saladin (Season 1: 26 x 26′ | Season 2: 26 x 26′) Produced by the Malaysia Digital Economy Corporation (MDEC) (U.S. S1) (U.S. S2) An action series, inspired by the life of medieval statesman and warrior Salah al-Din Yusuf Ibn Ayyub. The show follows the adventures of the young Saladin as a young man.
    • Knowsy Nina Want to Know (52 x 5′) Produced by Avant Garde Studios | Knowsy Nina is about an inquisitive young girl who is curious about the way the things work. Her digital tablet, Mr.Voice is always on-hand to answer all Nina’s questions.
    • Supertots (26 x 10′) Produced by Netcarbon (U.S.) A team of super powered toddlers roam the galaxy when their parents leave them at the daycare. They explore new planets, meet new alien friends and help their alien friends when they are in need of assistance, leaving holograms of themselves at the daycare.
    Winx Club
    Winx Club

    HappyKids.tv, a free and safe kids’ entertainment AVOD launched by Future Today, has lined up a wide range of animated options for all age groups this June. HappyKids.tv has more than 75 million monthly active users across Roku, Fire TV, Apple TV, LG TV, Vizio and other CTV devices and is reaching more than 22 million homes via Comcast Xfinity, iOS and Android devices.

    Ages 0-2:

    • Blippi – known for his bright orange-and-blue beanie, orange glasses and matching bowtie, Blippi loves helping kids learn about colors, shapes, numbers, and more.
    • Little Baby Bum – a fun and educational show for kids featuring classic and new nursery rhymes and loved by babies and their parents all around the world.
    • Mother Goose Club – breathes new life into classic nursery rhyme characters to promote early literacy, mathematics, and more! Join in as they dance, sing, twirl, and rhyme through these catchy songs that are as educational as they are fun.
    • The Hippy Hoppy Show – this collection of popular learning songs for kids will keep your little ones engaged for hours on loop.

    Ages 2-4:

    • Cat in the Hat – a knowledgeable, adventurous, anthropomorphic cat. He loves to explore the world and act as Nick and Sally’s guide, and he frequently speaks in rhyming patterns reminiscent of the Dr. Seuss character on which he is based.
    • My Little Pony – the adventures of a studious anthropomorphic unicorn pony named Twilight Sparkle as her mentor, Princess Celestia, guides her to learn about friendship in the town of Ponyville.
    • Thomas and Friends – follow the famed blue engine as he travels the world, making new friends, exploring new cultures and unearthing new discoveries.
    • The Oddbods – follow the adventures of seven creatures in colorful furry suits — Fuse, Pogo, Newt, Bubbles, Slick, Zee and Jeff — as they celebrate individuality in a humorous, warm and unexpected way.
    • Teletubbies – come join Tinky Winky, Dipsy, La-La and Po as they take us on an adventure. Teletubbies is designed to help young children develop their physical, emotional and cognitive skills in a warm, loving, playful environment. It’s all about exploring, experimenting, experiencing and enjoying life.

    Ages 4-6:

    • Morple – watch as the energetic little red creature morphs into anything: a sweet puppy, a giant truck, a cool dinosaur or anything that Mila’s playful mind can imagine.

    Boys 6-10:

    • Bakugan Battle Brawlers – an animated series which follows the story of a boy named Dan and his group of friends, as they forge relationships with mysterious alien creatures known as Bakugan.
    • Pokemon – Ash Ketchum, his yellow pet Pikachu and his human friends explore a world of powerful creatures.
    • Talking Tom and Friends – Armed with tech gear, awesome ideas, and an unfailing sense of humor, Talking Tom and Friends are on a mission to make their dreams come true. Although things never entirely turn out the way they plan, this incredible group is destined to warm hearts – and break a funny bone or two – along the way.
    • The Garfield Show – Lazy, lasagna-loving fat cat Garfield lives life on his own terms, which includes teasing his geeky owner, Jon, and tormenting his dimwitted pal Odie.
    • Transformers – Two opposing factions of transforming alien robots engage in a battle that has the fate of Earth in the balance.
    • Teen Titans Go – Superhero roommates Robin, Cyborg, Starfire, Raven and Beast Boy love saving the day, but what happens when they’re done fighting crime?

    Girls 6-10:

    • Sabrina The Animated Series – animated spin off of the television series Sabrina the Teenage Witch. The series is a prequel which features Sabrina as a pre-teen girl with small witch powers.
    • Trollz – The story about five trollz that learn about The Magic of the Five, and only they can use it to fight evil and protect their beloved city.
    • Winx Club – At Alfea College, fairy warriors from all over the universe study to improve their supernatural powers. Bloom from planet Earth joins them upon discovery of her magical ability.

    Ages 10+: Twinkle Toes, Barney Google Kids Show, Beetle Bailey, Classic Popeye Kids Show, Krazy Kat, Adventures of Sonic the Hedgehog, Super Mario Bros., Adventures of Paddington Bear, The New Adventures of Madeline, Inspector Gadget, Dino Squad, Batman Unlimited, DC Super Friends, Ruffus The Dog, Cody The Dinosaur, Heathcliff

  • Disney+ Premieres Hybrid-CG Gorilla Tale ‘One and Only Ivan’ August 21

    The Walt Disney Studios announced Friday that the heartwarming adventure The One and Only Ivan, an adaptation of the bestselling, award-winning book about one very special gorilla, directed by Thea Sharrock (Me Before You), will premiere exclusively on Disney+ August 21.

    The film, which was previously scheduled to be released theatrically by The Walt Disney Studios, is an unforgettable tale about the beauty of friendship, the power of visualization and the significance of the place one calls home. The One and Only Ivan, which comes to the screen in an impressive hybrid of live action and CGI, is based on Katherine Applegate’s book, which won numerous awards upon its publication in 2013, including the Newbery Medal.

    “The world has changed in a heartbeat. People all over the globe have shared important, life changing experiences in ways we have not seen for a century,” said Thea Sharrock. “In response to this, I am so happy that we can share Katherine Applegate’s delightful and original story, The One and Only Ivan with the world this August on Disney+, bringing some joy through this unique movie of true friendship, inspired by a true story.”

    Synopsis: Ivan is a 400-pound silverback gorilla who shares a communal habitat in a suburban shopping mall with Stella the elephant and Bob the dog. He has few memories of the jungle where he was captured, but when a baby elephant named Ruby arrives, it touches something deep within him. Ruby is recently separated from her family in the wild, which causes him to question his life, where he comes from and where he ultimately wants to be.

    The film features the voices of Sam Rockwell as the gorilla, Ivan; Angelina Jolie as Stella the elephant; Danny DeVito as Bob the dog; Helen Mirren as Snickers the poodle; Chaka Khan as Henrietta the chicken; Mike White as Frankie the seal; Brooklynn Prince as Ruby the baby elephant; Ron Funches as Murphy the rabbit; Phillipa Soo as Thelma the parrot; and stars Ramon Rodriguez, Ariana Greenblatt and Bryan Cranston.

    The One and Only Ivan is directed by Sharrock from a screenplay by Mike White (The Emoji Movie, Nacho Libre, School of Rock) based on Applegate’s novel, and is produced by the late Allison Shearmur, p.g.a., Angelina Jolie and Brigham Taylor, p.g.a. Sue Baden-Powell and Thea Sharrock serve as executive producers.

    [triptych of rockwell, jolie and devito]

  • Cyber Group, Soyuzmultfilm Launch Pre-K Label; Boomerang Orders ‘Taffy S2’

    Cyber Group, Soyuzmultfilm Launch Pre-K Label; Boomerang Orders ‘Taffy S2’

    Cyber Group Studios, the leading European animated entertainment company, and the historical Russian State animation studio Soyuzmultfilm are thrilled to announce their new partnership to create the first ever French and Russian joint label of animated programs Cyber Soyuz Junior, targeting the preschool audience around the world.

    Both companies will put together their expertise, talents, skills and resources to create high quality 2D animation programs, merging classic style and new talent. The brand-new preschool series Orange Moo Cow is currently in production and several projects including Squared Zebra are in development under the newly created label. Both series are targeting children 3 to 6 years old. Cyber Group Studios will be the worldwide distributor for Cyber Soyuz Junior outside of Russia, where the two series have already been acquired by the Russian Federation broadcaster Channel 1.

    Orange Moo Cow
    Orange Moo Cow

    Orange Moo Cow (52 x 7’ 2D HD) is a very sweet animated comedy series for preschoolers about family, friendship and love. It follows the daily life of Zoh, an energetic 6-year-old cow, and her little brother Boh, a sensitive and curious 4-year-old bull. Along with their loving parents Mommy Cow and Father Bull, and their young friends — Cathy the Cat, Grey the Wolf and many others — Zoh and Boh turn their everyday life into fun and exciting adventures as they try to find answers to their many questions! A sweet and fun show for kids all around the world.

    Squared Zebra
    Squared Zebra

    Squared Zebra (78 x 7’ 2D HD) is a brand new preschool animated TV series aimed at kids from 3 to 5 years old. This new series follows the daily adventures of Checkery the zebra, a friend like no other who encourages others to open up. With her friends Polly the zebra, Rodion the elephant, Gosha the crocodile, Pasha the ostrich and his little brother Petya the little egg, they learn to overcome their differences and embrace life in all its diversity and beauty. Every day, their island has something in store for them, be it an adventure or a discovery! They are young and playful, and each character has a unique personality. Preschoolers can easily relate to these unique characters in their good sides, flaws, behavior, and the situations they find themselves in.

    Founded nearly 100 years ago, Soyuzmultfilm has produced over 1,500 cartoons that have been successful in Russia and across the world. The studio specializes in the creation of animated TV series and feature films and is well-known for its 2D animation skills. Cyber Group Studios, also established with a strong reputation in creating and animating in France both 2D and CGI series, is proud to announce the creation of this new label and to strengthen its business relationship with this historical and key player studio. Cyber Soyuz Junior will soon welcome more high-quality programs that are currently in development.

    “I am very proud of our association with the famous Soyuzmultfilm studio,” said Pierre Sissmann, President & CEO of Cyber Group Studios. “Based on our joint experience and traditions, it offers an immense possibility to merge both storytelling and animation talents from both the French and the Russian culture and create programs that will travel the world and hopefully help children.”

    “Cooperation with a partner like Cyber Group Studios is a strategically important milestone in the history of development of Soyuzmultfilm Studio, the oldest Russian film studio with rich traditions of the auteurs school,” added Yuliana Slashcheva, Chairman of the Board of Directors of Soyuzmultfilm. “Working with our French colleagues, real professionals in the field of animation industry, gives us invaluable experience in producing world-class projects. I am confident that together we will be able to create extraordinary cartoon series and full-length films, which will become the flagships of the world industry and will be loved by children around the world.”

    Taffy
    Taffy

    Cyber Group Studios & Boomerang Int’l Greenlight ‘Taffy’ S2

    The news of Cyber Soyuz Junior comes on the heels of Cyber Group Studios and Boomerang International announcing Season 2 of their original 2D HD animated comedy series Taffy. Based on an original creation by Cyber Group Studios and developed with Boomerang, Season 2 of Taffy consists of 78 brand new seven-minute episodes, expanding the property that viewers know and love around the world to a total of 156 episodes.

    The hit series, which is selected for the official competition of Annecy 2020 International Animation Film Festival in the “TV Films” category, will air its second season on Boomerang across international markets and on major French network Gulli. Inspired by the world-renowned classic toons of Hanna-Barbera, Taffy Season 2 will be full of surprises, brimming with new adventures, comedy, new sets and characters.

    Taffy follows the non-stop, slapstick misadventures of a loyal hound dog named Bentley after his billionaire old lady owner Mrs. Muchmore takes in a racoon imposter posing as a wide-eyed, fluffy angora cat. Each episode sees Bentley trying to reveal “Taffy” for the varmint that he is – while super-clever Taffy handily (and comically) turns the tables on the dog. Whether traveling from Mrs. Muchmore’s luxurious mansion to a five-star cruise, embarking on international jet-ski adventures or visiting the President, wherever these rivals go, mayhem is sure to follow!

    “It is a real pleasure for me as an author and producer to embark on this second season of Taffy with our friends at Boomerang and to be also able to push the comedy limits of the series – taking Taffy, Bentley and Mrs. Muchmore on Summer and Winter vacations in lush locations, meeting new great personalities and characters,” commented Cyber Group’s Sissmann.

    Taffy is a great success story, which stems from a valuable relationship with a European production partner to commission a series for Boomerang that can travel across internationally,” said Cecilia Persson, VP of Programming & Content Strategy, Turner EMEA Kids, Acquisitions & Co-Productions International. “The show is a perfect fit with our channel’s DNA and has enjoyed a strong performance – proving that this kind of comedy is truly universal.”

  • Behind-the-Scenes: ‘Jungle Beat: The Movie’ Introduces a Friend from Another Planet

    Behind-the-Scenes: ‘Jungle Beat: The Movie’ Introduces a Friend from Another Planet

    ***This article originally appeared in the June-July ’20 issue of Animation Magazine (No. 301)***

    Cape Town-based Sunrise Productions is best known for producing the whimsical family series Jungle Beat, which first debuted about 15 years ago. Created and directed by Brent Dawes, the dialogue-free show follows the adventures of a giraffe, an elephant, a monkey, a hedgehog, a rhino and several other animals as they face different challenges in their daily lives in the African jungle.

    This year, fans will be able to enjoy Sunrise Prods. and Sandcastle Studios’ the feature-length Jungle Beat: The Movie starring these popular animals — and this time around, they get to hear them speak as well.

    As Dawes explained to us in a recent interview, the team at Sunrise — which included studio founder and exec producer Phil Cunningham and producer Rita Mbanga — jumped at the chance to build upon the world of these popular characters.

    “When the opportunity to make a feature came about, I contemplated keeping it dialogue-free, but just felt there’d be more to explore and more fun to have if they spoke,” says Dawes. “I didn’t just want them to be able to speak and not address that, so in the movie it’s part of the story: the animals can suddenly talk! I had to find a way to justify why they could talk, so I settled on the fact that an alien had ended up in the jungle.”

    Phil Cunningham, Rita Mbanga, Brent Dawes
    Phil Cunningham, Rita Mbanga, Brent Dawes

    The filmmaker says the story just evolved after that, and the whole project became more cinematic both in terms of plotline and its CG look. He says, “In terms of the visuals, it’s just an appropriate evolution of the look developed for the series. It certainly still needed to feel like the Jungle Beat world, but we were able to put a bit more bells and whistles and polish to get a more cinematic look.”

    The studios had the added challenge of crafting the project while under coronavirus lockdown conditions in different parts of the globe. But, being a team of comedy-minded creatives, they found plenty of ways to spice things up. (You can see how in the exclusive behind-the-scenes video at the end of this article.)

    The Right Time

    Cunningham says Sunrise always had an eye toward making movies. “After delivering a demo commissioned by Sandcastle Studios, a conversation began and it felt like the perfect opportunity to make a Jungle Beat feature a reality,” says the studio founder. “Sandcastle Studios is a new animation studio based in Mauritius, and as soon as they agreed to finance, distribute and produce a feature film based on the Jungle Beat brand, we were off and running. They have been tremendous partners throughout the entire process.”

    Jungle Beat: The Movie
    Jungle Beat: The Movie

    According to the producers, 195 people worked on the film in various capacities, and it took exactly two years to be delivered. “The core team was based at Sandcastle Studios in Mauritius supported by the Sunrise team,” says Mbanga. “We used a variety of animation tools, including Storyboard Pro, Maya, Houdini, Nuke, Premiere Pro, Davinci Resolve, Pro Tools, Shotgun, Mari and Arnold.”

    From the outset, Sandcastle Studios made it clear that they only wanted to produce high-quality family friendly content, says Cunningham. “Our passion at Sunrise is storytelling and for us the ultimate format to do this in is feature film. We have been building towards the capacity to make animated feature films for years, and so when the opportunity with Sandcastle came along to finally start fulfilling that dream, we immediately jumped on board.”

    Dawes says there are three things that make the original series and the animal characters stand out. “Firstly, the fact that the series is non-dialogue means it has traveled really well. Humor is a universal language,” he points out. “Secondly, jungle animals are always fun and interesting to kids. If you’ve got a cute elephant or funny monkey, it’s going to appeal to a lot of our target market out the gate. And thirdly, it’s got such an innocent heart that I think really resonates with people. It’s not a show trying to be anything other than good-natured fun.”

    Jungle Beat: The Movie
    Jungle Beat: The Movie

    Strategic moves

    The studio is promoting the movie’s release date in June as “The First Worldwide Family Movie Night of a feature film produced in Africa!” “Because of the pandemic we actually moved our release up by a few months,” notes Mbanga. “We had to do a U-turn on our strategy and go from a fairly traditional theatrical release plan to an online strategy. Thankfully, our investors and partners are fully on board and have made it possible for us to launch a pretty big marketing and PR campaign around the film, within the shorter lead time to the film’s release.”

    “I think we will come out of this with more agility and the realization that we can achieve more with remote work than we originally thought,” says the producer. “Fortunately for us, animation is booming, and has been little affected by COVID-19 as far as we have experienced. As Phil says, we have realized that we can have a truly ‘global studio,’ and this has opened us up to working with some of the best animation talent in the world who cannot relocate to South Africa for some reason or another. The only cost is a few late, late night and early, early morning calls due to time zone differences. But generally, it seems that studios are hiring more than ever, and because there is a much greater demand for content currently with everyone being at home, the industry is full-steam ahead.”

    Jungle Beat: The Movie
    Jungle Beat: The Movie

    Dawes hopes that the new movie, which is one of 10 films selected for the long-form competition at the Annecy Festival this month, inspires people to believe the best in others and bring about positive change. “There is a rather poetic line that our exec producer Phil has used throughout the making of the film: ‘through love is mastery,’ which I think captures it beautifully. That through loving someone, through total acceptance of who they are, you can bring about positive change and hope and light. I think the world could use a lot more of that,” he says with a smile.

    Jungle Beat: The Movie will be available on VOD on June 26.

  • A New CG Star on the Rise: Hue Dada ! Launches in France

    A New CG Star on the Rise: Hue Dada ! Launches in France

    A new French studio has joined the international CGI animation market. Created at the beginning of 2020 by seven associates whose joint adventure started at Studio 100 Animation, Hue Dada ! Productions places technological innovation at the heart of its production processes to attract producers and broadcasters in France and abroad.

    “In creating Hue Dada ! Productions, our aim is to take up the challenge of the animation of tomorrow by proposing a way of producing and delivering CGI animation that is more flexible in terms of techniques and creativity, more agile, more collaborative. More competitive, too, but without compromising in any way on quality. The idea is not to uberise our skills, but on the contrary to give our teams more creative time through innovation. A unique offer in the world of animation,” explained co-founder Jean-François Ramos.

    At the beginning of 2020, Ramos, Jérôme Mouscadet, Quentin Auger, Sophie Decroisette, Emmanuelle Chabord, Fabrice Delapierre and Jonathan Giroux established their own production and services studio based in Paris, which currently counts around 15 team members. An innovative studio, capable of designing, producing and delivering CGI animation for anything ranging from broadcast to web platforms. Hue Dada! Productions makes its talents and pipeline available for producers, content editors and broadcasters in France and abroad.

    “In France, in addition to a unique and deep talent pool, we are fortunate in having a fantastic ecosystem, notably thanks to the CNC and more specifically to the Tax Rebate for International Productions (TRIP), increasing the attractiveness of French companies in our sector. It means that we’re ready to work for international productions as from now,” said Ramos.

    An Agile Pipeline Feeds Creativity & Quality

    “We are constantly investing in R&D and have set up a laboratory designed to test and industrialise recent technologies such as virtual reality or real time,” explained Head of Innovation Quentin Auger. “A technological adventure that has already proved itself and revolutionised our way of working.”

    This new-generation production pipeline, which has already been tested at Studio 100 Animation, won the Autodesk Shotgun award at SIGGRAPH in 2019 and has been optimised by Hue Dada ! Productions. Its architecture is flexible and greatly inspired by web technologies. VR operators, boarders and directors can all interact in real time. The aim is to have all departments along the creative chain, from concept to post-production, collaborating in the same way.

    “It’s not real-time graphics that’s new, they’ve been around for a long time in our creative industries. What is new is the fact that today several people can all work together at the same time, on the same set, which is reminiscent of the methods and working configuration of live performance,” added Auger.

    “Being able to immerse yourself in the sets, understanding them and changing their artistic direction in situ, analysing the distances and size relations of the characters, shooting shots using a virtual camera, are all mini-revolutions in technology facilitating work and making it easier to build better stories by limiting unnecessary mistakes,” enthused Jérôme Mouscadet.

    A Complete, Flexible Option for the Animation Market

    The innovative pipeline and technical and artistic expertise of Hue Dada! Productions mean that the studio can offer flexibility, demanding creativity and competitive prices, all within deadlines. The studio already has two main areas of activity:

    Work for hire – Hue Dada! Productions provides three types of service:

    1. Production of CGI animation for all types of audiovisual projects (series, features, commercials, trailers, clips, institutional films, demos, etc.)
    2. Prototyping of CGI animation projects (series and features), facilitating the greenlight of artistic and technical choices and the ability to fine-tune budgets
    3. Production of additional CGI content bringing to life producers’ and publishers’ IP’s, from editorial design to broadcast on web platforms.

    Work for hire in progress (or already delivered) to clients includes:

    • Lidl Slovakia – Production of the CGI animation of Maya the Bee for a TV commercial for Lidl Slovakia, in partnership with Studio 100 group.
    • TF1 – Production of modules for the interstitial program Les Hoofs to be broadcast on TFOU after summer 2020.
    • Studio 100 – Creation of 3D characters for a loyalty program based on a new Studio100 IP.
    • Production of interactive CGI animation for a major European amusement park.
    Les Hoofs de TFOU © 2020 TF1
    Les Hoofs de TFOU © 2020 TF1

    Production – Hue Dada ! Productions wants to develop projects for a broad target audience (preschool, kids, teenagers, young adults and adults) with the same editorial and artistic demands. With this in mind, several projects are already in development:

    • A universe for 3-5 year olds to learn while having fun: Blackboard Monsters.
    • A series for 8-12 year olds around the very French theme of baking, with the participation of a famous pastry chef.
    • A series of short formats for adults in co-production with a stand-up comedian, around the grey areas of open space.
    Blackboard Monsters © Hue Dada ! Productions
    Blackboard Monsters © Hue Dada ! Productions

    A Septet of Experienced, Complementary Partners

    With most of them having more than 15 years of experience in animation and having worked together for several years, the team at the head of Hue Dada ! Productions advocates a constant dialogue between each department of the company to promote editorial and artistic quality requirements.

    Quentin Auger – 49 – Head of Innovation | An Industrial Design Engineer from UTC, Auger became a CGI animator via Les Gobelins in 1999 and has worked on animation and VFX processes in several studios around the world, including ILM in San Francisco. He has just spent eight years at Studio 100 Animation as a CTO and is passionate about the promises of agility, creativity and productivity of real time, VR, cloud and AI in animation.

    Emmanuelle Chabord – 44 – Chief Financial Officer | As COO and CFO of Studio 100 Animation for 10 years, Chabord supervised the productions and support functions. She has 20 years’ experience in animation, notably at Chaman Production and Xilam Animation. She graduated from Audencia Business School in 1998 (accounting/cost control) and holds an accountancy degree (DECF).

    Sophie Decroisette – 50 – Editorial Director | After studies in film at university and training at the CFT Gobelins, Decroisette has worked in television for more than 20 years and also in cinema, press and publishing. Particularly experienced in the field of animation, she has authored concepts and numerous screenplays on more than 40 series, including The Babaloos, Code Lyoko, Cédric, Lou!, Sherlock Yack, Maya the Bee season 2 and Heidi, as well as feature films.

    Fabrice Delapierre – 50 – CG Supervisor and Director | An old hand in animation, Delapierre started in the CGI industry in 1990 at Ex Machina and then worked as a freelancer on multiple projects in various positions and in studios as varied as Duran Duboi, Fantôme, Mac Guff, Mikros Animation, Passion Pictures and Sparx. At Studio 100 Animation, he held the position of CG Supervisor and Digital Content Director.

    Jonathan Giroux – 31 – Head of Software Engineering | Giroux is a software architect specialising in process and quality development. He has worked in digital arts and mainly with real-time technologies, notably for Ubisoft and Studio 100 Animation. He also co-founded the Cookie Collective, an artists’ collective specialising in real time.

    Jérôme Mouscadet – 48 – Art Director and Director | A graduate from “Arts Décos” in Paris (ENSAD), Mouscadet has directed many animation projects over the past 15 years, broadcast all over the world, garnering several awards (Code Lyoko, Lou!, Sherlock Yack, Heidi, Maya the Bee season 2). His credits cover more than 300 episodes of series using all kinds of techniques, made in various studios in Europe and Asia. He regularly acts as an expert for the CNC, is co-president of AGraF (Auteurs Groupés de l’Animation Française) and a founding member of the animation unit of the Groupe 25 images.

    Jean-François Ramos – 46 – Producer | After graduating from Montpellier Business School in 1997, Ramos started in the industry at Xilam Animation as assistant director on cult series such as Oggy and the Cockroaches. After a stint at Alphanim, he joined Studio 100 Animation, line producing the studio’s major series (Maya the Bee seasons 1 and 2, Heidi season 1, Nils Holgersson). Passionate about innovation for production, he created and managed its digital department.

    Visit www.huedadaprod.com to learn more.

  • Exclusive Clips: Mikku & Chikku Are On the Case in ‘Mira, Royal Detective’

    Exclusive Clips: Mikku & Chikku Are On the Case in ‘Mira, Royal Detective’

    In the new episode of Mira, Royal Detective, premiering today on Disney Channel, Mira’s adorable mongoose sidekicks Mikku and Chikku decide to start their own detective agency, But, when their first investigation goes awry, Mira must step in to lend a hand.

    The episode features a new version of the “We’re on the Case” song performed by Mikku and Chikku (voiced by Kal Penn and Utkarsh Ambudkar). (Of course, their version is heavily-focused on snacks and food, so it’s no wonder they need Mira’s help!) The duo also perform an upbeat, original (still primarily snack-focused) “When We’re Detectives.” Check out the paw-tapping tunes below!

    Mira, Royal Detective “Mikku and Chikku: Doll Detectives/The Case of the Moving Day Meddler” premieres today (Friday, June 12) at 9 a.m. EDT on Disney Channel.

    Following “Mikku and Chikku: Doll Detectives”, “The Case of the Moving Day Meddler” see Mira set out to find the culprit who keeps messing up the plans for Dhruv’s family to move away from town. Karen David (Once Upon a Time) and Rizwan Manji (Schitt’s Creek) recur as Shilpa and Ajay Sharma, respectively.

    Mira, Royal Detective
    Mira, Royal Detective
  • D23 Celebrates 50 Years of Disney Archives with Doc Premier & More

    D23 Celebrates 50 Years of Disney Archives with Doc Premier & More

    This month marks the 50th anniversary of the Walt Disney Archives, and to celebrate the occasion, D23: The Official Disney Fan Club will premiere the new documentary Adventure Thru the Walt Disney Archives. The film, hosted by legendary producer Don Hahn (Beauty and the Beast, The Lion King, Maleficent), will premiere on D23.com exclusively for D23 Gold Members on June 27.

    Adventure Thru the Walt Disney Archives gives viewers a look into rarely seen parts of the extensive Disney Archives, which were founded by Disney Legend Dave Smith on June 22, 1970. The film looks at beloved parts of Disney, including its theme parks and Studio lot, through an engaging, historical lens, as Hahn speaks with Walt Disney Archives director Becky Cline and other members of the Archives team. Each stop on the adventure offers a look at some of the iconic treasures that have played a role in shaping The Walt Disney Company. The film, directed by John Gleim, features new interviews with Disney Executive Chairman Bob Iger, Marvel Studios’ Kevin Feige, Pixar’s Pete Docter, film historian Leonard Maltin and many more.

    “Making this film was my Disney ‘fanboy’ dream come true,” says Hahn. “The Walt Disney Archives is packed with hidden treasures, and I had incredible access to them all.”

    Thursday morning, D23 revealed the new poster for Adventure Thru the Walt Disney Archives at the end of a thread on Twitter that featured 50 remarkable items from the Archives collection.

    Plus, the Summer 2020 issue of Disney twenty-three, the quarterly publication exclusively for D23 Gold Members, celebrates the Archives’ milestone with an in-depth story written by Leonard Maltin, a selection of classic Disneyland merchandise from the Archives collection, and an archivist-curated list of some of the best films to watch on Disney+ including The Sound of Music, Bedknobs and Broomsticks, Captain Marvel and The Princess and the Frog.

    And starting today, D23 is kicking off weekly sweepstakes, including exclusive and rare items curated directly from the Archives staff. The prizes, which will be given away in weekly sweepstakes open to all levels of D23 Members, include a check signed by Walt Disney, “Minnie’s Yoo Hoo” sheet music, an original program from Fantasia (1940) and a copy of The Walt Disney Studios: A Lot to Remember book signed by author Becky Cline, director of the Walt Disney Archives. Visit the website for details.

    And D23 will be featuring exclusive content from the Walt Disney Archives throughout the month, including videos, interviews and galleries of artwork. Follow the conversation on social using #DisneyArchives50.

    Starting June 15 at 10 a.m. PT, D23 Gold and Gold Family Members will be able to register for tickets for Adventure Thru the Walt Disney Archives at D23.com.

    Walt Disney Archives
    Walt Disney Archives
  • Clip: ‘Adventure Time: Distant Lands’ BMO Hits HBO Max June 25

    Clip: ‘Adventure Time: Distant Lands’ BMO Hits HBO Max June 25

    HBO Max has debuted a stellar, surreal and beautifully animated introductory clip for the first of its four one-hour Adventure Time: Distant Lands specials, “BMO.” The four-minute clip sets up the continued journey of Finn and Jake’s little handheld video game friend (voiced by storyboard artist Niki Yang), whose mission to Mars abruptly shifts from a charming musical number about potatoes to a series of calamities.

    Adventure Time: Distant Lands “BMO” arrives on HBO Max on June 25.

    Synopsis: Return to the Land of Ooo and beyond in Adventure Time: Distant Lands. Based on the Emmy and Peabody Award-winning animated series Adventure Time created by Pendleton Ward and executive produced by Adam Muto, these four breakout specials explore the unseen corners of the world with characters both familiar and brand new. The first of these specials is “BMO,” which follows the lovable little robot on a new adventure. When there’s a deadly space emergency in the farthest reaches of the galaxy, there’s only one hero to call, and it’s probably not BMO. Except that this time it is!

    Announced last October, HBO Max’s series of specials will continue to roll out through the year:

    • Obsidian features Marceline & Princess Bubblegum as they journey to the imposing, beautiful Glass Kingdom — and deep into their tumultuous past — to prevent an earthshaking catastrophe.
    • Wizard City follows Peppermint Butler, starting over at the beginning, as just another inexperienced Wizard School student. When mysterious events at the campus cast suspicion on Pep, and his checkered past, can he master the mystic arts in time to prove his innocence?
    • Together Again brings Finn and Jake together again, to rediscover their brotherly bond and embark on the most important adventure of their lives.
    Adventure Time: Distant Lands
    Adventure Time: Distant Lands
  • New Clips: Summer Heats Up with Adult Swim Animation Sizzlers

    New Clips: Summer Heats Up with Adult Swim Animation Sizzlers

    The summer is off to a hot start on Adult Swim, the #1 destination for young adults and a leader in original animation. Fans can spend some quality time inside this summer with their favorite animated shows including the midseason return of Robot Chicken and new seasons of Tender Touches, 12oz Mouse, and series premiere of YOLO: Crystal Fantasy.

    Tender Touches season three premieres next Monday, June 15 at Midnight ET/PT, with new episodes airing each night through Friday, June 19. Season one was about betrayal, season two was about death and season three is about the pink noise. Guest voice stars this season include Taishi Tamaki (Terrace House: Aloha State), Michelle Firestone returns, and newcomer Bradley Milner joins the cast.

    The quarter-hour animated series is created by David Bonawits, Lauren Payne and Max Simonet, who all serve as regular voice cast members. The series is produced by Adult Swim’s Williams Street Productions and animated by Awesome, Inc.

    Robot Chicken’s 10th season milestone continues not for celebrating the 200th episode of the Emmy Award-winning show, but for attempting top-secret new formats that break new ground in animated sketch comedy! Um… or something like that.

    New back-to-back episodes begin Sunday, June 28 at Midnight and 12:15 a.m. ET/PT. The hit animated stop-motion series brings pop-culture parodies to life in a modern take on the variety/sketch show format.

    Robot Chicken is created, and executive produced by Seth Green and Matthew Senreich, and their Stoopid Buddy Stoodios partners, John Harvatine IV and Eric Towner, also serve as executive producers. Green and Senreich also write, voice and with Tom Sheppard, direct the award-winning series.

    Season three of 12oz Mouse returns in a special two-week run beginning Monday, July 20 at Midnight ET/PT. This comically surreal psychological thriller takes place in a world where fish talk and eyeballs walk. Trapped in this unconventional version of Hell, we follow Mouse on his journey to recollect his past and find the truth about who he once was. Mouse discovers old friends and new ones that are also looking for the way home but who can be trusted when they are surrounded by conspiracy and raw emotional evil that trapped them here in the first place?

    Season three reunites original voice cast members along with this season’s guest voice stars including singer/songwriter Mary Spender, Elise Ryd and Olof Mörck, both from Swedish metal band Amaranthe. The quarter hour series is written and created by Matt Maiellaro (Aqua Teen Hunger Force).

    Saving the newest series for the last of your summer treats, YOLO: Crystal Fantasy makes its series premiere Sunday, August 9 at Midnight ET/PT, and hails from YouTube creator, Michael Cusack, well known for his animated comedies.

    YOLO: Crystal Fantasy follows two Australian party girls, Sarah and Rachel, looking for fun times, new experiences, positive vibes and hopeful horoscopes in the bizarre town of Wollongong. Sarah’s quest is to find love, whereas Rachel hungers for chaos, often bringing them into conflict as they encounter surreal Australiana, strange bush creatures, and eccentric nomads.

    The quarter-hour animated series is created by Cusack (Bushworld Adventures, Ciggy Butt Brain) and produced by Cusack and Mike Cowap. Executive Producers include Cusack, Greta Lee Jackson and Emma Fitzsimons. The series is produced by Princess Pictures.

    YOLO: Crystal Fantasy
    YOLO: Crystal Fantasy
  • Favo’s Short ‘Quaranteen’ Stares COVID in the Face

    Favo’s Short ‘Quaranteen’ Stares COVID in the Face

    Artists are always encouraged to use their lives as inspiration for their work. The team at Favo Studio, an indie video and animation studio based in Porto, Portugal, did exactly that and found inspiration in how the COVID-19 pandemic was impacting their world. The result is an animated short titled Quaranteen: A Tale of Confinement, which is directed by Gustavo Carreiro and was recently named a Vimeo Staff Pick. It centers on a teenager who decides to brave the elements and step outside his home to visit his girlfriend, only to come face to face with the virus.

    It took a team of six at Favo about a month and half to finish the project. They used the free animation tool Storyboarder to create the script and storyboard, Photoshop to produce the illustration and cel animation, After Effects for the animation and grading and Cinema 4D for the 3D portions and the coronavirus’ “rotational creepiness!”

    Quaranteen – A tale of confinement from FAVO Studio on Vimeo.

    Carreiro tells us that the Favo team is very excited about the positive reaction to Quaranteen. “This was our first short film, and it was about a delicate theme, the crisis that was changing the world too quickly and influencing everyone in some way,” he explains. “We felt we had to create a narrative with some tension and fear, but something that was also fun and entertaining. It was a tricky process to find this balance, with some insecurities (like the main character) during the process, but we think we found the sweet spot!”

    The director says the biggest lesson he learned from the Quaranteen experience was that crisis and fear can give you big creative blocks, but it can also be a catalyst for change, to help see things in a different angle and to take even greater risks. He adds, “Right now, things are slowly going back to normal in Porto. We’re still getting used to all the new rules and procedures for this new normal way of behaving. Life was already too complex as it was, so this new pandemic layer is only going to make things even more challenging. At least, we can still laugh at our own disgrace, so everything isn’t lost, right?”

    To learn more and see more work by Favo Studio, visit favostudio.com and vimeo.com/favostudio

    Quaranteen
    Quaranteen
    Gustavo Carreiro
    Gustavo Carreiro
  • Snail of a Tale: Tim Hill Gives Us the Scoop on ‘The SpongeBob Movie: Sponge on the Run’

    Snail of a Tale: Tim Hill Gives Us the Scoop on ‘The SpongeBob Movie: Sponge on the Run’

    ***This article originally appeared in the June-July ’20 issue of Animation Magazine (No. 301)***

    There are not many animated characters that can still inspire the kind of devotion SpongeBob SquarePants does after 12 successful seasons on the air and two hit movies. Created by Stephen Hillenburg, who died in 2018 after a battle with ALS, the beloved yellow character and his Bikini Bottom pals are ready for another feature adventure this summer in The SpongeBob Movie: Sponge on the Run.

    The new outing centers on SpongeBob’s search for his lost pal, Gary the Snail, who has been abducted by King Poseidon. Along the way, SpongeBob and Patrick (voiced hilariously as usual by Tom Kenny and Bill Fagerbakke) travel to the lost city of Atlantis to track down the good gastropod. In addition to Kenny and Fagerbakke, the movie also features the rest of the show’s original voice cast (Roger Bumpass, Clancy Brown, Mr. Lawrence, Jill Talley, Carolyn Lawrence) as well as some surprising live-action star turns from Snoop Dogg, Keanu Reeves, Awkwafina and Reggie Watts.

    The SpongeBob Movie: Sponge on the Run
    The SpongeBob Movie: Sponge on the Run

    This third movie in the SpongeBob cinematic experience is animated by the team at Montreal-based Mikros Image, and is co-written and directed by Tim Hill, a veteran of the TV show and the first SpongeBob movie, whose credits also include Garfield: A Tale of Two Kitties (2006), Alvin and the Chipmunks (2007), Hop (2011) and Grumpy Cat’s Worst Christmas Ever (2014).

    Hill, who met Hillenburg when they were both working on Rocko’s Modern Life in the early ’90s, says he was drawn to the new movie because of its clever storyline and characters. The director met up with a group of SpongeBob series veterans and Hillenburg to explore fresh ideas for a third movie featuring the character. “I was asked to put together an outline, and then asked to take a stab at the script, and eventually they asked me to direct the movie,” recalls Hill. “The studio had plans for a different version of the movie, but that one was scrapped. Steve was always a fan of grounded, relatable and simple stories. I think the previous script was a bit too far-fetched. So we opted for this story which is about SpongeBob losing Gary as he’s kidnapped by a very vain King Poseidon (voiced by British comic Matt Berry) who uses snails to make his skin shiny and young.”

    Tim Hill
    Tim Hill

    An Homage to Hillenburg

    The director says the film’s story is very relatable as everyone can identify with losing a pet or a good friend. “I think it has a great theme and is built as an homage to Steve Hillenburg,” he notes. “Everyone comes together to help SpongeBob because of all the things he has done for them. We thought in a way it’s about what this character has meant to people over the years. It’s a celebration of creativity and humor, and by extension, it’s an homage to what Steve gave to all of us during his lifetime. That’s why I wanted to do the movie, because there was something deeply personal about it, which goes beyond just having a great story and memorable characters.”

    Hill says he cherishes some great memories of working, hanging out and going to the movies with Hillenburg. “I met him when we were both in our 20s. When I look back, it’s Steve’s art and sense of humor that really stand out for me. I loved his perspective and ironic sense of humor. He loved art and movies. We used to catch revivals of movies of the silent classics … Buster Keaton, Harold Lloyd, Charlie Chaplin. We went to animation retrospectives, National Film Board of Canada shorts. He would play guitar and we would all jam in his office. He painted, too. He was a real Renaissance man.”

    The helmer says in the earlier stages of development, there were questions about whether to take the traditional 2D approach or push for a CG-animated movie that wouldn’t “break” the look audiences associate with SpongeBob. “Sometimes, I feel that CG doesn’t always serve human characters very well,” says the director. “During our development period, we took a lot of time looking at old clips from the first SpongeBob movie and translating them to CG. We tried a lot of approaches, but I think we ended up with a great solution. It feels a little bit like stop-motion; it’s snappy and more forgiving than general CG. It’s like film animation, we did it on ones and twos (one frame of film per movement or two frames of film). In that way we got the animation to look similar to what we’re used to on the show.”

    The SpongeBob Movie: Sponge on the Run
    The SpongeBob Movie: Sponge on the Run

    Mikros Magic

    To animate the project, the studio tapped Mikros Image Animation (Captain Underpants: The First Epic Movie, The Little Prince) with the production mainly done in the Montreal studio. “It was a bit of a learning curve because they are a digital studio and they don’t come from a 2D world,” says Hill. “We were looking for snappy animation, because it’s more comedic that way. We took the time to get everybody up to speed with the style. One of the show’s original timers went to Montreal to help them with the timing, and they got pretty good.”

    According to Hill, the film’s background also presented some challenges since a lot of the show’s sets were more graphic. “For example, a wall would be just a color, but we had to make it all dimensional and put lighting on it and make it a little tactile and real. We had to do stuff with the lighting like caustic and atmosphere and rays coming from the surface to keep it feel like the water is moving round and affecting the plant life. All of those things give it a little verisimilitude and give you this feeling that they all live in a fish tank.”

    The SpongeBob Movie: Sponge on the Run
    The SpongeBob Movie: Sponge on the Run

    Of course, there is always the issue of how to make a CG-animated version of the characters look and feel like their 2D counterparts. As Hill explains, “We had to be very subtle with our character modeling and surfacing. For example, we had to figure out how to treat SpongeBob’s shadow side: Does it go green like it does on the show? We had to be careful with the way SpongeBob’s flat top can become too angular if you use the wrong lens. Or take Plankton: He is a kind of a cell organism, so you have to have transparency, but also a little bit of a wet surface. It’s all about dialing it in until it looks right. You just know when it looks right.”

    Hill also points out how important the overall colors of the movie were in the whole process. “SpongeBob is such a vibrant show, but in this CG world, the colors get saturated very quickly, so we have to weed out a lot of the specularity,” he notes. “You know, this is my first fully-animated feature, so I’m just telling you what I learned!”

    The SpongeBob Movie: Sponge on the Run
    The SpongeBob Movie: Sponge on the Run

    Building a Better Sponge!

    Sponge on the Run’s animation supervisor Jacques Daigle says he feels like he’s been living in Bikini Bottom for the past 28 months. He and his team at Montreal’s Mikros Animation have been working hard to make sure SpongeBob and his pals look as funny, cartoony and tactile in CG as they do in 2D. “We had all three first seasons of the series to look at to understand all the timing techniques,” says the animation veteran, whose many credits include Cloudy with a Chance of Meatballs, The Little Prince, The Smurfs 2, Mune: Guardian of the Moon and The Star.

    “One of the most important things for our team to understand was the timing techniques of the show, which is crucial in comedy,” says Daigle. “Tim Hill and some of the other animation directors on the show trained us to really understand the timing. Our team at Mikros was very open and excited to make the project as honest as possible, and not try to reinvent anything.”

    Daigle, who worked with about 80 people in the animation department at the Montreal studio, says the most important thing was to ask the right questions about the final goal. “In terms of the designs of the camera in 3D, we really cheated to the camera a lot,” he notes. “Comedy has to be in your face, so we ended up forcing the perspectives a lot. After all, SpongeBob is a square, so sometimes the top of his head would be hidden in CG. There’s a comfort zone where you can add all your cheats and get away with it, and it doesn’t become too noisy or questionable. It’s funny, because the original show is in 2D, which is all about drawing to make the world look 3D — while we have a 3D movie, which we wanted to make look like a 2D show. It was a cyclical argument!”

    The SpongeBob Movie: Sponge on the Run
    The SpongeBob Movie: Sponge on the Run

    “Because of perspectives and the camera, [SpongeBob’s] back limbs looked smaller, for example, so we had to beef him up,” adds Daigle. “SpongeBob is a different Bob in every single shot. We had to simply trust the system and the original rules we were given. Why use six poses when you can just use two or three poses in five seconds to make it work? You don’t need that extra blink. We really tackled it as if we were working in hand animation. It was all about making it snappy and really understanding the language of SpongeBob. We used Maya, but we built a lot of specific tools for the movie, because there was a lot to figure out!”

    Daigle says the whole experience was a great exercise in restraint for all the animators involved. “We are used to moving everything, but we just had to accept that we don’t move everything all the time. Tim Hill was relying on us to provide the comedy in our animation. He would give us a slight nudge and we’d sit down and talk about how to make it as funny as possible. We were all so proud of working on this movie. It was such a special project, and every single one of us knew that this was an experience that we were all going to remember. It made us grow so much and become better as animators and as people.”

    The SpongeBob Movie: Sponge on the Run
    The SpongeBob Movie: Sponge on the Run

    Live-Action Surprises

    The movie also features about 12 minutes of live-action footage. Hill says this was a strategy to give the audience something special, an element that would really make it a cinematic experience for everyone. “When you have a popular IP like SpongeBob, that has had so many episodes and two movies already, you have to think about things that will excite people and get them to come see it on the big screen.”

    Hill says it was a good thing that all the live-action footage, the animation and the dialog was done by the time the entertainment industry had to shut down because of COVID-19 pandemic precautions. “By the time you’re done with the animation, it’s usually just the director dealing with the editor, putting in new shots or adjusting them,” he explains. “The movie was originally scheduled for May, so most of the work was done. It just made it a little hard to do real-time notes and editing and the music. But we were just doing the post stuff — final lighting, music, effects and dubbing. We got lucky!”

    The SpongeBob Movie: Sponge on the Run
    The SpongeBob Movie: Sponge on the Run

    When asked about the timeless appeal of SpongeBob, Hill believes it’s the intelligence, heart and playfulness at the core of the show that has made it such a phenomenal success over the years. “It’s always about friendship and relationships,” he says. “The show also comes up with creative solutions and surprising ways SpongeBob gets around things. The characters remind me of those wonderful silent movies in a way. They all work so well together. It’s truly a wellspring that Steve created and gave the world.”

    Paramount is scheduled to release The SpongeBob Movie: Sponge on the Run on August 7. The movie might be available on VOD if theaters remain closed due to the COVID-19 pandemic.

  • First Look: Animated ‘One Day at a Time’ Special Premieres June 16

    First Look: Animated ‘One Day at a Time’ Special Premieres June 16

    Sony Pictures Television has revealed a first-look clip and images for its buzzworthy One Day at a Time animated special, crafted in response to the COVID-19 production shutdowns. Titled “The Politics Episode,” the sitcom’s 2D interpretation will premiere on Sony’s Pop TV on June 16 at 9:30 p.m. ET/PT, and sparkles with returning guest stars Gloria Estefan and Melissa Fumero, joined by new addition to the family, Lin-Manuel Miranda.

    The animation was produced by Canadian studios Smiley Guy Studios and Big Jump Entertainment.

    In “The Politics Episode,” Penelope’s conservative cousin Estrellita (Fumero), Tia Mirtha (Estefan) and Tio Juanito (Miranda) are coming to visit … and with the impending election, they won’t be able to avoid fighting over politics.

    Produced by Sony Pictures Television, the award-winning comedy inspired by Emmy winner Norman Lear’s 1975 series of the same name tells the story of the Cuban American Alvarez family. The show features Penelope (Screen Actors Guild Award-winner Justina Machado), her mother Lydia (Emmy, Grammy, Oscar and Tony winner Rita Moreno), Dr. Berkowitz (Stephen Tobolowsky), Schneider (Todd Grinnell), Elena (Isabella Gomez) and Alex (Marcel Ruiz).

    One Day at a Time is produced by Act III Productions, Inc., Snowpants Productions and GloNation in association with Sony Pictures Television, with Norman Lear, Mike Royce, Gloria Calderón Kellett and Brent Miller serving as executive producers. The special is also produced by Jonas Diamond, Executive Producer and Co-Owner of Smiley Guy Studios in Toronto, and Rod Amador, Executive Producer and Co-Owner of Big Jump Entertainment in Ottawa.

  • Trailer Premiere: DreamWorks’ ‘To: Gerard’ Is a Valentine to Selfless Love

    Trailer Premiere: DreamWorks’ ‘To: Gerard’ Is a Valentine to Selfless Love

    ***This article originally appeared in the June-July issue of Animation Magazine (No. 301)***

    Three years ago, Taylor Meacham was working as a production coordinator at DreamWorks Animation, helping to set up the pitches for the studio’s newly launched shorts program. The Emerson College grad, who got his foot in the door with an internship at the studio during his senior year, says he was inspired to pitch his own idea for a short after spending time with his dad.

    “My father and I would go on these surfing trips to Mexico, and in a lot of ways, he is my best friend,” recalls Meacham. “At the time, he was 65, and he was just scraping by because he lost all his retirement savings during the market crash of 2008. It just broke my heart to see him like that, but he told me that he was totally fine, because he had been able to support his children’s dreams. That was a profound concept for me, and it inspired me to create a short that cast a light on an act of selflessness. The short’s message is that the greatest magic is to inspire someone to follow their dreams, even if you haven’t got your own dream realized.”

    Taylor Meacham
    Taylor Meacham

    Now after several years of hard work, Meacham’s beautifully animated project To: Gerard is finally hitting the festival circuit and is one of the selected shorts at the prestigious Annecy festival, being presented online in June. The 7.5-minute short tells the poignant story of an older man who has worked at a post office all his life, despite harboring dreams of becoming a magician from a young age. When a young girl accidentally walks into his life one day, he seizes the chance to pass on the dream with the aid of a special magic coin.

    (DreamWorks was kind enough to provide Animag with the short’s debut trailer, which you can find at the end of this article.)

    Produced by DreamWorks veteran Jeff Hermann (Kung Fu Panda 3, The Boss Baby 2) who also oversaw the studio’s three other well-received shorts Bird Karma, Bilby and Marooned, the short features beautiful character designs by acclaimed artist Nico Marlet (Kung Fu Panda and How to Train Your Dragon trilogies, Abominable) and music by Layla Minoui.

    To Gerard
    To: Gerard

    Hermann says he was very pleased to be able to shepherd these four wonderful shorts over the past few years. “We had this unique moment where things were shifting around and had this window where some crews were available between projects and could focus on our shorts program,” he notes. “We pushed for ideas from the crew, and Taylor was the one who made the biggest leap forward. He had the opportunity to be seen as a creative who got this vision accepted and to be able to direct this short with a team of about 100.”

    The producer says To: Gerard is by far one of the most joyful and hopeful shorts created at the studio. “It’s really a love letter to Taylor’s dad for everything that he has done for him and his sister,” notes Hermann. “That sentiment came through in his pitch, and I’m very pleased with the way the art and the narrative were able to carry that message forward.”

    Visual development by Ruben Perez (DreamWorks)
    Visual development by Ruben Perez (DreamWorks)

    Character sketches by Nico Marlet (DreamWorks)
    Character sketches by Nico Marlet (DreamWorks)

    The short’s visuals are inspired by some of the director’s favorite Art Deco posters and one of his favorite movies, the Coen brothers’ 1994 feature The Hudsucker Proxy. Meacham explains, “I’m a huge fan of that look. The post office, all the conveyor belts take their visual cues from Art Deco designs. I gave our production designer Raymond Zibach [Kung Fu Panda trilogy] all these left-field references and he did an amazing job of bringing that sense of wonder and excitement. Our character designer, Nico Marlet, is so prolific and talented. I went to him with these detailed descriptions of the characters and he came up with these fantastic designs based on those write-ups.”

    Meacham, who is working as a storyboard artist on the studio’s upcoming The Croods sequel, says he hopes he will continue to tell stories that will bring hope and joy to audiences. “The short meant a lot for everyone who worked on it. I think all of us were attached to the project emotionally. I know we are living through unexpected, crazy times right now. I am just so happy that my father got a chance to see it during a screening at the studio. Everyone knew who he was and they got to meet him. He was in tears, and that recognition meant a very great deal.”

    To: Gerard is one of the shorts screening as part of Annecy’s Competition program online in June.

  • Women In Animation Virtual Summit Program Announced

    Women In Animation Virtual Summit Program Announced

    Women in Animation (WIA) announces the program for the first-ever Women in Animation Virtual Summit, in conjunction with this year’s digital version of Annecy International Animation Festival and Mifa 2020, Annecy 2020 Online. The theme of this year’s Summit is “Reimagining the Future: Race, Solidarity and the Culture of Work.” This year’s Summit covers two world-shaking topics — the pandemic and the recently reinvigorated global call for social justice — and their momentous effects on the animation industry.

    The Women in Animation Virtual World Summit will post exclusively on Annecy Online (www.annecy.org) on Wednesday, June 17 and be available for Festival and Mifa badgeholders to view for the rest of the two-week festival. WIA will also make the Summit available to their members and more widely at a later date.

    “The world discourse suddenly shifted when we all saw George Floyd brutally murdered by police in Minneapolis, U.S.A. We knew that we needed to pivot from our original program for the World Summit at Annecy to address the issues of work, race and solidarity,” commented WIA President Marge Dean. “We are using this global platform to give women of color the opportunity to talk about their experiences and how they see that the animation industry needs to change in order to be fully diverse, inclusive and humane.”

    Producer Jinko Gotoh, who serves as WIA’s Vice President, was integral in gathering innovative panelists to participate in the summit. She added, “Animation is a platform to share all kinds of stories and messages. In today’s world, we need authentic voices from people of color now more than ever. The Me Too movement finally broke the silence around sexual discrimination. I truly hope that the current movement for social justice does the same for anti-blackness and racism.”

    Marge Dean
    Marge Dean
    Jinko Gotoh
    Jinko Gotoh

    Part One of the Summit will open with Dean welcoming viewers and introducing the summit theme about what the future of animation could look like, based on a pronounced shift to focus on racism and solidarity in our industry and in the world at large. Part One will feature the following panels:

    Jamal Joseph
    Jamal Joseph

    Black Women in Animation: Looking to the Future (70 minutes)

    Moderator: Jamal Joseph (Professor of Film, Columbia University; Producer/Director/Writer/Activist)

    Speakers: Jade Branion (Writer), Camille Eden (Vice President of Animation Recruitment and Talent Development, Nickelodeon Animation Studio), Misan Sagay (Screenwriter, Netflix), Karen Rupert Toliver (Executive Vice President of Creative, Sony Pictures Animation)

    Panel Description: Led by moderator Jamal Joseph, this panel is anchored in personal stories and experiences. The discussion will also address being colorblind versus color affirmative, the importance of finding voice on both the executive and creative side, and the overarching power of animation to make an impact, given the freedom of imagination to create more ideal and more representational worlds.

    John Agbaje
    John Agbaje

    Intersectionality and Solidarity (60 minutes)

    Moderator: John Agbaje, (Director of Animation & Development, FX Networks)

    Speakers: Julie Ann Crommett (VP, Multicultural Audience Engagement, The Walt Disney Studios; Secretary of WIA), Erika Dapkewicz (Lead Editor, Sony Pictures Animation), Shari B. Ellis (Production Manager, Gaumont Animation), Kaitlyn Yang (Founder, Alpha Studios)

    Panel Description: As we live through what seems to be the largest civil rights protest in human history, we see the value of intersectional solidarity in this movement, and that the shared experience of struggle in the system, support and solutions can help each other thrive. This discussion will cover a wide range of life experiences, allyship in action, and lessons about effective solidarity.

    After the first two panels, Dean will introduce viewers to Part Two of the summit, focused on changes brought about by virtual collaboration as forced into play during a pandemic. Part Two will unfold as follows:

    Artists Creating from Home: A Series of Home Studio Visits (Approx. 5 mins) A collection of pre-recorded clips offering a glimpse into artists workspaces from around the world.

    Producing in a Rapidly Changing World (60 minutes)

    Moderator: Jinko Gotoh (Vice President of WIA, Producer for Netflix;)

    Speakers: Rita Mbanga (Producer, Sandcastle Studios/Sunrise Productions), Carina Schulze (Chatrone Partner; Executive Producer/Writer), Osnat Shurer (Producer, Walt Disney Animation Studios), Christina Lee Storm (Founder, Asher XR), Niki Lopez (Creator & Co-Executive Producer, Nickelodeon)

    Panel Description: Women leaders from various disciplines in the industry will share their perspectives and best practices in a world challenged by pandemic.

    Artists Creating from Home: A Series of Home Studio Visits (75 mins) A collection of pre-recorded clips offering a glimpse into artists workspaces from around the world.

    The Women in Animation Virtual Summit is made possible with the ongoing support of WIA’s Global Fund partners:

    WIA Leadership Circle donors (in alphabetical order): Darla Anderson & Kori Rae, Animal Logic, Autodesk, Netflix, Otter Media (a WarnerMedia company, home to Crunchyroll, Rooster Teeth and VRV), Reel FX Animation Studios, Sony Pictures Animation/Sony Pictures Imageworks, Universal/Illumination/DreamWorks Animation and The Walt Disney Company (including Walt Disney Animation Studios, Blue Sky Studios, Pixar Animation Studios, Industrial Light & Magic, Lucasfilm, Disney Television Animation, Disney Channel and Disney Junior, among others), Warner Animation Group/Warner Bros. Animation, WarnerMedia.

    WIA Partners Circle donors (in alphabetical order): Electronic Arts (EA), Jinko Gotoh, Nicole Grindle, Lord Miller, Molly Mason-Boule, Mythos Studios, Nickelodeon, Mark & Kim Osborne, Pearl Studio, Skydance Animation and Virtuos.

    WIA Supporters Circle donors (in alphabetical order): Bad Robot, Kristine Belson, Cinesite, Gail Currey, GKIDS, Locksmith Animation, Nexus Studios, Paramount Animation, SideFX, SPA Studios and Stoopid Buddy Stoodios; and WIA Friends donors (in alphabetical order): Allison Abbate & Tony Cervone, Tamara Boutcher, Duncan Studio, Warren Franklin, Pam Marsden, Rideback, and Catherine Winder.

    Learn more about the organization at www.womeninanimation.org

  • Key Buyers Event: Wizart Projects Head to UK, India & Across Africa

    Key Buyers Event: Wizart Projects Head to UK, India & Across Africa

    Russian animation is holding its own at the Key Buyers Event: Digital Edition — the country’s first virtual content market, running through June 15. One of the industry’s leading players, Wizart, has announced a number of deals which will send its popular feature films to diverse territories around the globe.

    Signature Entertainment, one of Britain’s leading distributors, picked up the rights to distribute The Snow Queen: Mirrorlands and Sheep & Wolves: Pig Deal in the U.K. Signature will be responsible for bringing the features to the cinemas and largest VOD platforms such as iTunes and Amazon.

    “Signature are thrilled to be releasing Sheep & Wolves: Pig Deal and The Snow Queen: Mirrorlands in the U.K. & Ireland. Both are very appealing, great quality animations and are strong additions to our 2020 slate, emphasising the company’s ongoing dedication to release the highest standard of independent animations in the market,” said Katie Wilkinson, Signature Ent. Acquisitions. “We are expecting the large number of viewers at home to be charmed by our animal friends, whilst parents keen on venturing out to the cinema (when they reopen shortly after such a long hiatus) with their little ones will be delighted by the magical world of this icy monarch.”

    Signature are releasing The Snow Queen: Mirrorlands theatrically on Friday, July 10, a month before the home entertainment release of Sheep & Wolves: A Pig Deal on Monday, August 10. Mirrorlands will then be available on home entertainment in November, just in time for the holidays.

    Sheep & Wolves: Pig Deal
    Sheep & Wolves: Pig Deal

    The African continent, which is already familiar with the films of the Wizart studio, will soon be able to get acquainted with the second part of the Sheep & Wolves franchise. It will be released on this territory by Gravel Road Distribution Group.

    During Key Buyers Event, the company has also signed an agreement with Miraj Group to release Snow Queen: Fire and Ice and Snow Queen: Mirrorlands in India.

    Snow Queen: Fire and Ice
    Snow Queen: Fire and Ice
  • Cartoon Network Celebrates #PrideMonth with ‘Drawn To,’ Toon Playlists

    Cartoon Network Celebrates #PrideMonth with ‘Drawn To,’ Toon Playlists

    Cartoon Network is joining in the LGBTQ+ community’s June celebrations with special two-part #PrideMonth installment of its ongoing for kids, by kids series Drawn to, as well as curated episodic playlists on the CN App.

    The month-long campaign kicks off today with Drawn to… Courage, to be followed by Drawn to… Love, rolling out across all Cartoon Network platforms, including linear and social. The two-part vignette will highlight LGBTQ+ families, kids and young activists sharing stories of what makes them proud.

    Each video will feature kids from the comfort of their homes discussing individuality and inclusivity through courage and love. The series will continue to build on the network’s goal to promote inclusion and self-love, encouraging fans everywhere to always be themselves.

    The CN App playlists will spotlight thematic stories from select Cartoon Network series, including Emmy-nominated Craig of the Creek, GLAAD Award-winning Steven Universe and more.

    This year marks the 50th anniversary of annual LGBTQ+ Pride celebrations — the first Pride march was held in New York City on June 28, 1970, commemorating the one-year anniversary of the Stonewall Uprising. Pride is now celebrated all through the month of June in the United States.

    Looking for more celebrations? GLAAD.org offers an online “Pride Guide” to virtual events and special programming.

  • People on the Move: Exec Hirings, Exits & Academy Board Elections

    People on the Move: Exec Hirings, Exits & Academy Board Elections

    The Academy of Motion Picture Arts and Sciences announced its newly elected 2020–2021 Board of Governors. The governors will take office at the first regularly scheduled board meeting of the new term. Rob Bredow was elected to the Visual Effects Branch for the first time, while Jon Bloom returns to the Short Films and Feature Animation Branch after a short hiatus.

    Jon Bloom
    Jon Bloom
    Rob Bredow
    Rob Bredow

    As a result of this election, the number of female Academy governors increases from 25 to 26, and people of color increases from 11 to 12, including the three Governors-at-Large. The Academy’s 17 branches are each represented by three governors, who may serve up to three consecutive three-year terms. The Board of Governors sets the Academy’s strategic vision, preserves the organization’s financial health, and assures the fulfillment of its mission.

    Other electees were:

    NEW – Debra Zane (Casting Directors), Ava DuVernay (Directors), Stephen Rivkin (Film Editors), Linda Flowers (Makeup Artists & Hairstylists), Lynette Howell Taylor (Producers

    INCUMBENT – Whoopi Goldberg (Actors), Mandy Walker (Cinematographers), Isis Mussenden (Costume Designers), Kate Amend (Documentary), David Linde (Executives), Christina Kounelias (Marketing & PR), Charles Bernstein (Music), Wynn P. Thomas (Production Design), Teri E. Dorman (Sound), Larry Karaszewski (Writers)

    See the current Board of Governors here.

    Siobhan Bentley, Melissa Taylor, Tamara Boutcher
    Siobhan Bentley, Melissa Taylor, Tamara Boutcher

    Antony Hunt, CEO of independent VFX and animation studio Cinesite, announced three new hires at its Montreal facility and the studio’s London headquarters: Melissa Taylor – General Manager (London), Siobhan Bentley – Head of Production VFX (London) and Tamara Boutcher – Global Head of Production for Feature Animation.

    “Melissa, Siobhan and Tamara are proven talented executives with deep knowledge of the visual effects and feature animation industries. In joining our global leadership team they’ll bring a broader range of ideas and approaches to further strengthen Cinesite’s position in the market,” said Hunt. “Working towards equal representation in an industry which is statistically male-dominated is very important to us all and we’re working hard to improve the balance. Cinesite is driven by talented people, whatever their gender, race or orientation. We have a collective philosophy on diversity and inclusion which is embodied in our wider approach of encouraging everyone on the team.”

    Melissa Taylor, General Manager, will oversee Cinesite London’s VFX studio while working closely with Montreal colleagues and group VFX brands Image Engine and TRIXTER. Taylor brings over 30 years’ industry knowledge and relationship-building experience. She joins Cinesite from Framestore, where she served as Global Head of Business Development and was involved with projects such as Spider-Man: Far From Home, Wonder Woman 1984, Lady & The Tramp, Tom and Jerry and Fast & Furious: Hobbs & Shaw. Prior to Framestore, Taylor was EP at DNEG; her extensive experience will further strengthen the studio’s VFX offering.

    As Head of Production for VFX, Siobhan Bentley joins Taylor at Cinesite’s London headquarters. She’s tasked with leading, developing and motivating the production teams to drive efficiency and continuous improvement throughout a show’s lifecycle. Bentley joins Cinesite from MPC, where she oversaw the production teams on many acclaimed films such as The Lion King, Roma, The Jungle Book, The Martian and Guardians of the Galaxy. Bentley will work closely with crewing and producers to ensure projects are progressing through departments effectively and deadlines are being met.

    Based at Cinesite’s Montreal studio, Tamara Boutcher has been promoted to Global Head of Production for feature animation. In this expanded position, she will be responsible for the production and day to day operations of Cinesite’s growing feature animation service slate, developed and produced out of the Montreal & Vancouver studios. With 20+ years of experience, Boutcher’s first dive into animation began at The Walt Disney Company. As the studio transitioned from 2D features to 3D features, she worked as the Director of Production, helping to guide the teams and develop the necessary practices and technologies for pioneering Disney’s unique blend of traditional and CGI practices. Her work is featured in The Addams Family 1 & 2, The Star, Dinosaur, The Angry Birds Movie and We Are Not Princesses.

    Cinesite’s London crew is currently working hard on Fate: The Winx Saga for Netflix and The Wheel of Time for Amazon. Both Canadian studios are currently hiring for a number of high-quality features including Respect and the untitled Addams Family sequel for MGM and Blazing Samurai for Aniventure & GFM Films (an animated comedy based on Mel Brooks’ classic film Blazing Saddles). The crews are currently putting the finishing touches to Riverdance, an animated musical comedy inspired by the stage show featuring Bill Whelan’s multi-platinum Grammy Award-winning music, and MILA, CG animated short about a little girl whose life takes an unexpected turn during WWII directed by Cinzia Angelini.

    Michael Lombardo
    Michael Lombardo

    Entertainment One (eOne) has brought on HBO veteran and producer Michael Lombardo as President of Global Television. Lombardo will oversee TV strategy for the company (acquired by Hasbro last year) and the studio’s global development and production efforts across scripted and unscripted programming. The exec spent over three decades at HBO — he served as President of Programming for 12 years, overseeing HBO and Cinemax’s programming initiatives, including HBO Films, HBO Sports, HBO Documentaries & Family and HBO Entertainment. He most recently was a principal and producer at Film 44, and was EP on USA’s Dare Me and HBO’s Our Boys.

    “We couldn’t be more thrilled to welcome Michael to the eOne team,” said Steve Bertram, eOne President of Film & Television. “His incredibly impressive history of success during his long tenure at HBO resulted in some of the most ground-breaking, iconic television series over the past two decades. A true champion of creative excellence, Michael is the ideal leader to guide our television strategy at a time where audiences are demanding content of the highest quality.”

    “Throughout my career, I have been driven by a passion for great stories. I’m excited to join eOne where we have some of the most beloved brands in the world to inspire our work, in addition to an outstanding talent-rich pipeline built by a team that I very much look forward to leading,” said Lombardo.

    David Levine
    David Levine

    David Levine is leaving his post as Vice President of Kids’ Programming for Disney Channels Europe & Africa/U.K. & Ireland, at the end of June. The role makes Levine responsible for all strategic and operational aspects of kids’ programming across channels in these territories, including the development of linear and multiplatform/OTT programming strategy. Levine is also responsible for determining the direction of original production and overseeing the development and production slates of originals, acquisitions and co-pros.

    Levine joined Disney/ABC Cable Networks in 2004 as VP Worldwide Programming Strategy, added Acquisitions and Co-Productions to his title in 2009 and then was named VP & General Manager of Disney XD Worldwide in 2011. In 2013, he relocated to London to take on the mantle of VP, Programming, Production & Strategic Development. Levine was made GM of Disney Channels U.K. & Ireland in October 2014, and took on his current role in May 2019.

    Marco Nobili
    Marco Nobili

    ViacomCBS Networks Americas named Marco Nobili to the newly created role of Senior Vice President of Strategy and Emerging Business. Nobili will be responsible for driving the emerging strategy for the Americas across its products, platforms, and commercial lines of business. In addition, Nobili will lead the OTT strategy and execution of ViacomCBS Network America’s key streaming properties in the free and paid space — Pluto TV, Noggin and Paramount+, aligned and fully in sync with the global ViacomCBS Networks International strategy. He will also oversee the Business Intelligence areas, including research and analytical functions for all entertainment programming, streaming and data operations. Nobili will report to JC Acosta, President, ViacomCBS Networks Americas and will be based in Mexico City, Mexico.

    Nobili joins ViacomCBS from Netflix, where he was Director of Product Innovation & Originals Launch Strategy in Spain and Latin America. In this capacity, he identified long-term opportunities and oversaw the launch strategy for new content. Prior to joining Netflix, Nobili held several critical positions at Amazon, including Regional Manager for Amazon Prime Video, where he launched and oversaw the market strategy for Prime Video in Mexico and Spanish-speaking Latin America. He also held the position of Marketing and Product Management Lead for Marketplace. Nobili also held several leadership positions and oversaw new product launches at Microsoft, particularly with Xbox in the entertainment space.

    Nobili holds a Master of Business Administration from SDA Bocconi in Milan, Italy, and a Bachelor of Science in Industrial Engineering from Università Degli Studi Di Bologna in Bologna, Italy.

  • Animated Winners: Peabody Award, Brooklyn Film Fest, ThinkTank Scholarships

    Animated Winners: Peabody Award, Brooklyn Film Fest, ThinkTank Scholarships

    The Peabody Awards has named 30 programs as the most compelling and empowering stories released in broadcasting and digital media during 2019 — including Childrens & Youth honoree Molly of Denali. The organization also announced The Simpsons as a recipient of Institutional Awards — this distinctive honor goes to programs that have made a significant impact on media programming and the cultural landscape. Cicely Tyson was named winner of the Peabody Career Achievement Award on Monday.

    The Peabody 30 are the best of nearly 1,300 entries submitted from television, radio/podcasts, and the web across the genres of entertainment, news, documentary, children’s and public service programming. All winners are chosen unanimously by a board of 19 jurors. The Peabody Awards are based at the Grady College of Journalism and Mass Communication at the University of Georgia.

    Full list of winners here.

    “This year’s winners are a vibrant collective of inspiring, innovative, and powerful stories. True to the spirit and legacy of Peabody, our winners are also distinguished by the presence and resilience of many emerging and diverse voices,” said Jeffrey P. Jones, executive director. “We are especially proud to celebrate FRONTLINE as an unwavering source for truth through quality journalism when both are actively under attack, and The Simpsons, one of the most consistently funny and culturally important satirical sitcoms over the last three decades.”

    Simpsons
    Simpsons

    INSTITUTIONAL AWARD: THE SIMPSONS | On December 17, 1989, the clouds parted in the now-iconic opening sequence of “The Simpsons,” inviting the world into the town of Springfield for the first time. Already well known to fans of “The Tracey Ullman Show” — which ran a series of animated shorts by creator Matt Groening starting in 1987 — Homer, Marge, Bart, Lisa and Maggie would soon rocket to international fame. The Simpsons, with nearly 700 full episodes to date, is now the longest-running scripted prime-time series in American television history, and likely the most globally recognized program in history.

    Following a decade of earnest family sitcoms, the brash yellow splash of The Simpsons on TV cleared the way for a more satiric-parodic, deeply ironic mode of comedy. From the outset, the program was eager to question and rib not just the medium its viewers grew up on, but the beliefs upon which they were structured. Decades later, the effect of its witty humor and willingness to question authority is evident in similarly important comedies that followed in Homer’s four-toed path.

    The Simpsons expanded notions of what the sitcom could be. It gifted us a wonderful family caught between the poles of father Homer’s delightful ignorance and daughter Lisa’s endearing brilliance, a family that would fumble, fight and fail, and yet who loved each other in spite of it all. It boldly and inventively ushered animation back into primetime. And it has found ways to remain funny, fresh, and insightful while trusting and respecting its audience’s intelligence. In one episode, Homer thumps his television angrily, demanding that it “be more funny.” Peabody commends The Simpsons writers, animators and cast for answering Homer’s call for 30 years. [More…]

    Molly of Denali
    Molly of Denali

    CHILDREN’S & YOUTH: MOLLY OF DENALI | While American media depicts indigenous characters almost entirely in historical settings, the charming story of Molly Mabray, an Alaska Native girl who helps her parents run the Denali Trading Post, represents these traditions as a living culture with much to offer at the current moment — from environmental consciousness to community belonging to creative expression. The animated series is produced by Atomic Cartoons and the WGBH Educational Foundation.

    An alarming 20% of Americans believe indigenous people no longer exist. And only 13% of state history standards across the U.S. cover information about Native Americans after the year 1900, while American media depicts Native characters almost entirely in historical settings.

    Alaska Natives play central roles in all aspects of production for Molly of Denali. WGBH mentored six Alaska Native writers to produce scripts for season 1 and trained more than a dozen indigenous children to play key voice-over roles or appear in live-action segments. The resulting series puts strong emphasis on cross-cultural communication, research and literacy skills and environmental consciousness, but beyond that, the show has sparkling characters, compelling stories, and richly detailed settings.

    For helping to shift the ways that the next generation will think about indigenous people and for giving native media-makers a central role in shaping their own representation, Molly of Denali deserves a Peabody. [More…]

    Brooklyn Film Festival’s 23rd edition: TURNING POINT (a/k/a/ Relearn How to Be Human), which in the face of the COVID-19 pandemic began showing films for free online on May 29 and wrapped up June 7, announced the winners of the festival’s awards on Saturday, June 6, with the Audience Awards and The Grand Chameleon Award announced on Sunday afternoon, bestowing a total of 30 awards to this year’s festival filmmakers.

    Winners were determined by three groups: 1) The external panels of judges, 2) The festival, and 3) The Audience. Through the resources of industry-related sponsors, selected filmmakers are sharing a total of $50,000 in cash, products and services. Over the course of the 10-day festival, there were a total of 21,000+ new registered users and 36,000+ views of the films, as data collected from Vimeo, the festival’s video server, showed. Full awards breakdown here.

    King of the House
    King of the House

    Best Animation – Dir. Zige Zhang for KING OF THE HOUSE

    Jury Statement: The Animation we selected as winner of the category is King of the House. Zige Zhang’s exquisitely illustrated and pacey tale shines the spotlight on inequality. She nudges us to see that our shared humanity holds the key.

    A delusional man lives alone in a small dark house, believing that he is the king of the world and his supremacy is secure. However, his sovereignty is shaken by the arrival of a stranger. Little by little, this intruder occupies his living space, forces him to face his inner fears, cowardice and inferiority. Eventually, he realizes the great king he conjured in his tiny kingdom, is nothing but a pitiful tramp to the rest of the world.

    Eat When You're Hungry
    Eat When You’re Hungry

    Best Documentary Short – Dir. Malcolm Rizzuto and Spencer Garrison for EAT WHEN YOU’RE HUNGRY

    Jury Statement: The Jury found Eat When You’re Hungry extremely creative and strikingly funny. As an autobiographical tale on the immigrant experience from a unique perspective, it felt fresh and innovative. Presented through lively animation that details the complex – but also loving – story behind the relationship between a young man and his grandmother, we thoroughly enjoyed this film and encourage the filmmakers to keep creating.

    A mostly true portrait of Malcolm, a modern American young-person raised on TV & McDonalds, and his grandma, Lola, a strong and loud lady who immigrated to the U.S. in the 1970s after surviving off eating newspaper in the Philippines for 30 years.

    Pitch Black Panacea
    Pitch Black Panacea

    Spirit Award: Animation – Dir. Tom Hardiman for PITCH BLACK PANACEA

    Spirit Award: Experimental – Dir. Kevin McGloughlin fo SUITE AFTER THE FURIES

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    Audience Award: Animation – Dir. Upamanyu Bhattacharyya and Kalp Sanghvi for WADE

    Audience Award: Experimental – Dir. Adam Hayes and Nick Hayes for INHUMAN LOVE

    Think Tank announced its three Final Project scholarships to give away to our Foundation term. This award is eligible for students’ upcoming advanced term.

    The final projects were voted upon by a cohort of CG experts and other Think Tank luminaries: Adar Bronstein, Foundations Director; Marco Menco, Modeling for Film Director; Pierre Bourgeot, Characters for Games Director; Jonathan Chan, Environments for Games Director; Scott Thompson, Think Tank Founder; Joseph Bullock, Think Tank Founder; Matt Vogt, Think Tank Webmaster; James Podles, Think Tank Portal Code Wizard; Jon Bierman, Think Tank Media Master Blaster; Roula Lainas, HR, Zoic Studios; Chris Roff, Film Producer; Mike Blomkamp, Producer, Oats Studios; Brett Ineson, Owner, Animatrik (mo-cap) studio; Brian Moylan, CG Veteran / Ex-CEO, Rainmaker FX; Geoff Anderson, Producer, Oats Studios; Carl Whiteside, Producer and HR head, Waterproof Studios; Matt Novak, CG Veteran, Scanline VFX; and many more.

    First Place $3,560 CAD – Diego Aguilar concept by Jihyun Han (21 votes)

    Diego Aguilar
    Diego Aguilar

    Second Place $1,000 CAD – Eldar Seydamet concept by Zeen Chin (20 votes)

    Eldar Seydamet
    Eldar Seydamet

    Third Place $500 CAD – Juan Machado concept by Zeen Chin (17 votes)

    Juan Machado
    Juan Machado

    Honorable mentionNicolette Battad concept by Denis Zilber (14 votes)

    Nicolette Battad
    Nicolette Battad
  • Official Trailer: Hulu’s ‘Crossing Swords’ Arrives June 12

    Official Trailer: Hulu’s ‘Crossing Swords’ Arrives June 12

    This Friday, June 12, Hulu is throwing down the gauntlet with the premiere of Crossing Swords — the new stop-motion adult comedy from Stoopid Buddy Stoodios and Robot Chicken exec producers John Harvatine IV (writer-director) and Tom Root (writer).

    Synopsis: Patrick is a good-hearted peasant who lands a coveted squire position at the royal castle however his dream job quickly turns into a nightmare when he learns his beloved kingdom is run by a hornet’s nest of horny monarchs, crooks and charlatans. Even worse, Patrick’s valor made him the black sheep in his family, and now his criminal siblings have returned to make his life hell. War, murder, full frontal nudity — who knew brightly colored peg people led such exciting lives?

    The pedigreed voice cast is led by Nicholas Hoult (The Great, Watership Down) as Patrick, Luke Evans (The Alienist, Dracula Untold) as the King, Adam Pally (Archibald’s Next Big Thing, The Mindy Project), Tara Strong (My Little Pony: Friendship Is Magic, Rick and Morty), Tony Hale (Archibald’s Next Big Thing, Arrested Development), Adam Ray, Alanna Ubach, Breckin Meyer, Maya Erskine, Seth Green, Wendi McClendon-Covey and Yvette Nicole Brown.

    You can learn all about the show from Harvatine and Root in Ramin Zahed’s story from the June-July issue of Animation Magazineread it here!

    Prepare thyself for bloodshed and language of great coarseness, subjects: